Because You're Mine (film) ─ a re-evaluation
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Derek McGovern
Oct 28, 2009, 3:14:20 AM10/28/09
to Mario Lanza, Tenor
The other night I decided to unwind by watching Because You're Mine in
its entirety. I was surprised by how much I enjoyed it! To be sure,
it's not in the same class as The Great Caruso, but it's by no means
inferior *as a film* to That Midnight Kiss and The Toast of New
Orleans ─ and it's a lot more satisfying vocally and musically than
those first two movies. For a start, there's the very well-sung Addio
alla Madre, the exciting Granada, and an extremely moving Lord's
Prayer.
Other points in its favour: Mario acts well, the script is actually
rather witty in places, Doretta Morrow is a *much* better actress and
singer than Kathryn Grayson, and James Whitmore's an excellent co-
star. The pace of the film is also good (if only the meandering Seven
Hills of Rome had got that aspect right!), and Lanza at least *looks*
as though he's having fun. I loved the sweet scene near the beginning
when he visits his mother (Celia Lovsky ─ another of the film's
assets), and I was amused by the photo of him on the mantlepiece as
the Duke in The Great Caruso, not to mention the coincidence of his
Mamma telling him to "walk with God."
Incidentally, it's amazing how slim Mario is in certain scenes (e.g.,
the Addio alla Madre scene, and the early scene with Paula Corday).
Looking as he does here, he would have made a suitably youthful and
romantic Student Prince.
its entirety. I was surprised by how much I enjoyed it! To be sure,
it's not in the same class as The Great Caruso, but it's by no means
inferior *as a film* to That Midnight Kiss and The Toast of New
Orleans ─ and it's a lot more satisfying vocally and musically than
those first two movies. For a start, there's the very well-sung Addio
alla Madre, the exciting Granada, and an extremely moving Lord's
Prayer.
Other points in its favour: Mario acts well, the script is actually
rather witty in places, Doretta Morrow is a *much* better actress and
singer than Kathryn Grayson, and James Whitmore's an excellent co-
star. The pace of the film is also good (if only the meandering Seven
Hills of Rome had got that aspect right!), and Lanza at least *looks*
as though he's having fun. I loved the sweet scene near the beginning
when he visits his mother (Celia Lovsky ─ another of the film's
assets), and I was amused by the photo of him on the mantlepiece as
the Duke in The Great Caruso, not to mention the coincidence of his
Mamma telling him to "walk with God."
Incidentally, it's amazing how slim Mario is in certain scenes (e.g.,
the Addio alla Madre scene, and the early scene with Paula Corday).
Looking as he does here, he would have made a suitably youthful and
romantic Student Prince.
Joseph Fagan
Oct 28, 2009, 10:48:49 AM10/28/09
to Mario Lanza, Tenor
Yes, I agree 100%, and I have always enjoyed this film. Mario also
seemed to enjoy his acting here even though I understand he did NOT
like the "lightweight" plot of this movie. I really got a kick out of
the scene where Mario helped out James Whitmore to "finish" an aria.
Lanza also looked great in this film and yes, this was the time period
for him to make the Student Prince.
I did the same for 7 hills the other night ( I had not seen it for
many moons) but I still do not like that movie so the fast fowarding
feature helped me get through it. Your comment about it meandering is
a very apt one because that is exactly what it did. The poorest of all
his movies IMO.
seemed to enjoy his acting here even though I understand he did NOT
like the "lightweight" plot of this movie. I really got a kick out of
the scene where Mario helped out James Whitmore to "finish" an aria.
Lanza also looked great in this film and yes, this was the time period
for him to make the Student Prince.
I did the same for 7 hills the other night ( I had not seen it for
many moons) but I still do not like that movie so the fast fowarding
feature helped me get through it. Your comment about it meandering is
a very apt one because that is exactly what it did. The poorest of all
his movies IMO.
Tonytenor
Oct 29, 2009, 11:38:01 AM10/29/09
to Mario Lanza, Tenor
Very interesting points being made here. I must confess that I do
indeed like BECAUSE YOU'RE MINE and whether or not Mario liked it and
the making of it is, for me, of no great concern. I am well aware of
the famous stories of Lanza's dislike of Doretta Morrow (who I think
is really wonderful in the film), dislike of the script, and the story
that he never actually saw the film. It is obvious too that Mario's
weight did a good amount of fluctuating during the filming. but when
all is said and done, what does it matter, it really is an enjoyable
film. I am with you Derek, musically I find it very strong -
especially when given the lightness of the plot-line. One thing that
I have always liked about BYM is the pacing. I think much of the
movie is paced very well and the repartee in the scene when Mario and
Doretta Morrow first meet is quite good. Mario may not have cared for
the movie or his co-star but he obiously recognized a good song when
he heard one. "Because You're Mine" became a staple in his concert/
recital repertoire.
Incidentally, Doretta Morrow was really quite wonderful in the
Braodway musical KISMET. She created the role of Marsinah and IMO her
voice is perfect for the role. The original cast recordings of
"Stranger In Paradise" (a song I wish Mario had recorded) and the
beautiful "And This Is My Beloved" are musical theatre singing at its
best.
Ciao,
Tony
PS: Anybody know who sang for Paula Corday? I don't think it was
Marni Nixon this time (lol).
> > romantic Student Prince.- Hide quoted text -
>
> - Show quoted text -
indeed like BECAUSE YOU'RE MINE and whether or not Mario liked it and
the making of it is, for me, of no great concern. I am well aware of
the famous stories of Lanza's dislike of Doretta Morrow (who I think
is really wonderful in the film), dislike of the script, and the story
that he never actually saw the film. It is obvious too that Mario's
weight did a good amount of fluctuating during the filming. but when
all is said and done, what does it matter, it really is an enjoyable
film. I am with you Derek, musically I find it very strong -
especially when given the lightness of the plot-line. One thing that
I have always liked about BYM is the pacing. I think much of the
movie is paced very well and the repartee in the scene when Mario and
Doretta Morrow first meet is quite good. Mario may not have cared for
the movie or his co-star but he obiously recognized a good song when
he heard one. "Because You're Mine" became a staple in his concert/
recital repertoire.
Incidentally, Doretta Morrow was really quite wonderful in the
Braodway musical KISMET. She created the role of Marsinah and IMO her
voice is perfect for the role. The original cast recordings of
"Stranger In Paradise" (a song I wish Mario had recorded) and the
beautiful "And This Is My Beloved" are musical theatre singing at its
best.
Ciao,
Tony
PS: Anybody know who sang for Paula Corday? I don't think it was
Marni Nixon this time (lol).
>
> - Show quoted text -
Derek McGovern
Oct 29, 2009, 3:07:21 PM10/29/09
to mario...@googlegroups.com
Hi Tony: No, it wasn't Marni Nixon who provided the voice this time
(though, interestingly, Ms. Nixon was in the chorus at several of
Lanza's RCA sessions in 1956). Peggy Bonini sang for Paula Corday. Ms.
Bonini, whom I believe is still alive, was a lyric soprano with the
New York City Opera from 1954 to 1969.
(though, interestingly, Ms. Nixon was in the chorus at several of
Lanza's RCA sessions in 1956). Peggy Bonini sang for Paula Corday. Ms.
Bonini, whom I believe is still alive, was a lyric soprano with the
New York City Opera from 1954 to 1969.
I like Doretta Morrow too and, in fact, I was aware of her voice even
before that of Lanza! Her 1953 recording of Kismet (with the
magnificent Alfred Drake) was always being played at our house when I
was a child.
