That Midnight Kiss (1949) User Reviews

Delightful and Naive Debut of Mario Lanza

[claudio_carvalho · 7/10 · 20 April 2008]

In Philadelphia, the soprano Prudence Budell (Kathryn Grayson) returns from Europe after a period of five years training in the best Europeans music schools. Her millionaire grandmother Abigail Trent Budell (Ethel Barrymore) sponsors an opera company under the command of the famous maestro Jose Iturbi to give a chance to Prudence to lead an opera. They hire the also famous tenor Guido Russino Betelli (Thomas Gomez), but Prudence does not feel comfortable with him on the stage. When Prudence accidentally sees the American-Italian truck driver Johnny Donnetti (Mario Lanza) singing opera, she convinces Jose Iturbi to give a chance to Johnny. They fall in love for each other, but when Prudence visits his work to tell that he will be hired, she meets Mary (Marjorie Reynolds) and she believes Johnny is in love of his colleague.

"That Midnight Kiss" is a delightful and naive musical and romantic comedy, and also the debut of Mario Lanza in the cinema industry. The classy story is predictable and is a great family entertainment with wonderful classic music and opera; has many funny moments and Kathryn Grayson and Mario Lanza show a magnificent chemistry. The DVD released in Brazil is re-mastered in Technicolor and 5.1 Dolby System. My vote is seven.

Title (Brazil): "Aquele Beijo à Meia-Noite" ("That Midnight Kiss")

An Autobiographical Debut

[bkoganbing · 8/10 · 30 July 2006]

For Mario Lanza's first feature film role it wasn't much of an acting stretch for him. He played exactly who he was an opera singing truck-driver from South Philadelphia. Mario would have been 28 at the time That Midnight Kiss came out and that is his approximate age right here.

Of course in real life he wasn't discovered by the granddaughter of another real life noted Philadelphian, Ethel Barrymore. As the plot would have it, Kathryn Grayson finds Mario playing on the piano and singing an old Italian song Mama Che Vio Sape.

Grayson's got singing talent herself in abundance and when you're from the Philadelphia Main Line you've got a grandmother who's willing to start a production company built around her. Of course to make sure it makes a little money you want a name tenor like Thomas Gomez as opposed to some unknown truck-driver.

Kathryn would rather make music with Mario both on and off the stage. The story with a few of the usual Hollywood romantic complications shows how they get to do just that.

Mario and Kathryn sang a good collection of classical and popular selections. My favorite recording of Jerome Kern's first great hit song They Didn't Believe Me is from Mario's original cast album of That Midnight Kiss. It's a solo recording, on screen it's done with Grayson and done just as beautifully. MGM made a good choice in including that great song in this film.

A good cast of MGM regulars supported Mario and Kathryn that included Keenan Wynn as Lanza's friend and Jules Munshin as the manager of the opera company. Best in the supporting cast however is Thomas Gomez as the egotistical tenor Lanza replaces. Gomez utilizes some seldom tapped comedy talent for this role.

Metro-Goldwyn-Mayer engineered a very auspicious debut for their new singing discovery in That Midnight Kiss.

A singing truck driver makes an operatic splash

[blanche-2 · 7/10 · 4 August 2006]

Mario Lanza made his film debut in "That Midnight Kiss" costarring Kathryn Grayson, Ethel Barrymore, Jose Iturbi, Keenan Wynn, Thomas Gomez, Marjorie Reynolds, and Jules Munshin. The script was tailor-made for Lanza, set in his home town of Philadelphia. It was this film that nearly ruined my own singing aspirations. My mother always thought that if I were really good, someone would discover me - I guess hauling a piano - the way that Lanza was in this film. Nevertheless, I put all that aside when I watched it.

Johnny is a truck driver discovered testing out the piano he delivers to Abigail Budell (Barrymore), patron of the arts. She's just founded an opera company for the benefit of her daughter Prudence (Grayson). When the current tenor (Gomez) quits in a huff, Johnny steps in. He and Prudence are in love, but before either one of them can really act on it, Prudence is told by another woman (Marjorie Reynolds) that she wants to marry Johnny. How to get these two songbirds back together?

