This highly fictionalized film traces the life of tenor Enrico Caruso (1873-1921). He loves Musetta, in his home town of Naples, and then Dorothy, the daughter of one of the Metropolitan ... See full summary »
Damon Vincenti, a young vineyard worker, has a beautiful tenor voice and dreams of becoming a great opera singer. He debuts at Lardelli's Italian restaurant in San Francisco, where he is ... See full summary »
Snooty opera singer meets a rough-and-tumble fisherman in the Louisiana bayous, but this fisherman can sing! Her agent lures him away to New Orleans to teach him to sing opera, but comes to... See full summary »
In Philadelphia, the soprano Prudence Budell returns from Europe after a period of five years training in the best Europeans music schools. Her millionaire grandmother Abigail Trent Budell ... See full summary »
The brilliance of one of the world's most beloved tenors and the exciting world of opera highlight this delightful romantic adventure set in the most beautiful cities of Europe. Tonio Costa... See full summary »
Johanna von Koczian,
On a train to Rome, the American singer Marc Revere meets the Italian Raffaela. He notices that she intends to work and live at her uncle's. When he gives her a ride, it turns out that said... See full summary »
In World War II, desert hotel proprietors Emad (Sir Peter Ustinov) and Yasmin (Yvonne De Carlo) are caught between the warring armies and have to constantly shift their political allegiance to whichever army happens to control the area.
Yvonne De Carlo,
When his bride-to-be finds him much too stiff, heir to the throne Prince Karl is sent off to the university in Heidelberg to learn how to socialize. He makes friends with the students there and falls for the down-to-earth Kathie, a barmaid. The two are soul mates, but when Karl's grandfather the king falls ill, he must choose between his country and his own happiness...Written by
Mario Lanza made two separate recordings from this film, both for RCA. The first, in mono, used the new lyrics especially written for the film, in addition to several songs written especially for the movie. The second, a stereo album released in 1959, featured soprano Norma Giusti as Kathie and, like the mono version, the new songs, in addition to some of the songs from the stage production. But the songs from the stage version were sung on this album with their original 1924 lyrics, not with the revisions heard in the film. See more »
Shortly after the "Serenade" segment Kathie is in her room. She puts out the candles until only one is left yet, when she goes to the window, a large electric stage light can be seen reflected in the glass. See more »
Nice music and photography,but could have been better
This is the only talking film version of Romberg's famous 1924 operetta--unfortunately, and it took MGM thirty years to get around to making it after they did a silent version. Although from all reports the silent version, directed by the great Ernst Lubitsch is excellent (I haven't seen it), in spite of the fact that it IS a "silent operetta", this 1954 sound version is a considerable letdown. Mario Lanza was supposed to have played the Prince, but his temper and weight problems got him fired, so the film was released with Edmund Purdom acting the role and lip-synching to Lanza's singing. Purdom is a considerably better actor than Lanza, but that's really not saying much. Ann Blyth, who does her own singing, is very good. However, the MGM adapters and screenwriters have done their dirty work. New, hopelessly bad dialogue has been added, as in the 50's remakes of "The Desert Song", "Show Boat", and "Rose Marie", but in this case the adapters have gone a few steps further. Only about half the original music (the score alone is ninety minutes long) is used; only Purdom/Lanza, Blyth, and the chorus sing, and they even filch the songs given to other characters in the stage version. Worse yet, new songs (not by Romberg and Dorothy Donnelly) have been added,and in EVERY SINGLE ONE of the original songs, only the first few lines of the lyrics have been retained----the rest have all been changed.
Audiences who are undemanding or completely unfamiliar with even a recording of the songs won't mind, but although the original lyrics weren't on the level of Hammerstein, Porter, Berlin, Ira Gershwin, Larry Hart, or Alan Jay Lerner's efforts, "Student Prince" fans will--and should---be outraged at this musical mangling.
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