Incidentally, it's a myth that Doretta and Mario never got on. As
Armando points out in his book, Lanza did behave very rudely to her in
the beginning, but after realizing how offensive he'd been to her,
apologized profusely for his behaviour. They ended up getting on very
well together. As Doretta herself remarked, "Once you get to know him,
how can you possibly stay mad at him?" (p. 153 in Armando's book). For
some reason, however, this point always seems to be ignored by other
biographers. Al Teitelbaum also did his bit to encourage the myth that
Lanza and Morrow never got on by stating on the 2005 BBC Singing to
the Gods documentary that Mario had eaten garlic before one of their
love scenes "for no other reason than to aggravate her." In fact, it
was *Joan Fontaine* who got the garlic treatment (and, apparently, as
a joke).
The Lanza-hated-Morrow myth is about as pervasive as the other hoary
old story about Mario not making The Student Prince simply because he
was too fat to get into the costumes!
Derek McGovern
Oct 29, 2009, 4:10:30 PM10/29/09
to Mario Lanza, Tenor
Speaking of Doretta Morrow, I disagree with Derek Mannering's
assertion that in Because You're Mine "her acting skills left a lot to
be desired." I find her performance quite believable. She has a
slightly unusual way of speaking (hard to describe, really), but
unlike, say, Grayson she never overacts. Others have criticized the
supposed lack of chemistry between her and Lanza. But watching the
film again the other night, I didn't sense that at all.
assertion that in Because You're Mine "her acting skills left a lot to
be desired." I find her performance quite believable. She has a
slightly unusual way of speaking (hard to describe, really), but
unlike, say, Grayson she never overacts. Others have criticized the
supposed lack of chemistry between her and Lanza. But watching the
film again the other night, I didn't sense that at all.
leeann
Oct 31, 2009, 1:15:49 AM10/31/09
to Mario Lanza, Tenor
For me, this was a fun movie on its own, removed from its Lanza
filmography niche. What a great vehicle for James Whitmore and Doretta
Morrow. Perhaps not so much for Mario Lanza, but that sense comes, I
think, from having more information about him and about the point
where he was in his career, as well as being totally immersed in his
music before watching the movie. I saw it for the first time (no
ulterior reference intended) just a few weeks ago.
What I loved. The humor, The music, of course. From Because You're
Mine (which I hadn't know, got the Oscar nomination for Best Musical,
Original Song in 1953.), Granada, the Lord's Prayer or Addio alla
Madre. We see (and feel) the scope of the Voice. The pace, as
tonytenor pointed out--and MUCH better editing than earlier films and
a better script. Okay, it was formulaic, but I think the Lanza/
Whitmore/Morrow trio let's you shrug that off a bit. I'm fascinated
that he always seems to have personal touches in his movies--in this
case, of course, particularly the cameo with his parents.
I'm thinking this is a pretty representative film of its kind for
1952, and I'd be really appreciative to hear what other people know
about that. Very generally, movies were transitioning from the post-
World War II musicals into realism--including MGM, under Schary--who
despite a penchant toward the realism that would follow in the later
1950s was still putting out An American in Paris, Singing in the Rain
(1952!),and Showboat (1951!) around the same time, if I'm not
mistaken. But, I am still wondering why MGM continued to use Mario
Lanza in roles like this. Clearly Lanza was too intelligent to think
this was the best way to go.
And I have a question for Armando Cesari, if you have time. You and
Derek and others are awfully generous in sharing your knowledge on
this forum. In conjunction with this period, you say that Lanza was
in so many ways like a child (page 151)--and explain why it was
difficult for him "to understand the dictatorial behavior of the
snobbish Schary." From the point of view of 2009, Lanza's objections
and behavior seem, well, normal--rather than childish (and certainly
not, by extrapolation from other biographers, symptomatic of bipolar
disorder)--but quite the reasonable response of an intelligent person
who knows things aren't happening as they should--or could. I'm
interested in better understanding why childish seemed a better term
for his behavior.
Anyway, Because You're Mine is a great look back on the 1950s, and
especially on Mario Lanza, and I like it. Haven't seen Seven Hills
yet, except some YouTube excerpts, and despite forewarning that it's
not exactly the greatest film ever--it's likely the only spaghetti
tenor movie in existence, and based on the previews I've seen, I'm
thinking there's a lot of the humor and personality of Mario Lanza
there, despite the direction and script. Just some random thoughts.
Best, Lee Ann
filmography niche. What a great vehicle for James Whitmore and Doretta
Morrow. Perhaps not so much for Mario Lanza, but that sense comes, I
think, from having more information about him and about the point
where he was in his career, as well as being totally immersed in his
music before watching the movie. I saw it for the first time (no
ulterior reference intended) just a few weeks ago.
What I loved. The humor, The music, of course. From Because You're
Mine (which I hadn't know, got the Oscar nomination for Best Musical,
Original Song in 1953.), Granada, the Lord's Prayer or Addio alla
Madre. We see (and feel) the scope of the Voice. The pace, as
tonytenor pointed out--and MUCH better editing than earlier films and
a better script. Okay, it was formulaic, but I think the Lanza/
Whitmore/Morrow trio let's you shrug that off a bit. I'm fascinated
that he always seems to have personal touches in his movies--in this
case, of course, particularly the cameo with his parents.
I'm thinking this is a pretty representative film of its kind for
1952, and I'd be really appreciative to hear what other people know
about that. Very generally, movies were transitioning from the post-
World War II musicals into realism--including MGM, under Schary--who
despite a penchant toward the realism that would follow in the later
1950s was still putting out An American in Paris, Singing in the Rain
(1952!),and Showboat (1951!) around the same time, if I'm not
mistaken. But, I am still wondering why MGM continued to use Mario
Lanza in roles like this. Clearly Lanza was too intelligent to think
this was the best way to go.
And I have a question for Armando Cesari, if you have time. You and
Derek and others are awfully generous in sharing your knowledge on
this forum. In conjunction with this period, you say that Lanza was
in so many ways like a child (page 151)--and explain why it was
difficult for him "to understand the dictatorial behavior of the
snobbish Schary." From the point of view of 2009, Lanza's objections
and behavior seem, well, normal--rather than childish (and certainly
not, by extrapolation from other biographers, symptomatic of bipolar
disorder)--but quite the reasonable response of an intelligent person
who knows things aren't happening as they should--or could. I'm
interested in better understanding why childish seemed a better term
for his behavior.
Anyway, Because You're Mine is a great look back on the 1950s, and
especially on Mario Lanza, and I like it. Haven't seen Seven Hills
yet, except some YouTube excerpts, and despite forewarning that it's
not exactly the greatest film ever--it's likely the only spaghetti
tenor movie in existence, and based on the previews I've seen, I'm
thinking there's a lot of the humor and personality of Mario Lanza
there, despite the direction and script. Just some random thoughts.
Best, Lee Ann
Armando
Oct 31, 2009, 5:59:33 AM10/31/09
to Mario Lanza, Tenor
Hi Lee Ann: You, Derek,and Tony make some interesting observations
about Because You’re Mine. Personally, I think the film is greatly
underrated and, certainly, not at all inferior to Lanza’s first two
films. Of course, having been told his next project after the Great
Caruso was going to be The Student Prince I can understand Lanza’s
initial reaction and objections to the script of BYM, which, in fact,
was later amended at his request.