"That Midnight Kiss" is a big budget, glossy MGM musical extravaganza and as such, it's delicious to watch and makes for joyful listening. Lanza, attractive and a natural before the cameras, really commercialized opera in the U.S. with his clarion tenor. His IMDb bios were obviously written by fans. Though he certainly had a fantastic voice, he was evidently hard to work with, especially for his female costars. Alcohol and crash dieting eventually made his heart give out while he was still in his thirties. Also, he had his own sound; in recordings, Caruso sounds much more baritone-y, though Lanza's IMDb bio claims the voices match. It's hard to know what Lanza's voice sounded like on the opera stage. People who heard him in person claim the voice was not very large. Nevertheless, it was perfect for film.

Pretty and petite, Kathryn Grayson does a lovely job both in her acting and singing. Both singers shine in the more lyrical pieces sung outside Prudence's window and show their versatility. A side note - it's a little questionable what opera the company is doing - Grayson and Gomez sing a duet from "Lucia" in rehearsals, but the final product was in English and definitely NOT Donizetti!

The rest of the cast is superb - Keenan Wynn has impeccable comic timing, and Jules Munshin is given some great bits throughout. Thomas Gomez is hilarious as the bombastic tenor Betelli. Ethel Barrymore is stately and classy as Prudence's grandmother. Iturbi, playing himself, is delightful and plays some beautiful piano. Celeste Aida and the Lucia duet were conducted at pretty swift tempi, as was the "Caro Nome" that Grayson starts to sing at the piano.

Highly entertaining and recommended if you're a lover of classical music.

Mario Lanza Sings That's All Any Musical Needs

[Sharclon8 · 7/10 · 5 September 2006]

I tend to agree with the critics of the time: If Mario Lanza was in the movie it was worth seeing. Even though this musical contained a wonderfully talented cast Mario Lanza still shines out and that is saying something. Any musical that was fortunate enough to have Jose Iturbi and his sister Amparo Iturbi who were concert pianists of great magnitude plus Kathryn Grayson who was no slouch in the singing department herself. Throw in Ethel Barrymore of the First Family of Actors and it is a lucky movie musical indeed. But in my opinion even with all of that Mario Lanza is the reason to see this movie. What a voice! Who cares if he could act or not. His acting was more than adequate. No one expected him to be an Oscar winner. Of course the plot to the musical was thin, most of those MGM musical plots were. But any musical that has Mario Lanza in it is worth seeing again and again.

A must-see movie for Mario Lanza fans, showcases his great smile and beautiful singing.

[TxMike · 15 August 2000]

When "That Midnight Kiss" was filmed, star Kathryn Grayson, a coloratura soprano, was already a veteran with 11 movies on her resume'. Even though they are about the same age, this was Mario Lanza's first featured role, and he performed it well. The musical production numbers are good-looking and great-sounding, with perhaps the two premiere singers of that era, the late 40s.

Born Alfredo Cocozza, with an adopted stage name of Mario Lanza, in this movie he plays Johnny Donnetti, an ex-GI born in Philadelphia and with perhaps the greatest tenor voice of all time. It is almost a Mario Lanza biography. In this movie he is "discovered", ends up replacing a temperamental Italian tenor in the operatic production, falls in love with Grayson's character, and the movie ends with their very first kiss.

I rated this movie 7 of 10. It is a nice little piece of fluff, nothing new or particularly interesting in the story. Typical MGM fare for that era. But if you love music and great singing, and want a chance to see and hear Mario Lanza, the whole hour and a half is totally enjoyable.

Lanzas first

[ryancm · 7/10 · 24 October 2007]

This is a surprisingly probable story line for an MGM musical. The only improbability is the ending where the Lanza character goes on with the show with practically no rehearsal time and his appearance is no announced to the audience. Still, this is a treat for opera lovers as the music is the best part of the show. It's kind of a male "cinerella" story as truck driver, Lanza, lands an audition with the local opera company. He gets the job of course. Lanza was quite good in his role. Better than be expected from an unknown with no acting experience at all. Kathryn Grayson is radiant as the ingénue and the supporting cast headed by the always wonderful Ethel Barrymore and Keenan Wynn are tops. Add Thomas Gomez as a temperamental opera star and Jules Munshion as a manager, and you have the ingredients for fun and romance. Gomez is excellent in a comic role. The best song is THEY DIDN'T BELIEVE ME. Could hear that one over and over again. For a nice evening of entertainment with not much plot, THAT MIDNIGHT KISS is the one to see. Now we need THE GREAT CARUSO on DVD. The DVD has an outake of a nice song featuring both Grayson and Lanza.

