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Yes, Giorgio

  • 1982
  • PG
  • 1 घं 50 मि
IMDb रेटिंग
3.8/10
847
आपकी रेटिंग
Yes, Giorgio (1982)
A famous opera singer, Giorgio Fini, loses his voice during an American tour. He goes to a female throat specialist, Pamela Taylor, whom he falls in love with.
trailer प्ले करें2:30
1 वीडियो
17 फ़ोटो
कॉमेडीरोमांससंगीतमय

अपनी भाषा में प्लॉट जोड़ेंFamous opera singer Giorgio Fini loses his voice during an American tour. He goes to female throat specialist Pamela Taylor and falls in love with her.Famous opera singer Giorgio Fini loses his voice during an American tour. He goes to female throat specialist Pamela Taylor and falls in love with her.Famous opera singer Giorgio Fini loses his voice during an American tour. He goes to female throat specialist Pamela Taylor and falls in love with her.

  • निर्देशक
    • Franklin J. Schaffner
  • लेखक
    • Anne Piper
    • Norman Steinberg
  • स्टार
    • Luciano Pavarotti
    • Kathryn Harrold
    • Eddie Albert
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    3.8/10
    847
    आपकी रेटिंग
    • निर्देशक
      • Franklin J. Schaffner
    • लेखक
      • Anne Piper
      • Norman Steinberg
    • स्टार
      • Luciano Pavarotti
      • Kathryn Harrold
      • Eddie Albert
    • 24यूज़र समीक्षाएं
    • 7आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 1 ऑस्कर के लिए नामांकित
      • 5 कुल नामांकन

    वीडियो1

    Official Trailer
    Trailer 2:30
    Official Trailer

    फ़ोटो17

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 10
    पोस्टर देखें

    टॉप कलाकार43

    बदलाव करें
    Luciano Pavarotti
    Luciano Pavarotti
    • Giorgio Fini
    Kathryn Harrold
    Kathryn Harrold
    • Pamela Taylor
    Eddie Albert
    Eddie Albert
    • Henry Pollack
    Paola Borboni
    Paola Borboni
    • Sister Theresa
    James Hong
    James Hong
    • Kwan
    Beulah Quo
    • Mei Ling
    Norman Steinberg
    • Dr. Barmen
    Rod Colbin
    • Ted Mullane
    Kathryn Fuller
    • Faye Kennedy
    Joseph Mascolo
    Joseph Mascolo
    • Dominic Giordano
    Karen Kondazian
    Karen Kondazian
    • Francesca Giordano
    Leona Mitchell
    Leona Mitchell
    • Leona Mitchell
    Kurt Adler
    • Kurt Adler
    Emerson Buckley
    • Emerson Buckley
    Alexander Courage
    • Conductor, Turandot
    Paul Marin
    Paul Marin
    • Nello Jori
    Patrick Cranshaw
    Patrick Cranshaw
    • Man on Gurney
    Steven Echols
    • James
    • निर्देशक
      • Franklin J. Schaffner
    • लेखक
      • Anne Piper
      • Norman Steinberg
    • सभी कास्ट और क्रू
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    उपयोगकर्ता समीक्षाएं24

    3.8847
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    फ़ीचर्ड समीक्षाएं

    yonhope

    Another singer makes a movie. Worth seeing one time.

    Hi, Everyone,

    I was fortunate enough to work as an extra in this movie. I was a doctor in the background in a hospital scene. The extras who worked with Pavoratti liked him. He was a pleasant, unassuming guy who spent a lot of time at the craft services table (snack table).

    There was one scene in the movie that had one quote which made the movie worth seeing from my point of view. In a restaurant setting, Pavoratti's character takes his date into a fancy, expensive dining establishment. He has rented the entire restaurant and they are dining alone in a huge room with musicians playing for them alone.

    The girl comments about how odd it is to be dining in such an enormous room without other diners present.

    I won't spoil it for you by giving his quote that makes this scene so wonderful. He says something that is one of my all time favorite movie quotes.