What I meant by like a child was that Lanza was like a child in his
innocence, in his total trust of the people around him, or at least
those he considered to be friends. I totally agree that his objections
to being pushed around and dictated to were just as much justified
then as they are today, but it was his extremely sensitive nature that
made him much more vulnerable than another actor might be in a similar
situation.
As an example I will simply relate what the actor Stewart Granger told
me while discussing director Curtis Bernhardt who was responsible for
Lanza walking out on The Student Prince production.
To quote Granger, “Mario was inexperienced about the going ons of the
Studios and the making of films. As such he took it to heart if he
felt betrayed or unjustly treated by someone like Schary who was the
total opposite of a fatherly figure like Mayer. You needed to have a
thick skin to deal with these people and Mario didn’t have one, he was
totally open and therefore completely vulnerable. Bernhardt was a
first class son of a bitch! He had a habit of carrying a stick with
him and would poke people in the ribs with it. So at the start of
filming on Beau Brummell, the film he was directing me in, I
approached him and gave him a piece of advise. I told him to get rid
of the stick or he would be likely to end up in hospital! I then took
the stick from him and broke it. Now, this was my way of handling an
unpleasant situation, but I had been making films for years –Mario was
a beginner, he was also overly sensitive and easily hurt. I can
understand him overreacting with a pompous son of a bitch like
Bernhardt. Believe me-it wasn’t difficult-even for a seasoned
actor.”
about Because You’re Mine. Personally, I think the film is greatly
underrated and, certainly, not at all inferior to Lanza’s first two
films. Of course, having been told his next project after the Great
Caruso was going to be The Student Prince I can understand Lanza’s
initial reaction and objections to the script of BYM, which, in fact,
was later amended at his request.
What I meant by like a child was that Lanza was like a child in his
innocence, in his total trust of the people around him, or at least
those he considered to be friends. I totally agree that his objections
to being pushed around and dictated to were just as much justified
then as they are today, but it was his extremely sensitive nature that
made him much more vulnerable than another actor might be in a similar
situation.
As an example I will simply relate what the actor Stewart Granger told
me while discussing director Curtis Bernhardt who was responsible for
Lanza walking out on The Student Prince production.
To quote Granger, “Mario was inexperienced about the going ons of the
Studios and the making of films. As such he took it to heart if he
felt betrayed or unjustly treated by someone like Schary who was the
total opposite of a fatherly figure like Mayer. You needed to have a
thick skin to deal with these people and Mario didn’t have one, he was
totally open and therefore completely vulnerable. Bernhardt was a
first class son of a bitch! He had a habit of carrying a stick with
him and would poke people in the ribs with it. So at the start of
filming on Beau Brummell, the film he was directing me in, I
approached him and gave him a piece of advise. I told him to get rid
of the stick or he would be likely to end up in hospital! I then took
the stick from him and broke it. Now, this was my way of handling an
unpleasant situation, but I had been making films for years –Mario was
a beginner, he was also overly sensitive and easily hurt. I can
understand him overreacting with a pompous son of a bitch like
Bernhardt. Believe me-it wasn’t difficult-even for a seasoned
actor.”
Message has been deleted
Derek McGovern
Oct 31, 2009, 8:24:29 PM10/31/09
to Mario Lanza, Tenor
Ciao Armando: I was very interested in Stewart Granger's comments! He
certainly puts Lanza's difficulties with Bernhardt and Schary into
perspective.
It's so easy for Mario to emerge as the temperamental "bad guy" in
retellings of his bust-up with MGM (and, of course, at the time he was
usually portrayed in the press as such), but it's obvious from the
people whom you interviewed who were actually *there* that there was
considerable sympathy for the man from his peers.
Incidentally, did Granger know Lanza?
certainly puts Lanza's difficulties with Bernhardt and Schary into
perspective.
It's so easy for Mario to emerge as the temperamental "bad guy" in
retellings of his bust-up with MGM (and, of course, at the time he was
usually portrayed in the press as such), but it's obvious from the
people whom you interviewed who were actually *there* that there was
considerable sympathy for the man from his peers.
Incidentally, did Granger know Lanza?
leeann
Nov 1, 2009, 12:47:32 AM11/1/09
to Mario Lanza, Tenor
Dear Armando,
The Granger quote is such a gem--and a terrific insight into Mario
Lanza and Stewart Granger as well.
Thank you so much!
Thinking of Derek's reminder about the combination of Mario Lanza's
bad press along with this description of his openness and
vulnerability--it's not difficult at all to understand the years of
retreat in his career. Even with today's perhaps overabundance of
information flow and with fuzzier lines between definitions of good
behavior and bad behavior than there were in the 1950s--bad press
continues to push many people in the public eye to crash and burn. And
arguably, we are more used to it now, and perhaps more inured to its
harm. What an overwhelming punch in the solar plexus to Lanza, given
what you've explained about his background and the depth of his family
support.
Leeann
The Granger quote is such a gem--and a terrific insight into Mario
Lanza and Stewart Granger as well.
Thank you so much!
Thinking of Derek's reminder about the combination of Mario Lanza's
bad press along with this description of his openness and
vulnerability--it's not difficult at all to understand the years of
retreat in his career. Even with today's perhaps overabundance of
information flow and with fuzzier lines between definitions of good
behavior and bad behavior than there were in the 1950s--bad press
continues to push many people in the public eye to crash and burn. And
arguably, we are more used to it now, and perhaps more inured to its
harm. What an overwhelming punch in the solar plexus to Lanza, given
what you've explained about his background and the depth of his family
support.
Leeann
Armando
Nov 1, 2009, 1:01:50 AM11/1/09
to Mario Lanza, Tenor
Hi Derek: Granger was a great friend of Richard Thorpe and he met
Lanza through Thorpe when the latter was directing The Great Caruso.
Granger first impressions were of a soft-spoken, almost shy young man
who nevertheless possessed a lively personality and a sharp sense of
humour. Subsequently they met a number of times, always on the MGM
lot. Granger told me that he noticed a change in Lanza from the happy
go lucky man he had first met to what he now described as an unhappy
individual. He also recalled Lanza telling him about a little girl
who was very sick (Raphaela Fasano) and that he had brought her and
her mother over to Los Angeles to spend time with him and his family.
He said that while Mario was talking about the little girl, tears had
formed in Mario’s eyes.
Lanza through Thorpe when the latter was directing The Great Caruso.
Granger first impressions were of a soft-spoken, almost shy young man
who nevertheless possessed a lively personality and a sharp sense of
humour. Subsequently they met a number of times, always on the MGM
lot. Granger told me that he noticed a change in Lanza from the happy
go lucky man he had first met to what he now described as an unhappy
individual. He also recalled Lanza telling him about a little girl
who was very sick (Raphaela Fasano) and that he had brought her and
her mother over to Los Angeles to spend time with him and his family.
He said that while Mario was talking about the little girl, tears had
formed in Mario’s eyes.
Derek McGovern
Nov 2, 2009, 1:55:47 AM11/2/09
to Mario Lanza, Tenor
Thanks very much for this, Armando. Very touching. It's interesting
that Granger found Lanza "almost shy" when he met him on the set of
The Great Caruso. That's quite a contrast to the boor that Time
magazine described in their 1951 cover story!
> > Incidentally, did Granger know Lanza?- Hide quoted text -
that Granger found Lanza "almost shy" when he met him on the set of
The Great Caruso. That's quite a contrast to the boor that Time
magazine described in their 1951 cover story!