Just a spoonful of Italian Wine makes the Schmaltz go down....

[mark.waltz · 7/10 · 16 March 2013]

This is actually a very charming and light-hearted musical about a young opera singer hopeful (Kathryn Grayson) that discovers a truck driver (Mario Lanza) singing opera in her wealthy grandmother's living room and suggests he take over as the leading man in her granny's new opera company. You see, Grayson can't hide the giggles she gets when singing a duet with the chunky Thomas Gomez, an opera star she admires professionally but can't see as romantic either on stage or off. She predictably falls in love with Lanza but a misunderstanding with the secretary at the truck company he works at leads her to think he's already engaged. No amount of midnight serenading or playful interference from grandma Ethel Barrymore can fix it, but you know, this is MGM, and there has to be a romantic clinch at the end, right? Of course right! Before being teamed with the less temperamental Howard Keel for three beautiful romantic musicals, the lovely Grayson was paired with Lanza for two films, and here, in his film debut, he shows true star potential. Less portly and diva-like than his future films, Lanza is charming, funny and extremely handsome. They sing a beautiful duet of Jerome Kern's "They Didn't Believe Me" that is the musical highlight of the show. Keenan Wynn is very funny as Lanza's pal who becomes his agent, and Barrymore takes over the roles that Charles Coburn had been playing for years-the octogenarian who feels that if lovers are going to get together, they need a boost from someone who's older and wiser.

Marjorie Reynolds is the lovely young lady who accidentally gives Grayson the wrong impression about her and Lanza. The legendary Jose Iturbi plays himself here, and has several piano concertos that are beautifully played and don't become too highbrow. The final opera sequence, sung in English, is a bit silly and not at all realistic to American opera companies, yet lavish and romantic. Lanza and Grayson are a fine pair on-screen although her teamings with Keel are much more famous.

Trilly in Philly

[writers_reign · 7/10 · 10 October 2012]

This came at the tail end of the vogue for musicals combining Classical and Popular - in fact it would mark Jose Iturbi's (who seemed to appear in all of them) last appearance in feature films. Usually - Anchor's Aweigh for example - the emphasis tended to be on popular music with perhaps one or two 'classics' thrown in but here the emphasis is definitely on Classical music with only three examples of the 'popular' song plus half a chorus of It's Three O'Clock In The Morning rendered by J Carroll Naish on the dance floor. This is understandable given that co-star Mario Lanza was making his debut and lacked the clout of Sinatra who was able to load Anchors Aweigh with Jule Styne and Sammy Cahn numbers and it is fitting that Iturbi should bow out with such a high percentage of screen time. It's actually a fine cast with support led by Ethel Barrymore who has merely to look regal and toss off dialogue far unworthy of her. Marjorie Reynolds never really broke out on her own but Holiday Inn and this entry look good on her CV. Keenan Wynn and Jules Munshin supply most of the comedy, Thomas Gomez enjoys hamming it up and Arthur Treacher is droll in the background. All in all a pleasant diversion.

For opera lovers, a delicious treat

[noblessence · 10/10 · 7 September 2005]

Having seen this movie when I was young, I became an enduring opera fan and a Mario Lanza fan. The story is believable, and Lanza is a handsome, romantic figure beautifully paired with Kathryn Grayson. Lanza is Johnny Donetti, a rough and tumble piano mover; Grayson is the refined niece of Ethel Barrymore, and she is being groomed for a career in the opera. Lanza was still relatively slim when this movie was made, and he became an instant matinée idol with his dark good looks and unleashed passion. Rent the movie, pop a bowl of corn, and enjoy the gold and silver of Lanza and Grayson along with the incomparable José Iturbi at the piano.

