New page: The Films of Mario Lanza
Derek McGovern
includes details of the musical items that Mario sang in each of his
seven films, together with the names of his principal co-stars and
other information. I'm sure that Lanza's movies will be a topic of
discussion here from time to time; hopefully, this new page will lead
to some interesting threads.
jora...@comcast.net
Mario always saw himself as an opera and/or concert star some
day~~~but I was wondering if he ever imagined himself as a film star
in musicals ( other than films of complete operas) ? Such a pity he
did not get a chance to film complete operas with himself as the
leading tenor role....I know he expressed interest in this.
Personally, I also wish he did not make "7 HILLS of Rome" at all!...it
was a bomb outside of Italy. To me, " 7 HILLS" was to his movies as
his LOB was to his recording legacy.
Derek McGovern
certainly was discussed on a number of occasions), the kind of films
that Lanza wanted to make were of high quality musical comedies and
operettas. Remember how frustrated he was when MGM delayed The Student
Prince in favour of Because You're Mine? He certainly knew the
difference between a piece of fluff and a work of substance. Two
musicals that he was very interested in filming were Carousel and
South Pacific. No doubt you would have been thrilled if he'd made the
former!
I also think it's a great shame that he didn't get to make The
Vagabond King - an operetta that would have been perfect for him. Then
again, the film that *was* made (with Oreste Kirkop & Kathryn Grayson
in the leads) was spoiled by the fact that Paramount elected not to
use much of the original score, and instead got the aged Friml to
write new (and inferior) music for it. I also wouldn't have wanted to
see Lanza in yet another film with Grayson! Incidentally, The Vagabond
King, a box office bomb, effectively ended Grayson's film career.
I agree with you about Seven Hills being Lanza's worst film. It was a
very bad choice for him, particularly since it was his first picture
in Europe. But I don't think it was a bomb commercially outside of
Italy. Everything I've read suggests that it was a healthy moneymaker
in the US and elsewhere.
On Nov 10, 7:33 am, "jorain...@comcast.net" <jorain...@comcast.net>
wrote:
> > to some interesting threads.- Hide quoted text -
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Balletamie
WROTE DOWN. Bravo Derek!
Forgive all the capitol letters but Derek just wrote all I would want
to ever read . Excellent, plain true.
(Derek do you remember the 'Solo Pasion' essay where someone tells
about the future in Mario's filmography if the Student Prince affaire
would not happen?)
> > - Show quoted text -- Hide quoted text -
Balletamie
music as well I am new in this great Group, my name's Graciela. Just
wanted to tell about the "Seven Hills of Rome" movie:
So many people love that movie and the songs recorded in the film
still are a HIT. The reasons because he did that first European movie
and didn't begin to think in an Opera House are beyond my short
knowledge. Terry Robinson said he had already made the films
arrangements before leaving the US.
All I wanted to express is that was worth it for several different
reasons he would have at that time, - as a compromise, as he needed
the salary, what ever the true reason was, as his wife were waiting a
baby - I can tell you I have posted the movie clip - the scene with at
that time small girl Luisa Di Meo, they do "Arrivederci Roma" together
- over a webpage and nothing but all good comments have arrived since,
as one example I will copy one private e-mail that was sent to me:
Sent: September 27, 2007
Subject: Arrivederci Roma
Message: I came across your file of Mario Lanza singing Arriverderci
Roma from the 50's film. My father who passed away in 1962 would sit
ask me to sit down with him to listen to it on our old RCA Victor
phonograph player. My father was not a demonstrative or affectionate
man. Those moments listening to this song while sitting close to my
father were the only real moments we shared together. I do have a 45
record version of it but it would mean much more to have the actual
audio video file as I cannot listen to the record since I no longer
have a record player that will accomodate it. Is there any way that
you could send the file to me? Thank you so much. Vincent
-----------------
What else can I say ... it well worth the movie? Regards to you
Graciela. (I agree with you in your words about him interested in
being a movie star dedicated to film Operettas)
On 9 nov, 15:33, "jorain...@comcast.net" <jorain...@comcast.net>
wrote:
> > to some interesting threads.- Ocultar texto de la cita -
>
> - Mostrar texto de la cita -
Lover of Grand Voices
I just managed to buy a DVD version of "The Great Caruso," made in
Brazil. I am not sure about the quality of the film or in what
language it is in but I did find it on Amazon. Up to now I was only
able to locate VHS versions. When I view it I will report back as to
what I find.
Derek could you and Armando give us your candid opinions about Mario's
performance in what may be considered his best movie? How would you
compare his operatic performance in this film vs Seranade?
All the best
Emilio
Derek McGovern
perhaps others here may want to address it as well (and I hope they
do).
As an actor, Lanza gives a more consistent performance in The Great
Caruso than he does in Serenade. Of course, the script is pure
Hollywood corn for the most part, but he somehow transcends all that.
He's always believable. Besides, would even the best screen actors
fare any better with some of the dialogue he's saddled with here? ("I
sit and cry with you, please", etc.) I've always felt that Mario was
underrated as an actor.
Vocally, he's in superb voice throughout the film, and he often sings
impressively. This film is a wonderful introduction to the charisma
and vocal excitement of Lanza.