Armando
Nov 2, 2009, 10:19:41 PM11/2/09
to Mario Lanza, Tenor
On Nov 2, 5:55 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Thanks very much for this, Armando. Very touching. It's interesting
> that Granger found Lanza "almost shy" when he met him on the set of
> The Great Caruso. That's quite a contrast to the boor that Time
> magazine described in their 1951 cover story!
Vince Di Placido
Nov 4, 2009, 3:34:34 PM11/4/09
to Mario Lanza, Tenor
Hi, All! Interesting stuff from Stewart Granger, always liked him,
"Moonfleet", "Scaramouche" etc. :-)
"Because You're Mine" suffers because of it's place in Mario's
downfall at MGM, in & of itself it is fine, light & entertaining stuff
& does contain some classic Mario movie musical performances. If it
had been made before "The Great Caruso" we would think of it so
differently, but I always felt for Mario that after the great work he
had done on "Caruso" which he obviously felt was a classy production,
he thought he deserved more of a weighty vehicle & he definitely had a
good point, he could be very perceptive & tuned in. It was easy for
MGM to roll out one of their almost formula romantic musicals of the
time & cash in on "Caruso" & the "Lanza Bonanza".
Mario does well in "Because You're Mine" & "Granada" is thrilling
stuff. I don't like the sound recording in this film though it is too
constrained for want of a better word. It's funny but the "image" I
have of Mario as a big star of the early fifties is the style &
appearnace he has in "Because You're Mine", I hope you follow what I
mean... He had a certain look in his first 3 films but the Mario Lanza
image seems to be distilled in "Because You're Mine", maybe by this
time Mario had a say in his own hair colour & styling, sorry to
digress but it's something that I have always thought. Mario in "That
Midnight Kiss" is almost unrecognisable to me as "Mario Lanza".
The whole "Fluffy Foam" thing was really an insult to Mario in my
opinion, in his previous film he had sung some of the greatest
opreratic music ever written, now MGM had him performing inane
jingles, I can understand Mario's frustration, he does sell it well
though, but that was part of the problem, he could sing anything!
"Moonfleet", "Scaramouche" etc. :-)
"Because You're Mine" suffers because of it's place in Mario's
downfall at MGM, in & of itself it is fine, light & entertaining stuff
& does contain some classic Mario movie musical performances. If it
had been made before "The Great Caruso" we would think of it so
differently, but I always felt for Mario that after the great work he
had done on "Caruso" which he obviously felt was a classy production,
he thought he deserved more of a weighty vehicle & he definitely had a
good point, he could be very perceptive & tuned in. It was easy for
MGM to roll out one of their almost formula romantic musicals of the
time & cash in on "Caruso" & the "Lanza Bonanza".
Mario does well in "Because You're Mine" & "Granada" is thrilling
stuff. I don't like the sound recording in this film though it is too
constrained for want of a better word. It's funny but the "image" I
have of Mario as a big star of the early fifties is the style &
appearnace he has in "Because You're Mine", I hope you follow what I
mean... He had a certain look in his first 3 films but the Mario Lanza
image seems to be distilled in "Because You're Mine", maybe by this
time Mario had a say in his own hair colour & styling, sorry to
digress but it's something that I have always thought. Mario in "That
Midnight Kiss" is almost unrecognisable to me as "Mario Lanza".
The whole "Fluffy Foam" thing was really an insult to Mario in my
opinion, in his previous film he had sung some of the greatest
opreratic music ever written, now MGM had him performing inane
jingles, I can understand Mario's frustration, he does sell it well
though, but that was part of the problem, he could sing anything!
Derek McGovern
Nov 6, 2009, 2:35:15 PM11/6/09
to Mario Lanza, Tenor
Hi Vince: I know what you mean about the Lanza of That Midnight Kiss
seeming like a different man. I felt the same way when I watched this
movie for the first time about 30 years ago. (It was the third Lanza
film I'd seen after The Great Caruso and Because You're Mine.) It
wasn't so much his trim figure in That Midnight Kiss (after all, he's
even slimmer in a number of scenes in Because You're Mine), but rather
the dyed reddish-brown hair, etc -- the whole MGM makeover. Film
historian Gavin Lambert makes a valid point on the BBC (Kidel)
documentary when he talks about the way MGM presented its stars as
"sculptures".
Yes, the sound quality in Because You're Mine is frustrating,
especially on Granada and the Addio alla Madre. (Lanza really didn't
have much luck with the recording quality on Granada, since his other
great rendition -- the 1949 version -- was also poorly recorded!) It's
a shame Douglas Shearer, who rightly won an Oscar for his work on The
Great Caruso, wasn't the recording supervisor this time. The irony is
that the Because You're Mine soundtrack was recorded during the
changeover from optical recording to (supposedly superior) magnetic
sound recording. Yet it's the tracks that were recorded *magnetically*
(i.e., the material recorded later in the sessions such as Granada &
Addio alla Madre) that sound the most boxed in. Give me the optical
sound of The Great Caruso any day!
On Nov 5, 9:34 am, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
seeming like a different man. I felt the same way when I watched this
movie for the first time about 30 years ago. (It was the third Lanza
film I'd seen after The Great Caruso and Because You're Mine.) It
wasn't so much his trim figure in That Midnight Kiss (after all, he's
even slimmer in a number of scenes in Because You're Mine), but rather
the dyed reddish-brown hair, etc -- the whole MGM makeover. Film
historian Gavin Lambert makes a valid point on the BBC (Kidel)
documentary when he talks about the way MGM presented its stars as
"sculptures".
Yes, the sound quality in Because You're Mine is frustrating,
especially on Granada and the Addio alla Madre. (Lanza really didn't
have much luck with the recording quality on Granada, since his other
great rendition -- the 1949 version -- was also poorly recorded!) It's
a shame Douglas Shearer, who rightly won an Oscar for his work on The
Great Caruso, wasn't the recording supervisor this time. The irony is
that the Because You're Mine soundtrack was recorded during the
changeover from optical recording to (supposedly superior) magnetic
sound recording. Yet it's the tracks that were recorded *magnetically*
(i.e., the material recorded later in the sessions such as Granada &
Addio alla Madre) that sound the most boxed in. Give me the optical
sound of The Great Caruso any day!
On Nov 5, 9:34 am, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
Derek McGovern
Nov 6, 2009, 7:42:45 PM11/6/09
to Mario Lanza, Tenor
On Nov 3, 4:19 pm, Armando wrote:
> Time magazine? No surprises there, Derek.
I've been thinking of the attitude that Time magazine adopted towards
> Time magazine? No surprises there, Derek.
Lanza from 1951 onwards, and I still find it incredible that a
supposedly respectable news organization would behave in such an
unprofessional, biased way. The sheer consistency of their ridicule --
which reached its nadir in their Milestones obituary notice, but
continued until at least 1982, when Richard Schickel used his review
of Pavarotti's Yes, Giorgio as an opportunity to belittle Lanza --
underscores Time's obvious editorial policy towards him.
The magazine was relentless. Even when announcing the birth of his
youngest son, Time took a swipe at him, called him "an overstuffed
Hollywood tenor." But I just don't understand why Time's editors took
it upon themselves to savage the man. Was it his mass appeal that they
objected to? Or the fact that he didn't indulge in fake humility about
his talent?
Either way, the palpable glee with which Time consistently rubbished
his character, habits, intellect, appearance, acting, and even his
voice is unforgivable. As James Kilbourne once wrote, "In a civilized
world, Mario Lanza would have been cared for like the Hope diamond."