A perfect treat if you're into these sort of movies.

[Boba_Fett1138 · 7/10 · 2 July 2006]

This is yet another MGM musical with a standard and predictable love-story that has all the familiar ingredients in it. It's one of those typical movies of which you already know how its going to end. From start till finish, nothing refreshing or unpredictable ever happens to be honest.

However of course these sort of movies were made to simply entertain its audience. It's a fun romantic movie. You just sit back and enjoy it, without thinking too much about its story.

This time the musical takes an operatic twist, which should delight the fans of it. I shall immediately admit that opera is not entirely my cup of tea. Never has been and never will be most likely. Still there was enough to enjoy for me, since the movie also wasn't made entirely in 'opera style'. The movie was good lighthearted, romantic fun to watch, even though it all was nothing too remarkable, refreshing or original all.

The actors were cast for their signing voices and musical skills rather than their acting abilities but that however is fine and acceptable for a movie in this sort of genre. Their musical skills most certainly compensate enough for their acting skills! Mario Lanza was one of the most talented young singers of the last century who unfortunately died way too early. Ethel Barrymore also does what she can do best; play a character who lies most of the time in bed. None of the comical actors really work out in the movie, probably mainly because it doesn't blend in that well with the operatic elements of the movie, that are the most prominent present in the story.

It's a worth seeing, charming movie. Don't expect anything too spectacular or original. Just sit back, enjoy and try not to think too much about the typical MGM musical formulaic story. It does not fail to entertain!

7/10

http://bobafett1138.blogspot.com/

Watchable but very predictable as well.

[planktonrules · 5/10 · 24 January 2019]

There is one important thing about "That Midnight Kiss" that you need to know before you watch...it's filled with opera music. My wife hates opera...and watching the movie was a serious chore. For me, I like a bit of opera and hearing Mario Lanza sing was quite pleasant to me. As for Kathryn Grayson, her singing was very high pitched. Some may love it...I found it a bit difficult.

This story is about a rich old lady (Ethel Barrymore) and her insistence on creating an opera company for her granddaughter, Prudence (??). With the help of José Iturbi she sets about doing just that. However, the tenor they got for the job (Thomas Gomez...who I assume was dubbed, as he never played opera stars in his many other roles), is a jerk and difficult to work with...and Prudence is overwhelmed by him. Later, Prudence discovers a truckdriver who can sing beautifully. Johnny Donetti is perfect...and soon he and Prudence fall in love. Complications ensue.

The problem for me that kept this from being a better film was the film's use of a plot device that was very weak. In most films of this sort, there is some monkey wrench that gets tossed into the romance to TEMPORARILY derail everything. In this case, this is very weak....a case where if Prudence and Johnny had simply talked, it all would have been worked out instantly. As such, it just feels like a bad plot device. It's a shame, as otherwise it was a very watchable film and would have scored a 7.

Gem of a film! Great cast, great singing

[Avivale · 10/10 · 5 August 2007]

A young Mario Lanza. A young Kathryn Grayson. Ethel Barrymore. Keenan Wynn. Jules Munshin hamming it up as only he can.

Plotwise, the movie is very thin: Grandmother finances an opera company so her young granddaughter can sing. Except, she doesn't want to sing with the old, fat tenor with the ego-- she wants to sing with the young, gifted truck driver she discovers. Then there's a love triangle, in which of course everything goes wrong because nobody communicates.

But the singing is so wonderful, and so are Jose Iturbi's piano skills. We are treated to plenty of both throughout the movie. This film is a gem.

A cute comedy

[HotToastyRag · 7/10 · 7 February 2020]

In That Midnight Kiss, Kathryn Grayson and Mario Lanzo are paired together again, this time in a really cute comedy. Kathryn plays a young soprano making her stage debut, but rather than sing alongside a famous tenor, she wants the theater company to take a chance on a truck driver who happens to have a nice voice.