    He is a charming personality and I would have liked for him to make other film appearances. He could have been like a Burl Ives character who could have made movies that were not musicals as well as operatic films.

    Tom Willett
    7rondine

    It's just a movie!

    ONCE UPON A TIME, there were different types of movies. These different movies coexisted even though each one had something different to offer....

    This seems obvious at first, but I thought I'd point it out during this review because it seems a few people may have forgotten. This is just a fun movie for Pavarotti fans. That's all it is. It doesn't claim to be anything else or anything grander. People who deride it as something that fell short of a promise aren't seeing the whole picture- literally. After all, Hollywood makes movies all the time that are shameless vehicles for people (Bodyguard or The Preacher's Wife w/Whitney Houston are 2 examples that spring to mind.)

    First I'd like to address the movie as a vehicle for Pavarotti. There are worse things in this world-- and worse movies. The singing is fabulous and the selection of arias is fun. The movie starts with Schubert's Ave Maria and then Leoncavallo's Matinatta. Pav sings arias from La Gioconda, Manon Lescaut, and Turandot but also sings popular music such as "I left my heart in San Francisco" and the song that was nominated for an Oscar & Golden Globe, "If we were in Love" w/music by John Williams & lyrics by Alan & Marilyn Bergman- all 3 previous Oscar winners.

    The story isn't that bad. It was built for Pavarotti so of course it's not going to be something that's profound or universally applicable to the average movie viewer. It's a story of a famous opera singer who was traumatized by a bad night at the opera years ago. When asked to sing again at the same place, the "MET" in NYC, he loses his voice from fear. Doctor Pamela (or Pah-MAY-lah in Italian:)) played by Kathryn Harrold- gives him a shot to cure his psychosomatic reaction. He offers her the chance to have a fling with him and she reluctantly accepts.

    They embark on an affair, she knowing he's married & promising not to fall in love with him and him thinking she will be just another woman. Despite all that, they fall in love (thus the song, "IF we were in love") and with her help, he overcomes his fear & goes back to the MET where he triumphs. I won't tell how it ends, but it's fairly predictable. Which isn't always a bad thing.

    The performances in this aren't that bad. Pavarotti (who plays Giorgio Fini) isn't an actor, so if you're expecting a Spencer Tracy or Tom Hanks performance, YOU are deluded, not Pavarotti. He knows he's not a thespian. What he is is cute, charming & charismatic. He is having fun himself, and if you can just let yourself have fun too, it's not so bad. One funny line is when he tells Pamela (Harrold) that she's a "thirsty plant, Fini can water you!" and of course, she says, "I don't want to be watered on by Fini!" Kathryn Harrold is very sweet and does a nice job as a semi-uptight woman who learns from this extravagant man to live a little. One of my favorite lines in the movie is: "Life never has to be life size." And there's Eddie Albert who does his usual good job as Fini's manager. There are several "themselves" cameos by real conductors, singers, etc. and it is filmed on location at the Metropolitan Opera at Lincoln Center.

    If you like opera, if you like Pavarotti, or if you can just let yourself go & enjoy a "little fling" just like he proposes in the movie- then you can enjoy this movie for what it is. I know I do- EVERY time. :)
    4dmhcaptain

    If you love Pavarotti singing, it is OK

    The singing appears to be found on most of his greatest hits or compilations. There does not appear to be any new vocal material. Kathryn Harrold is definitely eye catching and if I remember properly, Eddie Albert seems to be doing a reprise of Oliver Wendell Douglas. Nice to watch, simply to say you have watched it. Recall though, operatic acting is VERY different from screen acting. Saw him at the Met in an opera in 1998 at a time his health made every performance a question mark as to who would actually be singing that night. I got lucky, but I did sweat a bit. When I got my Playbill with no insert, I was a little kid at Christmas. That was a man in his element. In front of a camera, Pavarotti is great for talking and discussing. Not acting. Simply not trained for it.
    5TheLittleSongbird

    Not that bad, okay for what it is

    Judging from what was said about 'Yes Giorgio' at the time of its release, this reviewer was expecting utter rubbish and a film bad enough to be among the worst films ever made.