But if I was wanting to introduce Lanza to an opera lover, then I'd
choose Serenade instead. From an operatic perspective, there are
simply more highlights in Serenade. Lanza's whole approach to his
material is more operatic, and on the best numbers he's at his
stylistic and vocal best. Overall too, I'd have to say that the
operatic selections are simply more satisfying in Serenade. I also
love the fact that Warners allow him to sing entire renditions of some
decidedly uncommercial material: the Otello Monologue and O Paradiso.
As an actor, however, Lanza gives an uneven performance in Serenade.
Sometimes he's quite hammy, though it has to be said that (once
again!) the script does give him some awkward lines. Much of the
dialogue he's given is not particularly memorable; in short, his co-
stars get the best lines in this film. But script limitations aside,
yes, he does overract at times. When he's *good* in this film, though,
he's very good indeed (eg, the Ave Maria scene, and some of his scenes
with Vincent Price).
So to sum up: to me, Serenade - despite many flaws - is Lanza's most
interesting film (and his most satisfying, vocally speaking), while
The Great Caruso is his most polished film.
Now, what does everyone else think?
am...@ruc.dk
Well said, Derek, and right to the point. The Great Caruso is a
marvelous movie. It has wonderful singing and it is lovely to watch
too. Derek, I really liked your interpretation of Mario's changing
accents, in the list you made of his movies. It makes perfect sense
that he speaks with an accent when he is supposed to be talking to
Americans and not when talking to his own countrymen - a brilliant
touch!
I think the MGM-kind of storytelling is quite charming. The plots are
usually kept relatively simple, and I think The Great Caruso and The
Toast of New Orleans are both told in a coherent and satisfying way,
whereas the story in That Midnight Kiss is a little more 'thin' and,
there are too many scenes without Mario, but besides this it is a nice
movie.
Serenade, I didn't like much as a movie the fist times I watched it,
but Mario's singing is fantastic!!! But I couldn't really follow the
great love-in-first-sight passion that becomes so devastating that it
almost destroys Mario's character. The movie fails to make me believe
that Joan Fontaine is worth all the agony. I know storytelling was
somewhat different in those days, I have had the same problems with
other 'old' movies. Maybe I'm a little spoiled by the present days of
storytelling, where the audience is 'taken by the hand' and the
reasons of the plot are spelled out for us to be sure we can identify
with it. However, just the other day, I watched Serenade again with
'fresh' eyes, keeping in mind the different way they told stories back
then, and this time I liked it much better. It is slowly but surely
growing on me. But I still watch it mainly for the singing.
My favorite movie is Toast Of New Orleans. It is funny and Mario's
acting is great, plus he smiles 75 % of the film, in the most lovely
and winning way (I know it is a bit girlish, but hey! lol). I think it
has the most coherent story and the best script. The songs may not be
the most distinguished but I think Mario does a fabulous job and a
very convincing one too. I can't think of anyone who could 'sell' a
song like 'Tina-Lina' or 'Boom Biddy Boom' like he did.
'The 7 Hills of Rome' is definitely the weakest movie, but I think it
has its moments. In my opinion, any movie with Mario in it is worth
having.
Graciela, I think it is a very nice and touching response you got in
your email. Thanks for telling us about it. From what I understand
from reading the posts on the Mario forums, a lot of people have
personal memories linked to Mario's voice, my self included. And no
wonder: Mario's wonderful voice does have a deep impact on all of us,
doesn't it?
Ann-Mai
> > - Show quoted text -- Skjul tekst i anførselstegn -
>
> - Vis tekst i anførselstegn -
Joe Fagan
very good. I actually enjoyed Serenade even more but I feel it was very
uneven and needed to be shortened up and edited more. The singing and his
voice were fantastic~~~ and when the plot "allowed", his acting was
excellent! As re an introduction to ML, I strongly think the Great Caruso
would make more sense *UNLESS* the viewer was ALREADY an opera fan.
Armando
Derek has pretty much answered you question regarding The Great Caruso
versus Serenade. For me also, as wonderful as he is in The Great
Caruso, he is more the operatic singer in Serenade. The problem with
the latter is the uneven acting. I feel that under normal
circumstances, Anthony Mann, who directed the film, would probably
have corrected some of Mario's hammier moments, but let's not forget
that Mario's confidence had been dealt a severe blow in the preceding
2 years. Mann wisely chose to restore it by avoiding antagonising him
rather than correcting him.
As Derek pointed out there are some pretty good scenes in the movie.
One of my favourites is when he proposes to Montiel up in the little
tower in the bullring, another is when he bids the old folks farewell
as he is about to leave San Miguel. The sincerity in his expression
and the delivery of the dialogue is quite moving. Not bad for a non
actor!
Lover of Grand Voices
are both always a pleasure to read.
Perhaps we can discuss in some depth "Because Your Mine."
Armando, I believe I read in your book about how Mario felt about
making this movie, which was not very happy, to say the least. Yet,
it appears that vocally he performed extremely well. In particular,
his rendition of "Granada" seems to be superb.
Your thoughts and those of our friends on this movie would be of great
value.
