Tu es à moi

If anyone will notice, That Midnight Kiss and The Toast of New Orleans was the same movie with the same plot with maybe a change of characters. For instance, instead of Ethel Barrymore, we've got a male actor playing about the same thing that she did in Kiss, and there's still that Kathryn Grayson doesn't like Mario Lanza and Mario Lanza playing the brash singer. Same movie, same plot, same characters. So, along later comes Because You're Mine which is very entertaining without all that operatic music. Personally, I didn't care for The Great Caruso, although it's a odd thing that on the day that Caruso died, Mario Lanza was born. Now, I'm not saying that Mario Lanza was Caruso reincarnated, but it is a bit unusual that knowing this, Lanza played Caruso on the screen. It is probable that his family knew this and told this to him many times!

So, in Because You're Mine, you've got a great cast, great music with Mario Lanza singing Granada at the end of the movie looking like he was poured into his Army uniform which made him look a little larger than the uniform with the button about to pop, but we forgave him. Come on gang - this is Mario Lanza!

Now, we've got one problem with this movie. It's not a big problem but it's Doretta Morrow. Sure she can sing, beautifully, and she cat too. Well, no wonder. She was in the original Broadway cast of Kismet playing Marsinah in which Ann Blyth played the role in the movie version, but you couldn't see it on the stage, but Ms. Morrow always looked cross eyed on the screen, and after Lanza making a hit in Caruso singing Be My Love - did she really have too? At least they had the good sense not to make it a duet between here and Lanza.

So, when you come right down to it, the movie is very entertaining. Probably Mario Lana's best. He never sang better. And why isn't Kathryn Grayson in this movie instead of Doretta Morrow? Well, quite frankly, she and Mario Lanza did not like each other. In their two movies together, especially That Midnight Kiss, you could see something going on with her feelings for him, but they never made a match. Maybe she was personally afraid of him. Who knows? But there were a great singing team. It's a shame that they never made more movies together, but that was never to be! Once again, it's just a shame that movies like this cannot be seen on the big movie theater screen. That big screen makes the difference. Ask anyone who's recently seen The Wizard of Oz for the first time in a movie theater, or even one of you out there - then you'll know what I mean!

After the triumph of "The Great Caruso" in 1951, Lanza was all set to start work on "The Student Prince." MGM had other ideas and wanted to exploit his more popular image. When they approached him, his response was "You cannot put Caruso in the army!" He was persuaded eventually to start on "Because You're Mine" with the dangling carrot of Student Prince promised next in line. He did not like the script, or his co-star, who constantly smoked and was considered by him to be unsuitable, because of her limited experience and he also put on weight at an alarming rate, so that costumes had to be remade or altered almost daily, to accomodate his fluctuating size. This is all too apparent in some scenes, when he walks in slim and walks out again at least 40 pounds heavier. It was his way of rebelling against the system. Once completed, it was chosen as the 1952 Royal Command film in U.K. but the critics panned it. O.K. the plot is thin, the acting dated, but the voice - wow - that voice. He was truly on top form and the soundtrack and studio recordings of the songs from the film are still great favourites today. Just listen to "The Lord's Prayer" to see what I mean. Not a favourite film of mine, but I watch just for the voice and memories of a bygone era.

This formula pic, while being one of Lanza's lamer projects, includes some impressive soundtrack renderings.

It's amusing to see how he manages to first be drafted at all (stretching age limits) then sail through basic training with a breeze, intoning ballads through boot camp.

From his real-life mom's requesting an autograph as he stands in recruit formation at train station, to his sergeant's begging same immediately upon entering barracks, this script's a hoot.

His fellow privates (while mildly ribbing him) quickly accept his "in with brass" status, as our hero's placed in charge of trainees, crooning Brahms melodies in sergeant's quarters, belting out Italian arias while riding a truck, and even traveling to New York for a recording session.

However, this is a quite special branch of the military--MGM Division to be exact--and everything yields to the song cue (could Joe Pasternak be Commander in Chief?)

Fun to see James Whitmore having a good time in a somewhat comedic, Keenyn Wynn type role. Spring Byington's sprightly as ever and Doretta Morrow's serviceable as love interest, with her light soprano being as pleasant here as in her Broadway work of "Kismet."

Interesting, too, to see Mario bouncing between 80-pounds-plus-minus (entering a chapel in uniform fairly slim and next walking down aisle wearing what looks like a tent).

Vocally the production's strong, with a consistently forceful approach. Lanza looks like this isn't exactly a labor of love, with his reactions appearing more dutiful than inspired.

He'd go on from this to render some of his most endearing work for the soundtrack of "The Student Prince." Like a comet that flashes briefly across the heavens, Lanza was a phenomenon of his particular time that entertained and uplifted millions for a few short seasons.

By the time Metro-Goldwyn-Mayer started Mario Lanza in his fourth film, the formula was wearing thin. In That Midnight Kiss, he was an opera singing truckdriver. In The Toast of New Orleans, he was an opera singing fisherman. And in The Great Caruso he was, the greatest opera singer of all. Now he was going to be cast as an opera singer drafted into the army.

So you can understand that Mario was feeling in a bit of a career rut. Why he wasn't cast in some of the classic musicals and operettas of old is beyond me. So despite the fact that the title song became a big hit for him, Mr. Lanza was unhappy.

He set records for binging on food, on liquor, on women that outstripped even what Mario previously did. Looking at some of the scenes filmed out of sequence you can see how his weight went up and down. Reportedly he behaved so outrageously to co-star Doretta Morrow that she up and quit Hollywood and never returned.

That was a pity because Ms. Morrow was certainly a great talent in her own right. She had just come off playing Tuptim on Broadway in The King and I and would soon go back to Broadway in Kismet.

Despite that Doretta and Mario made some beautiful music together. Especially with the title song and Doretta sings a beautiful version of Cole Porter's You Do Something to Me.

I actually rather liked the premise of this film. Mario Lanza, opera star gets drafted into the army where by the merest of chance he gets an opera loving sergeant James Whitmore who has an aspiring singer for a sister. That would be Ms. Morrow.

Put them together with a whole lot of situations that come up in military service comedies and you have Because You're Mine.

It's not a bad film, not particularly great. But a rut is a rut is a rut.

With Kathryn Grayson refusing to work with him again, Mario Lanza has a new leading lady in "Because You're Mine," a 1952 film which also stars Doretta Morrow, James Whitmore, Paula Corday, Jeff Donnell, and Spring Byington.

Lanza is a great opera star, Renaldo Rossano, who gets drafted into the army. Fortunately for him, his commanding officer, Sgt. Batterson (Whitmore) is a fan, so Rossano has it pretty easy.

Batterson is also trying to promote his sister as a singer. Renaldo falls for her. His prima donna back at the opera house (Paula Corday) will have something to say about that.

Broadway star Doretta Morrow is perky, and while not as pretty as Grayson, sings beautifully. Lanza was not very nice to her - that's putting it mildly - but apparently eventually apologized.

Unhappy making this film after his triumphant "The Great Caruso," Lanza gained weight throughout the film so he's trim in one scene and chunky the next.

It's a shame he felt that way - the film is pleasant enough, and he sings like a dream, doing a segment from "Il Trovatore," the "Addio" from "Rigoletto," the end of "Cavalleria Rusticana," the "Our Father," the title song, "Because You're Mine," and a very impressive "Granada." Not only does he impress with his glorious high notes, he does some very lyrical and soft singing as well.

James Whitmore moves into the comedy of his role easily, and Spring Byington is delightful as a general's wife who needs Renaldo to sing at a reception.

Very pleasant and a must for opera and Lanza fans.