I also find it incredible that the scribe who wrote the 1951 Time
cover story that started the rot -- sportswriter Jim Murray -- did so
anonymously. Terry Robinson has claimed that Murray was a friend of
Lanza's; if that's true, then I imagine that Murray never darkened
Mario's door again after that. It's too bad that Murray, who died in
1998, was never questioned over his role in creating that nasty little
piece of sensationalism.
Here's Time's vicious little obituary. Note the way even his fan are
rubbished for their bad taste and how the writer tries to allege that
Lanza's talent (such as it was) was in decline by 1954! Then there's
the myth about his untrained voice and his motive for going to
Hollywood:
"Died. Mario Lanza (Alfredo Arnold Cocozza), 38. golden-throated tenor
who aspired to be a second Caruso but lacked the self-discipline to
train his voice, went instead on a ten-year whirl of Hollywood, where
he grossed $5,000,000 from films (The Great Caruso) and recordings (Be
My Love, The Loveliest Night of the Year) that sold more than a
million copies each, collected a mass of button-snatching fans who fed
his conviction that his loud voice was a great one; of a heart attack;
in Rome. Lanza quarreled capriciously with his Hollywood benefactors,
was sued for $5,000,000 by M-G-M for refusing to appear in The Student
Prince. His voice already showing tarnish, he allowed an earlier
recording to be dubbed in when he sang on a 1954 CBS-TV show. He
sought refuge in a sybaritic style of life, fought a battle against
the overweight that ultimately led to his death."
Armando
Nov 17, 2009, 7:30:38 PM11/17/09
to Mario Lanza, Tenor
Hi Derek: The Time magazine article, as well as being the catalyst for
Lanza’s adverse press for the rest of his life and after, remains one
of the main sources of reference about him to this day. As such it did
and continues to do untold damage.
In fact, from the article’s publication, in August 1951, it became
fashionable to criticise and belittle Lanza at every turn.
I have always felt that Time was always more concerned with
sensationalism than accuracy and it seems that almost sixty years
later nothing has changed in that regard as author and columnist Glenn
Greenwald pointed out in the following article:
Monday, Mar 17, 2008 05:27 PDT
Time magazine invents facts to claim that Americans support Bush's
domestic spying abuses
By Glenn Greenwald
No matter how corrupt and sloppy the establishment press becomes, they
always find a way to go lower. Time Magazine has just published what
it purports to be a news article by Massimo Calabresi claiming that
"nobody cares" about the countless abuses of spying powers by the Bush
administration; that "Americans are ready to trade diminished privacy,
and protection from search and seizure, in exchange for the promise of
increased protection of their physical security"; and that the case
against unchecked government surveillance powers "hasn't convinced the
people." Not a single fact -- not one -- is cited to support these
sweeping, false opinions.
Worse still -- way worse -- this "news article" decrees the Bush
administration to be completely innocent, even well-motivated, even in
those instances where technical, irrelevant lawbreaking has been
found, as it proclaims:
Lanza’s adverse press for the rest of his life and after, remains one
of the main sources of reference about him to this day. As such it did
and continues to do untold damage.
In fact, from the article’s publication, in August 1951, it became
fashionable to criticise and belittle Lanza at every turn.
I have always felt that Time was always more concerned with
sensationalism than accuracy and it seems that almost sixty years
later nothing has changed in that regard as author and columnist Glenn
Greenwald pointed out in the following article:
Monday, Mar 17, 2008 05:27 PDT
Time magazine invents facts to claim that Americans support Bush's
domestic spying abuses
By Glenn Greenwald
No matter how corrupt and sloppy the establishment press becomes, they
always find a way to go lower. Time Magazine has just published what
it purports to be a news article by Massimo Calabresi claiming that
"nobody cares" about the countless abuses of spying powers by the Bush
administration; that "Americans are ready to trade diminished privacy,
and protection from search and seizure, in exchange for the promise of
increased protection of their physical security"; and that the case
against unchecked government surveillance powers "hasn't convinced the
people." Not a single fact -- not one -- is cited to support these
sweeping, false opinions.
Worse still -- way worse -- this "news article" decrees the Bush
administration to be completely innocent, even well-motivated, even in
those instances where technical, irrelevant lawbreaking has been
found, as it proclaims:
leeann
Nov 17, 2009, 11:40:31 PM11/17/09
to Mario Lanza, Tenor
Hi. During freshman orientation when I first went to college years
ago, we were told that any papers with quotations, footnotes, any HINT
of research at all from Time magazine would receive an automatic
failure.
I've been trying to research more about the how the Lanza story fit
into Time magazine journalism (although that term might be a bit of a
stretch) of the late 1940s-early 1950s. Trying to figure out why the
magazine so consistently denigrated him. It's all guesswork so far,
and sadly, it's definitely easier to figure out why the 1951 cover
story had so much impact.
One question is simply why Lanza for the cover story in the first
place? Yes, he was a major celebrity--but so were others--and Time
hadn't featured male singers on their covers very much up to that
point. If you check cover stories through 1951 through the online
archives, you see that Mario Lanza is classified under both the singer
and the opera singer category. The only other male opera singer on
the Time cover before him was Lawrence Tibbett in 1933, and only a
handful of male singers--Louis Armstrong, Bing Crosby--for example,
had been on the covers at all.
The fact is, Time Magazine did to Lanza what they did to almost all
their cover stories--first linked them to their financial status, then
pushed their experiences and personalities into stereotypes. The
anecdotes they used to convey those stereotypes were so slanted, so
biased, and they advocated behavioral and cultural norms through
highlighting flaws and greatness. After all, Time magazine was all
about pushing it's founder's perception of an appropriate, universal
American middle class value system to the world. One of its founders--
Luce--was the person who termed the 1900s "the American century" just
a few years before.
I'm guessing that manipulating the Lanza persona into this stereotype
wasn't easy in the first place. If he'd been at the Met--automatic
kudos enhanced with quirky personal anecdotes would have worked; if
he'd been a crooner--there was a convention for that too; if he'd been
compliant and quiet--might have been easier also.
So, maybe it was consistent with their editorial point of view to put
him down rather than to see his exceptionalism as a positive thing.
I'm just not sure.
Thinking out loud here--please hit the delete key if this isn't forum
appropriate. Best, Lee Ann
ago, we were told that any papers with quotations, footnotes, any HINT
of research at all from Time magazine would receive an automatic
failure.
I've been trying to research more about the how the Lanza story fit
into Time magazine journalism (although that term might be a bit of a
stretch) of the late 1940s-early 1950s. Trying to figure out why the
magazine so consistently denigrated him. It's all guesswork so far,
and sadly, it's definitely easier to figure out why the 1951 cover
story had so much impact.
One question is simply why Lanza for the cover story in the first
place? Yes, he was a major celebrity--but so were others--and Time
hadn't featured male singers on their covers very much up to that
point. If you check cover stories through 1951 through the online
archives, you see that Mario Lanza is classified under both the singer
and the opera singer category. The only other male opera singer on
the Time cover before him was Lawrence Tibbett in 1933, and only a
handful of male singers--Louis Armstrong, Bing Crosby--for example,
had been on the covers at all.
The fact is, Time Magazine did to Lanza what they did to almost all
their cover stories--first linked them to their financial status, then
pushed their experiences and personalities into stereotypes. The
anecdotes they used to convey those stereotypes were so slanted, so
biased, and they advocated behavioral and cultural norms through
highlighting flaws and greatness. After all, Time magazine was all
about pushing it's founder's perception of an appropriate, universal
American middle class value system to the world. One of its founders--
Luce--was the person who termed the 1900s "the American century" just
a few years before.