All the best from Rome,
Emilio
am...@ruc.dk
rendition of this song I have ever heard. Only Wunderlich's comes
close, mainly for his very impressive start and finish. But Mario's
BYM Granada performance (both sinning and acting) is absolutely
fabulous. I adore his expressive 'singing' hands movements. It is SO
charming. And the absolute highlight for me is the way he sings the
line 'que yo te veeeeengo a daaaaaaaaaaaaaaaaar'. I love his kind of
'casual' approach on 'vengo' and the 'a dar' is just spine thrilling.
I actually get the biggest 'kick' out of this phrase every time I
listen to it - it's so grand.
Another great line is near the end 'Granada, tu tierra esta Ilena'
again he expresses this line, especially the words 'tu tierra' in a
most effective way. Oh, and the delicate way he sings 'De rosas de
suave fragancia', the last word in particular...Ah! What can I say?
Watching this performance simply makes me happy. It is unbelievable
adorable.
Ann-Mai
> > > > to some interesting threads.- Skjul tekst i anførselstegn -
Aline staires
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Hi Derek & all;
I have always felt that TGC was Mario's
best and when I want a boost to get me out of the doldrums (spell.?)I watch it. But for pure fun and games it's "TONO". When I wrote a critique of this one for the other forum, (The Dolphin's Folly!!) I pointed out some of the director's mistakes, at least in the theater it would have been directing mistakes, I don't know how it works with movies. And they were well accepted by one of our Canadian members. I agree with you that they cut the arias too short and it would have been much better had they let him finish more of them. I think the studio was a bit hesitant re that idea as they were just getting their feet wet in the field of real opera.
This forum is the best yet, Derek, and I thank you so much for bringing all these great contributors out of the woodwork. Bravo, my friend!!!
I will ask one of my friends to take a photo of me with my cell phone and then I can treat everyone to my 80 year old visage!!! What a thrill THAT will be!!!
Aline the Gorgeous!!!
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Derek McGovern
Armando.
I'm not surprised that The Toast of New Orleans is a popular choice
here. Lanza had a ball making the film, and it certainly shows. In
fact, he doesn't put a foot wrong throughout the entire film. He's
entirely relaxed as an actor here, and - what's more - he reveals a
fine comedic talent. I also love the fact that he's working with such
gifted players as David Niven and J. Carrol Naish.
My only quibbles with this film are the blandness of most of the
English songs and the fact that he's again saddled with Kathryn
Grayson, whose singing I always have to fast-forward through! I'm sure
Aline's right that the song choices and relative lack of opera in the
film reflected the MGM studio's nervousness about the film's
commercial appeal. But they needn't have worried (as The Great Caruso
showed); in fact, I suspect that most moviegoers would have preferred
more operatic selections in the film to renditions of such trite
material as Boom Biddy Boom Boom and Tina-Lina, and no less than two
versions of the dull I'll Never Love You.
Moving on to Serenade, I agree with Ann-Mai that the film doesn't make
it clear as to why Joan Fontaine's character "is worth all the agony".
Well put! Apart from a few instances of overracting on Mario's part,
this is the principal problem with the movie. As I wrote in my essay
Serenade: An Underrated Treasure, Joan Fontaine's character should
positively exude sexual power (a la Sharon Stone in Basic Instinct),
but instead she merely seems conniving. There's no chemistry between
her and Mario - and therefore no danger. In other words, it simply
doesn't make sense that Lanza's character would torment himself over
her.
But Sarita Montiel and Lanza: now we're talking about chemistry! She
gets my vote as Mario's best leading lady. (Second choice: Johnanna
von Koczian in For the First Time.)
Emilio was asking about the movie Because You're Mine, and the Granada
scene in particular. Ann-Mai: You're so right about the excitement of
Lanza's rendition here. It's one of the great Lanza film scenes, in
fact. Yes, "que yo te vengo a dar" is a thrilling moment, eclipsed
only by Mario's earlier singing of this line on his 1949 RCA version.
But overall I prefer this rendition of Granada. The tempo doesn't lag
as it does on the commercial version and Mario doesn't go flat on the
penultimate note. Great stuff!
On Nov 12, 5:59 am, "Aline staires" <up_sta...@telus.net> wrote:
> Hi Derek & all;
> I have always felt that TGC was Mario's
> best and when I want a boost to get me out of the doldrums (spell.?)I watch
> it. But for pure fun and games it's "TONO". When I wrote a critique of this
> one for the other forum, (The Dolphin's Folly!!) I pointed out some of the
> director's mistakes, at least in the theater it would have been directing
> mistakes, I don't know how it works with movies. And they were well accepted
> by one of our Canadian members. I agree with you that they cut the arias too
> short and it would have been much better had they let him finish more of
> them. I think the studio was a bit hesitant re that idea as they were just
> getting their feet wet in the field of real opera.
> This forum is the best yet, Derek, and I thank you so much for bringing all
> these great contributors out of the woodwork. Bravo, my friend!!!
> I will ask one of my friends to take a photo of me with my cell phone and
> then I can treat everyone to my 80 year old visage!!! What a thrill THAT
> will be!!!
> Aline the Gorgeous!!!