What I love about this movie is each character has his own little gimmicks, adding some much needed comedy to an otherwise simple story. Mario's trademark is singing a short, loud, solid note in an unsuspecting bystander's face whenever he leaves the room. Keenan Wynn, his manager, gives quips like warning Mario not to run down the stairs because, "you might fall and bruise your tonsils." Conductor Jose Iturbi looks down on everyone with a level of snobbery, but his face instantly dissolves into a smile whenever he looks at Kathryn. Jules Munchin conducts with overexaggerated expressions, weeping when a violin plays and using all four of his limbs to show his enthusiasm. You'll get to see Marjorie Reynolds, Arthur Treacher, and Ethel Barrymore in the supporting cast, as well as Thomas Gomez, giving a hilarious portrayal of an opera diva. He spritzes his throat, warms up when his costar is singing, interrupts rehearsal, and gets his feelings hurt when Kathryn refuses to look at him during their love song. J. Carrol Naish steals a scene as well, as he dances with his wife and serenades her sweetly with "Three O'Clock in the Morning."

If you're not normally a Mario Lanzo fan, give this one a chance. I don't usually like him either and this one is my favorite of his movies I've seen. Plus it's his first movie; what a great introduction!

Lanza among others

[richard-1787 · 5/10 · 16 June 2018]

This movie is remembered, when it is remembered, as Mario Lanza's screen debut, which it was. He got fourth billing, though, and you can see why. José Iturbi, who was a recognized music personality in the late 1940s, gets a lot of screen time playing the piano, either by himself or with his sister Amparo. Lanza gets a few operatic numbers, in which is he only fair, and some popular tunes, which he sings with a lot more nuance and feeling.

My problem with this movie is Kathryn Grayson. In part I don't like her voice, which I find very shrill. In part, though, it's girlish, so it really does not blend with Lanza's, which is very virile. Musically they just don't set off any sparks for me. It's a shame MGM couldn't have found someone more suited to partnering with him.

An auspicious debut

[derekmcgovern · 31 December 2003]

Mario Lanza makes a very confident screen debut with this movie. The scene in which he first appears - some 15 minutes into the film - is teasingly executed: we hear his voice (singing the Neapolitan classic, Mamma mia, Che Vo' Sape) as co-star Kathryn Grayson enters her home, and - with her (and our) interest aroused - the camera slowly pans to reveal his handsome presence. It's a great moment, helped by the fact that Lanza really does look terrific, especially in comparison with the portly stock tenor we have been watching only minutes earlier.

Lanza has some formidable acting talent to compete with in this movie. That he succeeds magnificently speaks volumes about the man's much-underrated acting ability. Also appearing in the film are seasoned veterans such as Ethel Barrymore, J. Carroll Naish, Jules Munshin and Thomas Gomez (hilarious as the aforementioned portly tenor). Keenan Wynn is also on hand as Lanza's amusing buddy, and the film also boasts another big musical name: conductor/pianist Jose' Iturbi, who plays himself.

The film is fun, and very competently produced in the grand tradition of MGM musicals. Lanza doesn't have a great deal to sing, but among the highlights are a very lyrical Celeste Aida (minus the recitative), the second half of Una Furtiva Lagrima, and Jerome Kern's They Didn't Believe, which is sung as a duet with Kathryn Grayson. MGM was clearly nervous about allowing Lanza too many "heavy" vocal offerings, but they were soon to rectify this with The Great Caruso, just two years later.

All in all, That Midnight Kiss is a most enjoyable romp with Lanza as its raison d'etre. The critics were not especially kind to the film - or Mario's co-star, the established Miss Grayson - but all were in agreement that Lanza made the picture worth seeing. This is what Newsweek Magazine had to say:

Aside from Jose' Iturbi's music, virtually the only excuse for this one is Mario Lanza, a singer whose talents would be conspicuous even outside a film devoted to opera. He can act as well as sing. But his efforts in both directions are hampered by an inconsequential story which enmeshes him with Kathryn Grayson - a girl who neither sings nor acts in his league.

And from The New York Times:

As for the budding Mr. Lanza, the opinion rendered of him by the sanguine Mr.Iturbi is good enough for us. "His voice," says Mr. Iturbi, "has quality and warmth and he has a very nice personality." Check.

The following year Lanza would go on to greater things in The Toast of New Orleans, before reaching his pinnacle in The Great Caruso.