I'm guessing that manipulating the Lanza persona into this stereotype
wasn't easy in the first place. If he'd been at the Met--automatic
kudos enhanced with quirky personal anecdotes would have worked; if
he'd been a crooner--there was a convention for that too; if he'd been
compliant and quiet--might have been easier also.
So, maybe it was consistent with their editorial point of view to put
him down rather than to see his exceptionalism as a positive thing.
I'm just not sure.
Thinking out loud here--please hit the delete key if this isn't forum
appropriate. Best, Lee Ann
Derek McGovern
Nov 18, 2009, 1:46:57 PM11/18/09
to Mario Lanza, Tenor
Hi Lee Ann: Far from wanting to hit the "delete" button with your
post, I feel like putting it inside a frame! Your hypothesis makes
perfect sense to me. Yes, a "compliant and quiet" Lanza might well
have received a better article, since writer Jim Murray uses Mario's
awareness of his talent as a reason for attacking him from the get-
go.
It amused me that your university didn't allow students to use Time as
a source!
Interesting stuff from Armando too. I completely agree that the Time
article paved the way for the adverse press that dogged Lanza for the
remainder of his life.
Here's a link to that 1951 Time cover story for the benefit of anyone
who hasn't read it:
http://www.time.com/time/magazine/article/0,9171,856898,00.html
post, I feel like putting it inside a frame! Your hypothesis makes
perfect sense to me. Yes, a "compliant and quiet" Lanza might well
have received a better article, since writer Jim Murray uses Mario's
awareness of his talent as a reason for attacking him from the get-
go.
It amused me that your university didn't allow students to use Time as
a source!
Interesting stuff from Armando too. I completely agree that the Time
article paved the way for the adverse press that dogged Lanza for the
remainder of his life.
Here's a link to that 1951 Time cover story for the benefit of anyone
who hasn't read it:
http://www.time.com/time/magazine/article/0,9171,856898,00.html
Anita
Nov 18, 2009, 9:16:33 PM11/18/09
to Mario Lanza, Tenor
I was just on the Warner Home Video site and noticed that "Because
You're Mine" is now available on DVD for US$19.99. I was only aware
of his first two movies being on DVD, Does that mean they missed
putting "The Great Caruso" out or am I missing something?
You're Mine" is now available on DVD for US$19.99. I was only aware
of his first two movies being on DVD, Does that mean they missed
putting "The Great Caruso" out or am I missing something?
Derek McGovern
Nov 19, 2009, 5:33:40 AM11/19/09
to mario...@googlegroups.com
Thanks for alerting us to this, Anita, but I'll stick with my VHS copy
of Because You're Mine (which I have transferred to a DVD) until this
film gets a proper remastering. The quality on this DVD, as part of
Warner's "Video on Demand" series, is only supposed to be as good as
the commercial video.
It's interesting that they picked this film for release ahead of the
more popular The Great Caruso and The Student Prince. This suggests
that they might be saving both those films for a proper (remastered)
DVD release.
of Because You're Mine (which I have transferred to a DVD) until this
film gets a proper remastering. The quality on this DVD, as part of
Warner's "Video on Demand" series, is only supposed to be as good as
the commercial video.
It's interesting that they picked this film for release ahead of the
more popular The Great Caruso and The Student Prince. This suggests
that they might be saving both those films for a proper (remastered)
DVD release.
Derek McGovern
Nov 19, 2009, 5:56:11 AM11/19/09
to Mario Lanza, Tenor
For the benefit of any of our members who aren't already aware of
this, Warners/TCM allows people to vote for movies that are not yet on
DVD. Currently, The Student Prince is the most-requested Lanza title
at #207 with 569 votes: http://www.tcm.com/tcmdb/title.jsp?stid=435,
followed by The Great Caruso at #271 with 419 votes:
http://www.tcm.com/tcmdb/title.jsp?stid=1782
Meanwhile poor old Serenade is languishing at #469 with a paltry 180
votes: http://www.tcm.com/tcmdb/title.jsp?stid=15970 and For the First
Time is not far behind.
this, Warners/TCM allows people to vote for movies that are not yet on
DVD. Currently, The Student Prince is the most-requested Lanza title
at #207 with 569 votes: http://www.tcm.com/tcmdb/title.jsp?stid=435,
followed by The Great Caruso at #271 with 419 votes:
http://www.tcm.com/tcmdb/title.jsp?stid=1782
Meanwhile poor old Serenade is languishing at #469 with a paltry 180
votes: http://www.tcm.com/tcmdb/title.jsp?stid=15970 and For the First
Time is not far behind.
leeann
Nov 19, 2009, 10:30:59 PM11/19/09
to Mario Lanza, Tenor
Just one last thought--while it's fun to theorize, I suspect the
reality behind the Time magazine cover story is simply in who talked
to whom. These cover stories were researched and written by teams of
journalists who frequently went far and wide interviewing sources. I
imagine that all it would've taken would have been a couple of
interviews with people at the MGM who weren't too happy with Mario
Lanza at that point to feed the flames of the story line Time
developed within the parameters of its editorial voice. I wonder too,
about the possibilities of a business or social network between top
levels at Time and and MGM--friends of Dore Schary who worked on the
magazine etcetera. I so wish it weren't beyond my research scope!
Best, Lee Ann
reality behind the Time magazine cover story is simply in who talked
to whom. These cover stories were researched and written by teams of
journalists who frequently went far and wide interviewing sources. I
imagine that all it would've taken would have been a couple of
interviews with people at the MGM who weren't too happy with Mario
Lanza at that point to feed the flames of the story line Time
developed within the parameters of its editorial voice. I wonder too,
about the possibilities of a business or social network between top
levels at Time and and MGM--friends of Dore Schary who worked on the
magazine etcetera. I so wish it weren't beyond my research scope!
Best, Lee Ann
Armando
Nov 20, 2009, 5:41:00 PM11/20/09
to Mario Lanza, Tenor
Hi Lee Ann: You make a valid point, as it was indeed rumoured that the
MGM hierarchy was behind the negative aspects of the article.
MGM hierarchy was behind the negative aspects of the article.
zsazsa
Dec 7, 2009, 3:37:07 PM12/7/09
to Mario Lanza, Tenor
Hi Derek and All,
I`m very happy to know that I`m not alone, loving Mario`s `Because
You`re Minde` movie. Till now, every time I was looking the film, I
told always: `Sorry Mario, but I love this movie of yours, you are so
wonderful, your music is just fantastic and I just can not see in any
part of the film, that you are unhappy with it, it looks as it would
be a fun for you, doing this movie!` All the singing parts are magic
and I think, Mario`s look is (this is my oppinion!) the best,
absolutelly wonderful, when he is singing `Granada`! Meravilioso!
Ciao from Susan (Zsazsa)
I`m very happy to know that I`m not alone, loving Mario`s `Because
You`re Minde` movie. Till now, every time I was looking the film, I
told always: `Sorry Mario, but I love this movie of yours, you are so
wonderful, your music is just fantastic and I just can not see in any
part of the film, that you are unhappy with it, it looks as it would
be a fun for you, doing this movie!` All the singing parts are magic
and I think, Mario`s look is (this is my oppinion!) the best,
absolutelly wonderful, when he is singing `Granada`! Meravilioso!