>
> imstp_pets_cat1_en.gif
> 47KViewDownload
> > - Show quoted text -- Hide quoted text -
Armando
As a follow up film to The Toast of New Orleans, Because you're mine
would have been acceptable. But not coming after The Great Caruso.
That was a blunder on Joe Pasternak's part.
Having been told that after Caruso his next project would be 'The
Student Prince,' when Pasternak informed him that he would be making
BYM instead, Lanza rightly felt that rather than advancing he was
regressing, and did everything possible to avoid making the film.
However when it became clear that MGM was determined to go ahead with
BYM he eventually accepted the inevitable and the results are there
for everyone to judge. Is the film that bad? I don't think so. Yes,
it's lightweight, the story is thin, but does it really differ greatly
from his first two movies? Not really. There's quite a bit of humour
in it, Lanza handles his acting chores pretty well, and there's some
great singing in it including the outstanding Granada, but also the
title song sung twice with co-star Doretta Morrow, The Lord's Prayer,
and the Cavalleria Rusticana aria. And what of the much maligned
Doretta Morrow? Morrow was not an operatic soprano, she was a musical
comedy singer, and a pretty good one. Just listen to how she sings
'You do something to me,' the phrasing and delivery are exquisite.
All in all, the movie is more than acceptable; it's simply not an apt
follow up to Caruso.
Armando
handed the Oscar!)
Good to have you back after the long spell!
I agree entirely with what you and others have said about the Toast of
New Orleans.
It's a fun film, Mario is in top shape, showing a good flair for
comedy, and even Grayson
is acceptable( she is not acceptable in anything else!) in what is
arguably the highlight of the film, the love duet from Butterfly.
The songs, with the exception of 'Be My Love,' are really pretty
poor.
The one thing I don't like in Toast is the filming of The Tina Lina
scene. It's very badly choreographed, with Lanza constantly being told
to move into camera frame.
He looks rather ridiculous standing in the background, hands on his
hips, and then moving around in order to be in the same frame as the
dancers.
Other than that, the substandard songs, and the presence of Grayson, I
like Toast quite a bit!
> imstp_pets_cat1_en.gif
> 47KViewDownload
Derek McGovern
Tina-Lina scene in Toast. Actually, I don't even like the way Mario
sings that number in the film; the commercial version (with that
fantastic high C at the end) is much better. The same goes for the
dreadful Boom Biddy Boom Boom and, of course, Be My Love.
I was interested in your comments about Because You're Mine too. As a
film, I don't see it as necessarily inferior to That Midnight Kiss,
and although not quite as much fun as Toast (or as well constructed),
it contains far more musical highlights. Besides, it doesn't have
Kathryn Grayson holding up the action with her coloratura numbers!
I've always liked Doretta Morrow. Although this was her first (and
only) film, she's very natural, and a much better actress than
Grayson. Bessette (I think it was) insists that there's no chemistry
between her and Lanza in the film; I disagree.
But as you say, it was the wrong film to follow The Great Caruso. I
actually think that The Student Prince would have been an even bigger
hit than Caruso had Lanza appeared in it. Everything about it - from
Lanza's most consistently beautiful singing to its delightful, witty
script and lovely leading lady - suggests that it would have been his
finest film.
Armando
"Derek McGovern" <derek.mcgov...@gmail.com> wrote:
But as you say, it was the wrong film to follow The Great Caruso. I
actually think that The Student Prince would have been an even bigger
hit than Caruso had Lanza appeared in it. Everything about it - from
Lanza's most consistently beautiful singing to its delightful, witty
script and lovely leading lady - suggests that it would have been his
finest film.
Absolutely, Derek. He was perfect for it, in every way, and as he
himself had predicted, it would have been an ever bigger hit than
Caruso, which is really saying something!
Mario very much regretted not having made it. In 1957 he stated" My
biggest mistake was to walk out of Metro." No doubt about it, it would
have been his finest film. Nevertheless we are fortunate to have the
soundtrack recordings which are unsurpassed by anyone who attempted to
sing either the original score or the additional numbers written for
the film.
The SP represents Lanza at his inspired best, vocally, and
interpretively. A classic!
As Di Stefano once remarked to me, "In the English repertoire, no-one
can touch him!"
On Nov 12, 11:37 am, "Derek McGovern" <derek.mcgov...@gmail.com>
wrote:
> Ciao Armando: Yes, good point about the awkward choreography of the
> Tina-Lina scene in Toast. Actually, I don't even like the way Mario
> sings that number in the film; the commercial version (with that
> fantastic high C at the end) is much better. The same goes for the
> dreadful Boom Biddy Boom Boom and, of course, Be My Love.
>
> I was interested in your comments about Because You're Mine too. As a
> film, I don't see it as necessarily inferior to That Midnight Kiss,
> and although not quite as much fun as Toast (or as well constructed),
> it contains far more musical highlights. Besides, it doesn't have
> Kathryn Grayson holding up the action with her coloratura numbers!
> I've always liked Doretta Morrow. Although this was her first (and
> only) film, she's very natural, and a much better actress than
> Grayson. Bessette (I think it was) insists that there's no chemistry
> between her and Lanza in the film; I disagree.