Enjoyable Hollywood offering

[verna-a · 7/10 · 10 May 2020]

This movie could be summed up as a piece of Hollywood fluff, and I suspect the main reason people would watch it now would be for the movie debut of Mario Lanza as actor and on-screen singer. It is indeed a lightweight vehicle for singing (Lanza and Kathryn Grayson) but there are other talents present too, who present their stuff with verve. Keenan Wynn wisecracks, Jose Iturbi plays up a storm on the piano, and the bit part actors are good value. I don't much care for the rather camp mugging of Jules Munshin, but Thomas Gomez is comic as the tenor opposition. Kathryn Grayson is ornamental and has a light silvery voice. Mario Lanza proves he was a warm, expressive and natural actor right from the start (bearing in mind that he was never asked to play anything but more-or-less autobiographical parts). His singing, of course, is stellar but there's not enough of it for me. It's understandable though, that MGM may have been testing the waters as to how much in the way of operatic performance the movie-going public would accept. The dialogue is light and humorous, and it's noticeable that everything, including the musical performances, is moved along briskly to avoid the viewer's interest drifting. No such risk for me!. It's very acceptable entertainment which has aged well, noting especially that the print of the movie which has been digitized is very good quality in respect of both audio and video properties.

The feature film debut of Mario Lanza...

[TheLittleSongbird · 7/10 · 31 May 2015]

That Midnight Kiss is a good, solid feature film debut for Lanza, though he went on to do better afterwards. Lanza and classical music/opera fans will find much to love, as an overall film it's good, solid fun but didn't bowl me over.

Lanza is the best thing about That Midnight Kiss. One wishes that he had more to sing and that the studio could have been a little bolder with some of the song choices(understandable though because it was a debut, and he was very young at the time, and they didn't want to tax him too early), but all the songs in the film suit him brilliantly, especially They Didn't Believe Me and Una Furtiva Lagrima(he does quite well too with Celeste Aida). He also sounds sensational, one of the loveliest and most distinctive of all tenor voices, singing with warmth, emotion and generous style, and while inexperience(again understandably) occasionally shows, his feature film debut is dashing and truly charming.

Kathryn Grayson radiates on screen and sings like an angel, there was the worry that Caro Nome was too big for her but she manages the colouratura well. After hearing mixed opinions on Lanza and Grayson's chemistry, I'm of the opinion that they have a good natural chemistry together. Ethel Barrymore brings incandescent class to her role, looking positively regal and giving her dialogue a witty edge and classy delivery. Keenan Wynn is a lot of fun and Jules Munshin is even funnier. Thomas Gomez fares the best in the comedy department, this said, the best of his comic timing is hilarious. That Midnight Kiss also looks great, with colourful costumes and sets and glowing photography.

The other great thing about That Midnight Kiss is the music and songs. There are some operatic favourites here, for soprano and tenor, and they're still fabulous, and They Didn't Believe Me is the highlight of the film. Love is Music is a little sappy though, not the melody seeing as it is based on one of Tchaikovsky's most beautiful melodies but the rather cloying lyric writing. One mustn't also forget about Jose Iturbi, who gets the opportunity to play piano pieces by Liszt, Tchaikovsky and Chopin and does so simply thrillingly, the performance of the Chopin Revolutionary Etude comes off particularly well. The film is also efficiently paced, more than competently directed and has a mostly winning script with a lot of heart and genuinely funny humour, if occasionally laying it a little thick with the schmaltz and once or twice the comedy is ever so slightly overplayed.

Coming off the least well is the story. It's not a disaster as it knows what tone it wanted to be, light and fun, and sticks to it without jumping around or changing tone discordantly. It is however as thin as a wafer, which is true of a lot of MGM musicals at this time, and does feel at times on the too silly and too frothy side, you can also painfully and correctly predict what is going to happen next.

All in all, a good feature film debut for Lanza, who along with the music is the film's selling point. 7/10 Bethany Cox

The Great Lanza Sings

[atlasmb · 7/10 · 23 April 2017]

Philadelphia's own crooner, Mario Lanza, looks positively svelte in his real film debut. He also sounds as good as he ever will and shows his acting talents in this formulaic story of an amateur singer who longs for a big break in the opera world. It's a story not unlike Lanza's own.