Ciao from Susan (Zsazsa)
Joseph Fagan
Dec 9, 2009, 9:20:21 PM12/9/09
to Mario Lanza, Tenor
I just received and watched this DVD today and I thought the sound and
quality was quite good ( even though it had not been remastered). It
*seems* better than my VHS copy which is quite old now. For Lanza fans
who do not have this movie, I can recommend this DVD....a good buy at
$20!...Joe F
> > > appropriate. Best, Lee Ann- Hide quoted text -
quality was quite good ( even though it had not been remastered). It
*seems* better than my VHS copy which is quite old now. For Lanza fans
who do not have this movie, I can recommend this DVD....a good buy at
$20!...Joe F
leeann
Dec 10, 2009, 12:22:55 PM12/10/09
to Mario Lanza, Tenor
While working on a different project, I ran across this fascinating
site for Philadelphia history that includes a video about the
neighborhood where Mario Lanza grew up. I know this is likely quite
familiar to people who know that city--but it augments other materials
that help explain how, as Armando Cesari wrote, "...Lanza was like a
child in his innocence, in his total trust of people around him, or at
least those he considered to be his friends."
On this background story for Palumbo's Restaurant (http://
www.philaplace.org/story/107/) you'll find a photo of Mario Lanza with
Betty Lanza and two unidentified people .
Then, here, (http://www.philaplace.org/media/748/) you'll also find a
video of interviews about the history of the Ninth Street Market and
of the close ties and relationships of the people who lived in that
neighborhood. They cared for each other--what a great way to grow up.
There are other materials, as well, including a huge image of the wall
mural Susan so kindly uploaded to the photos section a bit ago. Best,
Lee Ann
site for Philadelphia history that includes a video about the
neighborhood where Mario Lanza grew up. I know this is likely quite
familiar to people who know that city--but it augments other materials
that help explain how, as Armando Cesari wrote, "...Lanza was like a
child in his innocence, in his total trust of people around him, or at
least those he considered to be his friends."
On this background story for Palumbo's Restaurant (http://
www.philaplace.org/story/107/) you'll find a photo of Mario Lanza with
Betty Lanza and two unidentified people .
Then, here, (http://www.philaplace.org/media/748/) you'll also find a
video of interviews about the history of the Ninth Street Market and
of the close ties and relationships of the people who lived in that
neighborhood. They cared for each other--what a great way to grow up.
There are other materials, as well, including a huge image of the wall
mural Susan so kindly uploaded to the photos section a bit ago. Best,
Lee Ann
Derek McGovern
Dec 12, 2009, 5:38:33 AM12/12/09
to Mario Lanza, Tenor
Belated thanks for this, Lee Ann.
I think that, in many ways, we're very lucky that Lanza's formative
years were in South Philadelphia. They undoubtedly helped shape the
person (and the artist) that he became. Growing up surrounded by
music, and in what was obviously a very caring and supportive
environment -- what better way for a sensitive, life-affirming young
man of his phenomenal talent to develop?! Now if only he'd gone from
there to Italy when he was in his 20s instead of Hollywood...:-(
Incidentally, I first saw the photo in your link (http://
www.philaplace.org/story/107/) in a wonderfully in-depth essay on
Lanza in The Philadelphia Inquirer in the 1970s. I wish that article
were available online, as alone it almost made up for the decades of
cruel jibes that started with the 1951 Time cover story.
I must say that this discussion (and I've just re-read every post) is
one of the most touching and informative that we've ever had on this
forum. I'm very proud of everyone's contributions.
On Dec 11, 6:22 am, leeann <leeanngha...@gmail.com> wrote:
> While working on a different project, I ran across this fascinating
> site for Philadelphia history that includes a video about the
> neighborhood where Mario Lanza grew up. I know this is likely quite
> familiar to people who know that city--but it augments other materials
> that help explain how, as Armando Cesari wrote, "...Lanza was like a
> child in his innocence, in his total trust of people around him, or at
> least those he considered to be his friends."
>
> On this background story for Palumbo's Restaurant (http://www.philaplace.org/story/107/) you'll find a photo of Mario Lanza with
I think that, in many ways, we're very lucky that Lanza's formative
years were in South Philadelphia. They undoubtedly helped shape the
person (and the artist) that he became. Growing up surrounded by
music, and in what was obviously a very caring and supportive
environment -- what better way for a sensitive, life-affirming young
man of his phenomenal talent to develop?! Now if only he'd gone from
there to Italy when he was in his 20s instead of Hollywood...:-(
Incidentally, I first saw the photo in your link (http://
www.philaplace.org/story/107/) in a wonderfully in-depth essay on
Lanza in The Philadelphia Inquirer in the 1970s. I wish that article
were available online, as alone it almost made up for the decades of
cruel jibes that started with the 1951 Time cover story.
I must say that this discussion (and I've just re-read every post) is
one of the most touching and informative that we've ever had on this
forum. I'm very proud of everyone's contributions.
On Dec 11, 6:22 am, leeann <leeanngha...@gmail.com> wrote:
> While working on a different project, I ran across this fascinating
> site for Philadelphia history that includes a video about the
> neighborhood where Mario Lanza grew up. I know this is likely quite
> familiar to people who know that city--but it augments other materials
> that help explain how, as Armando Cesari wrote, "...Lanza was like a
> child in his innocence, in his total trust of people around him, or at
> least those he considered to be his friends."
>
Derek McGovern
Dec 30, 2009, 5:57:43 AM12/30/09
to Mario Lanza, Tenor
The following message is from Susan (accidentally sent to my email
address instead of the forum), and it's good news for those of us
outside the US who wish to purchase the Because You're Mine DVD. (A
kind friend has already sent me a copy, and I'm looking forward to
commenting on it just as soon as it arrives.)
address instead of the forum), and it's good news for those of us
outside the US who wish to purchase the Because You're Mine DVD. (A
kind friend has already sent me a copy, and I'm looking forward to
commenting on it just as soon as it arrives.)
Hi Everyone,
The DVD of `Because You`re Mine` will be available from Turner Classic
Movies on the 1/11/2010 [January 11, 2010], but you can already
pre-order now.
Yesterday I ordered it and they told it will take 1 till 4 weeks from
1.11. till arrives. It costs $ 17.99. The link to this great news is
as follows:
http://turnerclassic.moviesunlimited.com/results_actor.asp?search=Mario%20Lanza
With this wonderful news wishing you all a great and very prosperous
New Year, 2010 and all the very best, good health and happiness in
life always, as Mario used to say. With you all together, Cheers
Susan.
Derek McGovern
Jan 4, 2010, 4:48:06 PM1/4/10
to Mario Lanza, Tenor
Hi All: I've just received the Because You're Mine DVD, and am very
pleased with it. While the picture's a bit on the grainy side, the
colours are vibrant and generally realistic (the Addio alla Madre
scene being an exception; Lanza's hair is even browner than it was in
That Midnight Kiss!), and the sound is the best I've heard it. I was
especially pleased with the Addio alla Madre and Granada, which I've
always found very "tinny"-sounding on VHS. Here, the sound is richer
and warmer.
pleased with it. While the picture's a bit on the grainy side, the
colours are vibrant and generally realistic (the Addio alla Madre
scene being an exception; Lanza's hair is even browner than it was in
That Midnight Kiss!), and the sound is the best I've heard it. I was
especially pleased with the Addio alla Madre and Granada, which I've
always found very "tinny"-sounding on VHS. Here, the sound is richer
and warmer.