>
> But as you say, it was the wrong film to follow The Great Caruso. I
> actually think that The Student Prince would have been an even bigger
> hit than Caruso had Lanza appeared in it. Everything about it - from
> Lanza's most consistently beautiful singing to its delightful, witty
> script and lovely leading lady - suggests that it would have been his
> finest film.
>
Jan Hodges
|
Hi.
I agree with Aline about TGC and TONO. I think the reason for the snippets of arias in TGC was to show the passing of time in a few scenes in a way that probably would go down well for an audience not versed in opera.....it did for me anyway. I was later able to buy Mario's records and hear the complete arias and found to my amazement I liked opera and classical music .I can remember being inspired and going to see Carmen when a visiting company put it on in Hobart and in my teens buying a season ticket for the Australian Broadcasting Commissions Recital Series because there were a few singers (Can't remember who now.)
As for Serenade, while I loved the music,I felt the acting left a lot to be desired in places. I felt Joan Fontaine was not believable as a "Femme Fatale". She just smirked her way through the movie and as stated by Derek there was absolutely no chemistry between Mario and her and I found his supposed "besottedness" very unconvincing.
"Damon Vincente "et al must have had rocks in their heads to be so smitten.:-)
Vincent Price of course was outstanding and had the best lines in the film.
I liked the scene near the end where Damon confronts Kendall and says, "What did you do and why did you do it!"
Jan | |||
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Aline staires
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Hi Jan: You are so right re Joan Fontaine smirking her way thru' the movie and being somewhat less than a "Femme Fatale" .My memory fails when I try to think what acctress would have been available way back then. I too bought the album and wore it out. Thru' the years the records became scratchy and eventually disappeared altogether, I now have an album with our dear boy
pictured singing Vesta la giubba for the bond drive. I opened the album to play it but my old record player seems to have retired. Also hidden inside was a recording of Lawrence Tibbett singing "Evening Star" from Tannhauser and "Even bravest Heart" from Faust. I'll have to get the old player going to hear those two!!
-------Original Message------- |
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Lover of Grand Voices
via Amazon as I write you. It was made in Brazil and has Portuguese
subtitles but is in English. It appears that it is a fine version and
the only one that I have been able to find in DVD. Mario's magic is
there in living color.
All the best
Emilio
On Nov 12, 8:17 pm, "Aline staires" <up_sta...@telus.net> wrote:
> Hi Jan: You are so right re Joan Fontaine smirking her way thru' the movie
> and being somewhat less than a "Femme Fatale" .My memory fails when I try to
> think what acctress would have been available way back then. I too bought
> the album and wore it out. Thru' the years the records became scratchy and
> eventually disappeared altogether, I now have an album with our dear boy
> pictured singing Vesta la giubba for the bond drive. I opened the album to
> play it but my old record player seems to have retired. Also hidden inside
> was a recording of Lawrence Tibbett singing "Evening Star" from Tannhauser
> and "Even bravest Heart" from Faust. I'll have to get the old player going
> to hear those two!!
>
> -------Original Message-------
>
> From: Jan Hodges
> Date: 12/11/2007 2:56:22 AM
> To: mario...@googlegroups.com
> Subject: Re: New page: The Films of Mario Lanza
>
> Hi.
> I agree with Aline about TGC and TONO. I think the reason for the
> snippets of arias in TGC was to show the passing of time in a few scenes in
> a way that probably would go down well for an audience not versed in opera..
> ..it did for me anyway. I was later able to buy Mario's records and hear the
> complete arias and found to my amazement I liked opera and classical music
> I can remember being inspired and going to see Carmen when a visiting
> company put it on in Hobart and in my teens buying a season ticket for the
> Australian Broadcasting Commissions Recital Series because there were a few
> singers (Can't remember who now.)
> As for Serenade, while I loved the music,I felt the acting left a lot to be
> desired in places. I felt Joan Fontaine was not believable as a "Femme
> Fatale". She just smirked her way through the movie and as stated by Derek
> there was absolutely no chemistry between Mario and her and I found his
> supposed "besottedness" very unconvincing.
> "Damon Vincente "et al must have had rocks in their heads to be so smitten
> :-)
> Vincent Price of course was outstanding and had the best lines in the film.
> I liked the scene near the end where Damon confronts Kendall and says, "What
> did you do and why did you do it!"
> Jan
>
>
>
> imstp_pets_cat1_en.gif
> 47KViewDownload
Derek McGovern
Emilio. Presumably, it was taken from an excellent VHS copy, as its
manufacturers wouldn't have had access to the master print. Anyway,
I'm sure it'll keep you happy until the official (remastered?) version
from Warner Bros. comes out next year. Let's hope that Warners does a
great job on the restoration and also includes some extras, eg,
outtakes (the unused Improvviso take would be wonderful), and perhaps
even an interview with Ann Blyth. Come to think of it, it would be
interesting to see the cut scene with the temperamental diva played by
Jarmila Novotna, as in the released version it's not entirely clear as
to why she goes from despising Caruso in one scene to swooning over
him (in the wings) in the next.