Jose Iturbi--MGM's resident maestro--is the impresario Lanza's character, Johnny Donnetti, seeks to impress, with the help of Kathryn Grayson.

Whether one is a fan of opera or not, this is the film to watch to best appreciate Mario Lanza's film contributions and his leading man potentiality. The musical selections, including "They Didn't Believe Me", allow Lanza to demonstrate his ability to master both pop and classical songs.

The romantic storyline is tepid and predictable. The comedic elements are tolerable distractions. Mario Lanza almost singlehandedly makes this production worth watching with his sterling presence.

The Movie That Made Mario Lanza a Star

[LeonardKniffel · 7/10 · 11 April 2020]

Notable for being the last film appearance of the great pianist and conductor Jose Iturbi and the first movie of operatic tenor Mario Lanza, the story casts Lanza as a singing truck driver discovered by an opera singer played by Kathryn Grayson. Their love story is just a premise for some fine music, including selections from Verdi, Chopin, Tchaikovsky, and Jerome Kern. This is the film that made a matinee idol out of Lanza and launched a turbulent career that ended seven films later when he died at age 38.

The Big Chill

[willrams · 9/10 · 28 September 2002]

1948 Mario Lanza's first movie and what a voice! I fell in love with it and have been singing Be My Love all these years; The impact of this first movie was a big change in operatic movies because it was nothing like the McDonald and Eddy movies, which were rather sweet and unrealistic. I have seen all ten of Lanza's movies and without listing all of them, the best one of course was The Great Caruso which I would rate 10/10. MGM made his life miserable by sending him to weight reducing farms and his death in 1959 at one of farms in Italy was a very sad story, and suspicous because of Lanza refusing to star in a television production by the Mafia.

Entertaining musical with light comedy and upbeat Mario Lanzo

[SimonJack · 7/10 · 29 April 2022]

"That Midnight Kiss" is a very entertaining musical, and light comedy, for which it isn't billed. While Kathryn Grayson has top billing in this film, Mario Lanza and José Iturbi make this movie. Grayson is okay with her singing, but this second film that really introduced Lanza to the cinema world is a treat. Not only for his signing voice, but Lanza's persona as Johnny Donnetti is very good. His smiling, bouncy, energetic and happy demeanor lifts this film greatly.

Then, Iturbi provides a show of his great skill on the piano, including a duet toward the end with his sister, Amparo Iturbi. But Iturbi here is also a contributor to the light comedy with his slight mannerisms and expressions mostly.

Ethel Barrymore is Abigail Trent Budell, the matriarch of Philadelphia society, especially opera. And, it's under her stern eye and direction that Iturbi, playing himself, pulls together a whole new opera to showcase Miss Abigail's granddaughter, Prudence Budell. She, played by Grayson, has just returned from five years of intensive voice training in opera around Europe. They need a male to play opposite Prudence, and Thomas Gomez has the role of Guido Russino Betelli. Nary a note is heard from him because, of course, the actor can't sing, and the bellicose and very heavy character is too much for Prudence. She tells Iturbi that she can't keep a straight face looking at Betelli as she sings a love song - because he is this older, fat man.

Well, by chance they discover the talented Donnetti who sings while he works with his one-truck moving company. His partner, Artie Geoffrey Glenson is played by Keenan Wynn. Jules Munshin as Michael Pemberton and Arthur Treacher as the Budell's butler, Hutchins, help with some of the light comedy. The rest of the support cast are all good.

This is an enjoyable film with some good comedy, singing and music. Here are a couple of favorite lines.

José Iturbi, "Look, Prudence. Great tenors are very seldom young good-looking men who feel the words of opera. If you ever find one who looks the part, you let me know."

Artie Glenson, when Johnny jumps down over some steps, "Don't ever do that again." Johnny Donnetti, "Why?" Artie, "You might fall and break your tonsils."

Who are the judges?

[cuneiform · 9/10 · 19 August 2019]

KG was a coloratura soprano versus ML tenor. Along the scores, KG's part is more difficult. Every syllabe of any piece ended by this soprano, but not by this tenor which was merely assistent! So, the real protagonist in the both musicals seems to be KG.