Definitely worth getting!
zsazsa
Jan 4, 2010, 5:40:34 PM1/4/10
to Mario Lanza, Tenor
Hi Derek,
thank you very much for your precious informations about the `Because
You`re Mine` DVD! Just great to hear and I`m so very much looking
forward to see and H E A R it as well. When you think that the
sound is great, than it surely is. Thanks again so very much and have
a great start of the Year, 2010.
Ciao Susan
thank you very much for your precious informations about the `Because
You`re Mine` DVD! Just great to hear and I`m so very much looking
forward to see and H E A R it as well. When you think that the
sound is great, than it surely is. Thanks again so very much and have
a great start of the Year, 2010.
Ciao Susan
Mike McAdam
Jan 7, 2010, 9:01:31 AM1/7/10
to Mario Lanza, Tenor
Derek: re your previous comments on this DVD: " I'll stick with my VHS
copy
of Because You're Mine (which I have transferred to a DVD) until this
film gets a proper remastering. The quality on this DVD, as part of
Warner's "Video on Demand" series, is only supposed to be as good as
the commercial video".
So....were you surprised that it was a step up from the videotape
release?
I gather that the 1st two releases (tMK and tToNO...lazy devil! ;-))
*were* remastered with trailers, chapter menus, extra features etc? (I
never bought them). My main question: is this Turner release of
"Because You're Mine" just bare-bones, containing only the film with
some chapter (scene) navigation? A secondary question: was the
"demand" (Video on Demand) for this film deemed by Turner's people to
be that great?
copy
of Because You're Mine (which I have transferred to a DVD) until this
film gets a proper remastering. The quality on this DVD, as part of
Warner's "Video on Demand" series, is only supposed to be as good as
the commercial video".
release?
I gather that the 1st two releases (tMK and tToNO...lazy devil! ;-))
*were* remastered with trailers, chapter menus, extra features etc? (I
never bought them). My main question: is this Turner release of
"Because You're Mine" just bare-bones, containing only the film with
some chapter (scene) navigation? A secondary question: was the
"demand" (Video on Demand) for this film deemed by Turner's people to
be that great?
You also mentioned: "It's interesting that they picked this film for
release ahead of the
more popular The Great Caruso and The Student Prince. This suggests
that they might be saving both those films for a proper (remastered)
DVD release".
Yes. I suspect (hopefully) that this is the case. While the Laserdisc
of "The Student Prince" has an impressive Cinemascope aspect ratio and
great colour plus stereo sound, its low resolution only fills my 1920
x 1080 HDTV display like a postage stamp in the middle. A full blown
version of both this and "Caruso" with production values akin to
"Seven Brides for Seven Brothers" would be an audio/video oasis for us
patient, starved Lanza fans.
I second your earlier comment that this is one of the best threads
we've ever had on our Forum.
Mike
Derek McGovern
Jan 7, 2010, 1:27:47 PM1/7/10
to mario...@googlegroups.com
Hi Mike: To answer your first question, the double DVD set That
Midnight Kiss/Toast of New Orleans does include trailers, chapter
menus and all the rest. It's very good value for money, as the extras
include the One Love of Mine outtake and the BBC Singing for the Gods
documentary (though, sadly, not quite the same version as was screened
on British TV).
Midnight Kiss/Toast of New Orleans does include trailers, chapter
menus and all the rest. It's very good value for money, as the extras
include the One Love of Mine outtake and the BBC Singing for the Gods
documentary (though, sadly, not quite the same version as was screened
on British TV).
Visually, the remastering on Toast is superior to that on Midnight
Kiss. Terrific colour. On Midnight Kiss, on the other hand, the
picture is a little dark and grainy, and not particularly flattering
to Mario's complexion at times! (Makes him look a bit too swarthy.)
But the sound is very good -- the richest I've heard it on things like
the Una Furtiva & Celeste Aida. In terms of the picture quality,
though, I wouldn't swear that Midnight Kiss has been remastered, as
from memory the VHS version I bought back in the early 90s had better
visuals. (But I'd have to do a side-by-side comparison.)
It's interesting that the trailer for Midnight Kiss features a
different visual take (a long shot) of Lanza as he finishes Celeste
Aida! .
The Because You're Mine DVD is pretty much a bare-bones release,
though it does contain the trailer for the film. It doesn't include a
chapter menu for easy scene access, though you can use your remote
control to flick through chunks of the film. Yes, it's akin to
watching the video, but with better colour and sound. (There's still a
bit of tinniness -- on "O nulla", for example, on the Addio alla Madre
-- but it's still the best I've heard it.)
I have no idea how much "demand" there was for this film, other than
the fact that the last time I looked it was the most-requested Lanza
movie *after* The Great Caruso and The Student Prince. (Back in
January 2009, it was at #447 on the most-wanted not-yet-on-DVD list at
the Warners/TCM site, just ahead of Serenade at #460.)
So, yes, that gives me hope that Warners are saving up those other two
movies for a more prestigious release.
Vince Di Placido
Jan 7, 2010, 2:38:34 PM1/7/10
to Mario Lanza, Tenor
Hi, Derek! I'm glad that "Because You're Mine" is of good quality.
Tell me how did you manage to get it shipped to New Zealand? I tried
to order it on line & it says they only ship to the USA... :-(
Tell me how did you manage to get it shipped to New Zealand? I tried
to order it on line & it says they only ship to the USA... :-(
Derek McGovern
Jan 7, 2010, 3:05:04 PM1/7/10
to mario...@googlegroups.com
Hi Vince: a dear friend got it for me. But I was under the impression
that people outside the US could now order it here:
that people outside the US could now order it here:
http://turnerclassic.moviesunlimited.com/Product.asp?sku=D05370
Derek McGovern
May 25, 2013, 12:54:36 AM5/25/13
to mario...@googlegroups.com
I see that Because You're Mine is currently the fifth most popular of Lanza's seven films on our film poll. Good to see it's twice as popular as the ghastly Seven Hills of Rome (though I'm amazed that Seven Hills has so far received more votes than That Midnight Kiss!).
Derek McGovern
May 28, 2013, 3:07:11 AM5/28/13
to mario...@googlegroups.com
Courtesy of Armando Cesari, I've just added a 1952 review of Because You're Mine that appeared in the British Film Institute's Monthly Film Bulletin to our Press: Movies page:
http://www.mariolanzatenor.com/movies.html (You'll find it on the sixth line down)
Armando's also sent me a review of The Great Caruso from the same journal, and you'll find that on the fifth line down.
Cheers
Derek
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Derek McGovern
Jun 6, 2013, 12:50:14 AM6/6/13
to mario...@googlegroups.com
Thanks to Armando, I've just added another review of Because You're Mine to our Press: Movies page. (You'll find it on the fifth line down.) This unusually positive review of the film is by Howard Thompson, reviewer for the New York Times and one-time chairman of the New York Film Critics. The review appeared in Thompson's New York Times Guide to Movies on TV (1970).
Actually, this is the second positive review of a Lanza film by Thompson (1919-2002) that I've read. In August 1959, the benevolent Mr. Thompson wrote what was surely the most glowing review of For the First Time by any professional critic, praising Lanza's singing in the film and describing the picture as "moving." Thompson's only real criticism of the film---which he argued "could and should have have been" Lanza's best picture---was that it ducked out of a "logical downbeat ending."
I must find that review one of these days and add it to our Press: Movies page!
Cheers
Derek
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