> > 47KViewDownload- Hide quoted text -
Armando
Arlene Dahl was initially mentioned for the Fontaine part. So was
Tallulah Bankhead
On Nov 13, 6:17 am, "Aline staires" <up_sta...@telus.net> wrote:
> Hi Jan: You are so right re Joan Fontaine smirking her way thru' the movie
> and being somewhat less than a "Femme Fatale" .My memory fails when I try to
> think what acctress would have been available way back then. I too bought
> the album and wore it out. Thru' the years the records became scratchy and
> eventually disappeared altogether, I now have an album with our dear boy
> pictured singing Vesta la giubba for the bond drive. I opened the album to
> play it but my old record player seems to have retired. Also hidden inside
> was a recording of Lawrence Tibbett singing "Evening Star" from Tannhauser
> and "Even bravest Heart" from Faust. I'll have to get the old player going
> to hear those two!!
>
> -------Original Message-------
>
> From: Jan Hodges
> Date: 12/11/2007 2:56:22 AM
> To: mario...@googlegroups.com
> Subject: Re: New page: The Films of Mario Lanza
>
> Hi.
> I agree with Aline about TGC and TONO. I think the reason for the
> snippets of arias in TGC was to show the passing of time in a few scenes in
> a way that probably would go down well for an audience not versed in opera..
> ..it did for me anyway. I was later able to buy Mario's records and hear the
> complete arias and found to my amazement I liked opera and classical music
> I can remember being inspired and going to see Carmen when a visiting
> company put it on in Hobart and in my teens buying a season ticket for the
> Australian Broadcasting Commissions Recital Series because there were a few
> singers (Can't remember who now.)
> As for Serenade, while I loved the music,I felt the acting left a lot to be
> desired in places. I felt Joan Fontaine was not believable as a "Femme
> Fatale". She just smirked her way through the movie and as stated by Derek
> there was absolutely no chemistry between Mario and her and I found his
> supposed "besottedness" very unconvincing.
> "Damon Vincente "et al must have had rocks in their heads to be so smitten
> :-)
> Vincent Price of course was outstanding and had the best lines in the film.
> I liked the scene near the end where Damon confronts Kendall and says, "What
> did you do and why did you do it!"
> Jan
>
>
>
> imstp_pets_cat1_en.gif
> 47KViewDownload
Derek McGovern
appeared in, the first four pictures for MGM are the most polished.
MGM had superior production values, and they certainly would never
have allowed the poor dubbing and lip-synching that mar certain scenes
in For the First Time or the amateurish effort (in almost every
respect) that constitutes Seven Hills of Rome. Nor would they have
given the green light to filming a script as potentially overwrought
and uneven as that of Serenade. Lanza's acting was also at its most
consistent in the MGM films.
Having said all that, what I look for in a Lanza film is not so much
polished production values (although they're always a plus), but the
man at his vocal best - and singing music worthy of his talent - as
well as an interesting story, or at least a goodly number of memorable
scenes. With those criteria in mind, here, then, are my favourite
Lanza films:
1. Serenade
2. The Great Caruso
3. For the First Time
Anyone else care to nominate their top three?
Jan Hodges
|
Here are my top three favourites.
1. The Great Caruso
2. The Toast of New Orleans
3. Serenade.
I chose The Great Caruso for its lovely music and because it was the first Mario movie I saw.
The Toast of New Orleans because it was such a fun movie and showed Mario's flair for comedy and despite some flaws I liked The Madam Butterfly duet .
My main reason for choosing Serenade was the music..especially the Otello scenes.
Jan | |||
|
|
Derek McGovern
Great Caruso for this same movie to be released on DVD:
http://www.tcm.com/tcmdb/title.jsp?stid=1782
169 other people feel the same way, I see!
We were told last year that Warners was planning to bring The Great
Caruso out on DVD this year, followed by Lanza's other movies -- to be
released (annoyingly!) in chronological order. Since nothing seems to
have happened on this front, I think we should all get voting!
Derek McGovern
lacking in support!
http://www.tcm.com/tcmdb/title.jsp?stid=15970
For the First Time also needs your support:-):
http://www.tcm.com/tcmdb/title.jsp?stid=769
As does The Student Prince (though with 316 votes, it's currently the
most-wanted Lanza title):
http://www.tcm.com/tcmdb/title.jsp?stid=435
And Because You're Mine could do with some help:
http://www.tcm.com/tcmdb/title.jsp?stid=34
I'm going to give Seven Hills a miss; it's my least favourite Lanza
film, and I'd hate to see it released ahead of some of the others!
Derek McGovern
Curiously, the technical information on the For the First Time entry
says that it was recorded in mono. Let's hope the DVD turns up in
stereo, as indeed the film was originally screened in that format in
certain theaters. (Come to think of it, Armando told me recently that
The Seven Hills of Rome was advertised in 1958 as being in stereo as
well -- now that was news to me!)
Muriel
keep these in mind. Surely all of Mario's films will make it. They
HAVE to. My goodness! If some of the ones I've seen advertised have
made it, then there's no doubt someone with any sense will see to it.
The music alone must be preserved, but the combination of seeing Mario
and hearing him simultaneously is an experience not to be forgotten.
Let's pass the word so others will vote, okay?