KG's playing is dynamic, while that of ML only static. Thus, performing for the 2nd time Be My Love, KG's head movements are truly artistic and dynamic, while ML stays static. The same again with I'l Never Love You where 2 ladies and 2 gentlemen are catching one another's looks.

Her personal life ended with two divorses as stated by courts due to the 'mental cruelty' of her both husbands. However, singing was her eternal aim and end, nothing was more important in her life than that. Recollecting the scene at the riverside, she mentions that in the same words. It's not a lady trick while refusing any further kiss. We do believe she is doing so because she is really afraid of her career getting lost due to a love adventure. So, she is playing herself.

KG's creature is more powerful in any sense while she ended as a supervisor at the state university of Idaho.

That's why her name must be placed before that of ML, she is the real protagonist in the both musicals, The Toast of New Orleans and That Midnight Kiss.

KG puts through the modernism style as for the way of dressing herself (more precisely, the Jugend Style), keeping her (mouth) make up properly sized versus that of these times in postmodernism. Those times will never come back again.

Thank you for having read my contribution.

A.T., a university professor, Berlin, Germany.

a lot of opera. and some big names.

[ksf-2 · 6/10 · 13 January 2022]

When abigail budell (ethel barrymore) wants to start up an opera in philly, she wants to feature her own grand-daughter prudence (kathryn grayson). Prudence has just met johnny (mario lanza) , and wants to sing with him. So far so good. Features jose iturbi (and his sister!) playing piano. This was one of iturbi's last acting roles for the studios. There are speed bumps and mis-understandings, like an episode of three's company. You'll recognize thomas gomez as the always yelling betelli; he was also curly in key largo. Some great singing, theoretically by lanza. Sadly, he died so young. He only acted in ten movie roles, but if you check out his entries in the soundtracks link, you'll see they are still using his singing performances in so many films, even now. Directed by norman taurog, who won the oscar for skippy. And, of course, made a bunch of films with elvis!

Mario Lanza makes his film debut...glossy MGM musical...

[Doylenf · 11 May 2001]

It was only natural that when Mario Lanza made his film debut, MGM cast him opposite their current operatic diva, Kathryn Grayson, and showcased both of them in a sumptuous technicolor musical.

This film also marked the last film of Jose Iturbi, who lent his talent and charm to a number of MGM musicals in the '40s. The story is a simple one: opera singer Grayson would like to have a tenor who looks the part of the tenor role. When Lanza, a singing truck driver is discovered, she gets her wish--and a happy ending isn't far away. Humor of the painful kind is furnished by Jules Munshin and J. Carrol Naish but nothing really matters when Lanza and Grayson burst into song. Among the song highlights: Donizetti's "Una Furtiva Lagrima" and Verdi's "Celeste Aida". Grayson, who always had a burning ambition to be an opera singer, does a fine job on "Cara Nome" with her bright soprano.

The schmaltz is pretty thick--but fans of Grayson and Lanza will certainly enjoy this trifle. And, oh yes, Ethel Barrymore is prominent among the supporting players showing a droll sense of humor.

Wonderful tenor, horrible soprano, otherwise forgettable film

[marioncap · 8/10 · 8 August 2009]

I vote 8 out of 10 just for the amazingly beautiful singing of Mario Lanza. How sad that he never achieved the great opera career his talent deserved! His acting is only passable, but his personal charisma is quite impressive.

It drives me crazy that squeaky-voiced sopranina, Kathryn Grayson, who in real life could not even dream of a job as a chorus soprano in an actual functioning opera company, is presented as a plausible leading lady (Lucia di Lammermoor or Gilda in Verdi's Rigoletto)! Her voice might be cute in a small room singing folk songs (if you could forgive her hideously spread vowels), but there is no way in Hell that such a tiny sound would ever in a million years carry over an orchestra.

(Was there really no soprano with a real voice who could have co-starred with Mario Lanza back in the early 50's? Alas, there probably was, but she probably wasn't a tiny skinny Barbie doll like Kathryn Grayson.)