Mike McAdam
forget to vote using *both* (or more?) of your email addresses? More
'bang for the buck' as we wild Canucks say :-). I used both of my
email addresses. So all you Mario fans, emulate the 'American Idol'
hordes and submit multiple votes if you can (wonder if Simon Cowell
would throw a young Mario off the show if it was back in 1948?).
Cheers, M.
Muriel
do just that! Thanks for the tip....Ciao, M. And pass the thought
around to non-forum members as well...
Derek McGovern
has only received another 30 votes since I first posted the link a
couple of days back. Come on, folks, we can do better than that!
Derek McGovern
into German:
http://www.youtube.com/watch?v=NjaBFIZI34I&feature=related
I presume this was the version released in Germany in February 1959
(six months before the film was released in the US!), as Johanna von
Koczian is clearly doing her own dubbing here. It's interesting how
similar she sounds in her native language -- the same intonation, etc.
I've always liked her speaking voice.
The fellow dubbing Mario does a pretty good job of it! He even makes
some of the cornier moments seem a bit more restrained (not that I
understand German!), especially the giving of the ring scene on the
Capri hilltop. Of course, in the English version, all of the outdoor
scenes had to be dubbed by Lanza & co as well, since it was standard
practice in Continental filmmaking not to record dialogue outside of
the studio.
The print quality here is excellent. Great colours and detail.
Vince Di Placido
Mario looks so well in those scenes, it's crazy to think how little
time he had left when he looks so young & healthy.
I've never seen FTFT look so good colour-wise. I might send
"potatimus" a message & ask him to upload Vesti La Giubba from his
copy, I'd love to see what it looks like.
On Mar 21, 11:27 am, "Derek McGovern" <derek.mcgov...@gmail.com>
wrote:
Joe Fagan
the Amzing!
Heidi
This cut from FTFT has been taped from an airing by the ZDF the 2.
German TV-Station, you can see the logo on the left side of the
picture.Das Zweite Deutsche Fernsehen zeigt den Film fast jedes Jahr
einmal. Sorry! .. The ZDF showes this film nearly once in every year.
Many years ago I taped it.
Cheers Heidi
On 21 Mrz., 12:27, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Here's a novelty foryou: seven minutes of For the First Time dubbed
>
> http://www.youtube.com/watch?v=NjaBFIZI34I&feature=related
>
> I presume this was the version released in Germany in February 1959
> (six months before the film was released in the US!), as Johanna von
> Koczian is clearly doing her own dubbing here. It's interesting how
> similar she sounds in her native language -- the same intonation, etc.
> I've always liked her speaking voice.
>
> The fellow dubbing Mario does a pretty good job of it! He even makes
> some of the cornier moments seem a bit more restrained (not that I
> understand German!), especially the giving of the ring scene on the
> Capri hilltop. Of course, in the English version, all of the outdoor
> scenes had to be dubbed by Lanza & co as well, since it was standard
> practice in Continental filmmaking not to record dialogue outside of
> the studio.
>
> The print quality here is excellent. Great colours and detail.
>
> On Fri, Mar 21, 2008 at 9:46 AM, Derek McGovern
>
>
>
> <derek.mcgov...@gmail.com> wrote:
>
> > Yes, good suggestion from Mike. Surprisingly, though, The Great Caruso
> > has only received another 30 votes since I first posted the link a
> > couple of days back. Come on, folks, we can do better than that!
>
> > On Mar 20, 6:18 am, Muriel <mawscompu...@yahoo.com> wrote:
> > > around to non-forum members as well...
>
> > > On Mar 19, 11:00 am, Mike McAdam <macadame...@ns.sympatico.ca> wrote:
>
> > > > Muriella: further to that thought (and everyone else too), don't
> > > > forget to vote using *both* (or more?) of your email addresses? More
> > > > 'bang for the buck' as we wild Canucks say :-). I used both of my
> > > > hordes and submit multiple votes ifyoucan (wonder if Simon Cowell
> > > > Cheers, M.
>
> > > > On Mar 18, 1:01 pm, Muriel <mawscompu...@yahoo.com> wrote:
>
> > > > > I've just voted to have these films released in DVD. Oh, I hope they
> > > > > keep these in mind. Surely all of Mario's films will make it. They
> > > > > HAVE to. My goodness! If some of the ones I've seen advertised have
> > > > > made it, then there's no doubt someone with any sense will see to it.
> > > > > The music alone must be preserved, but the combination of seeing Mario
> > > > > and hearing him simultaneously is an experience not to be forgotten.
> > > > > Let's pass the word so others will vote, okay?
>
> > > > > On Mar 18, 1:34 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > > > A PS to all the above:
>
> > > > > > Curiously, the technical information on the For the First Time entry
> > > > > > says that it was recorded in mono. Let's hope the DVD turns up in
> > > > > > stereo, as indeed the film was originally screened in that format in
> > > > > > certain theaters. (Come to think of it, Armando told me recently that
> > > > > > The Seven Hills of Rome was advertised in 1958 as being in stereo as
> > > > > > well -- now that was news to me!)- Hide quoted text -
>
> > > > > - Show quoted text -- Hide quoted text -
>
> > > > - Show quoted text -- Hide quoted text -
>
>
> - Zitierten Text anzeigen -
Derek McGovern
healthy here compared with some of the prints I've seen. I know from
my photography days just how much a slight colour and/or contrast
variation can make to a person's appearance. The first time I saw the
Ave Maria scene in Serenade, for example, I was shocked at how
jaundiced Lanza looked; in other prints of the same scene (with better
colour) he looks much healthier.
When For the First Time finally appears on DVD, it'll be very
interesting to see how kind the remastering is to Mario. I remember
Armando saying that when he saw the film in the movie theatre in 1959,
the difference in Lanza's appearance from scene to scene was
startling.
Sam
called "color timing" can iron out all deficiencies in color
variations in a film and can make the color consistent throughout.
Also, I owned an original 16MM print of "For the First Time" that was
made in the sixties. It had gorgeous and consistent color and Mario
looked very good in it. I wouldn't be surprised if Armando saw a print
that had bad color timing. I, too, hope the eventual DVD release will
have the color and quality seen on that German clip!
Armando
brand new, the colour perfect, and the sound great. There's no
question, however, that Mario's appearance varies considerably
throughout the film. In my opinion he looks pretty good in quite a few
scenes such as the one in the Paris office with Kurt Kasnar, but tired
and worn out in others such as the exterior shots when he's talking to
Hans Sohnker.
If we compare the Mario of 1949 in That Midnight Kiss, where he looks
his age (28) or even younger, I think the Mario of 1958 looks closer
to a man in his mid forties.
Not surprising, really, given his life style!
Derek McGovern
his mid-forties throughout much of For the First Time. Mind you, there
are one or two scenes in Serenade in which he looks older still! The
difference is that in Serenade it's the extra weight that makes him
look older than his years, whereas in For the First Time, it's the
unhealthy bags under the eyes that seem to age him.
He was still a handsome man, though -- and arguably he looked more the
matinee idol in FTFT than he did in either Serenade or Seven Hills.
Ironically, though, in those last two years he often looked his best
*between* movies rather than in them. Take the Christopher Show of
late October 1957, for example, where he looks terrific.
Sam
I see we have been talking about two different things. Armando
saw a brand new Cinemascope Technicolor Imbibition dye transfer print
of FTFT in 1959. Mario's color throughout would have been perfect
because the lab works to make it that way before releasing the prints.
NOW, if you are speaking of Mario looking old and tired(the
exterior shots with Hans Sohnker are a perfect example because not
only does he look bad, but he seems very uncomfortable and his acting
is off).
So, it looks like we were in agreement all along....just coming
at the subject from different angles.
On Mar 24, 9:13 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Ciao Armando: Yes, I'd agree that Mario does look as though he's in
> his mid-forties throughout much of For the First Time. Mind you, there
> are one or two scenes in Serenade in which he looks older still! The
> difference is that in Serenade it's the extra weight that makes him
> look older than his years, whereas in For the First Time, it's the
> unhealthy bags under the eyes that seem to age him.
>
> He was still a handsome man, though -- and arguably he looked more the
> matinee idol in FTFT than he did in either Serenade or Seven Hills.
> Ironically, though, in those last two years he often looked his best
> *between* movies rather than in them. Take the Christopher Show of
> late October 1957, for example, where he looks terrific.
>
>
>
>
>
>
> > Sam: I saw FTFT on its initial release back in 1959. Theprintwas
> > throughout the film. In my opinion he looks pretty good in quite a few
> > scenes such as the one in the Paris office with Kurt Kasnar, but tired
> > and worn out in others such as the exterior shots when he's talking to
> > Hans Sohnker.
>
> > If we compare the Mario of 1949 in That Midnight Kiss, where he looks
> > his age (28) or even younger, I think the Mario of 1958 looks closer
> > to a man in his mid forties.
>
> > Not surprising, really, given his life style!
>
> > On Mar 25, 2:40 am, Sam <s...@bee.net> wrote:
> > > called "colortiming" can iron out all deficiencies incolor
> > > variations in a film and can make thecolorconsistent throughout.
> > > Also, I owned an original 16MMprintof "For the First Time" that was
> > > made in the sixties. It had gorgeous and consistentcolorand Mario
> > > have thecolorand quality seen on that German clip!
Derek McGovern
> NOW, if you are speaking of Mario looking old and tired(the
> exterior shots with Hans Sohnker are a perfect example because not
> only does he look bad, but he seems very uncomfortable and his acting
> is off).
Hi Sam: Are you referring to the two scenes at Hans Sohnker's villa?
If so, they were actually filmed *indoors* at the studios at Berlin in
November, a month after the exterior Capri scenes. I agree that Mario
looks a bit odd here (especially in the first of the two scenes, in
which he's wearing that ghastly striped "Come Prima" outfit that makes
him appear overly short and wide). He looks a bit puffy and painted.
They should have filmed him from a different angle and held back on
the makeup! But I don't find anything wrong with his acting here; in
fact, in the second scene with Sohnker, he's *very* good, especially
the part where he admits that most of the negative stories about him
are true.
Sam
I was referring to the same scene I believe Armando referred to
above, when the two of them are sitting outside on the patio
discussing Christa and if Mario is suitable for her. His face looks
bad and to me his acting is uncomfortable. The second scene is
definitely very good.