    Finally watching it, as a singer myself, a life-long opera enthusiast and as someone who likes Luciano Pavarotti very much, 'Yes Giorgio' is not a great film, or even a good one. However, to me it was not that bad. Taken for what it is, which is essentially a vehicle for Pavarotti, it's okay, with some huge flaws but also enough charms to make it worth a one-time-only watch.

    Starting with the positives, 'Yes Giorgio' is beautifully shot and contains some positively gorgeous scenery, particularly towards the end. The music, which contains operatic favourites "Nessun Dorma" (Puccini's 'Turandot'), "Una Furtiva Lagrima" (Donizetti's 'L'Elsir D'Amore'), "Cielo e Mar" (Ponchielli's 'La Gioconda') and "La Donna e Mobile" (Verdi's 'Rigoletto') and popular classical songs "Ave Maria" (the Schubert version) and "O Sole Mio", is enough to transcend even non-opera fans to heaven, while the charming music score and the justly Oscar-nominated "If We Were in Love" complement beautifully.

    Pavarotti as ever sounds absolutely glorious throughout the whole duration of 'Yes Giorgio'. All the operatic arias (especially "Nessun Dorma" and "La Donna e Mobile", "Una Furtiva Lagrima" is also quite heartfelt) suit him perfectly as do "Ave Maria" and "O Sole Mio", his endearing personality too shines. Eddie Albert gives his usual solid performance, he's understated but looks as if he's having fun too. Although Pavarotti is the thing that people will remember, Albert gives the best overall performance in the film.

    Unfortunately, although Pavarotti sounds glorious and there is no doubting that he has a personality that radiates, his acting (which admittedly, with some exceptions, never was a strength of his) looks awkward and the amount of preparation and polish that went into the singing doesn't translate in the line delivery. He surprisingly (although he was not the best of actors, he always did have a charming rapport with his leading ladies) shares very little chemistry with the female lead Kathryn Harrold, or at least not a very natural or obviously amorous one. The romance is not very well written, being contrived and cloying, and Harrold's unbearably obnoxious performance is an even larger part of the problem, her character being written and performed in a way that makes one wonder what did Pavarotti's character see in her.

    The script has some sweet and amusing moments, but too many forced and nauseatingly sugary ones as well. The romantic dialogue was particularly squirm-inducing, so much so it beggars belief how it was approved beyond first draft. With the story, the predictability- with a very old-fashioned premise that worked just fine before with the right execution but not so much now- isn't the issue, but the erratic pacing and thin structure were issues and even worse was that it felt more an excuse to string along arias and classical favourites to show off Pavarotti's voice and talents. Sure the Mario Lanza films can be seen as guilty of this too, but the acting was more consistent in those films with better leading ladies and while the stories were among the weaker assets of most they were handled with more charm and emotion and easier to relate to, never did they feel exploitative in the way 'Yes Giorgio' sometimes did. With the acting, the only really consistently good performance came from Albert, the rest of the supporting roles are underwritten and the rest of the performers can't do anything with the material.

    Overall, okay for what it is and not as bad as its reputation but at the same time not particularly great or good. 5/10 Bethany Cox
    3brower8

    No, Pavarotti!

    An attempt at crossover to appeal to those who don't appreciate opera, exploiting the fame of one of the greatest opera singers of all time, it fails badly. All that is desirable in this movie is the opera, and one can best find a recording of Pavarotti doing what he does best. The plot revolves around a romance with a doctor who heals his throat which has suddenly become troublesome.

    Only because it came out so long ago is it largely forgotten. Like most opera stars, Pavarotti is a decent actor and has stage presence aside from his singing talent, and nothing that he does in this movie negates that opinion. His culpability lies in not rejecting the horrid script. Perhaps because great operas can have silly stories he tolerated this one.

    Who knows, except those involved? Do we need to know?

    The plot is weak and trite. This movie is like trudging through cold mud to pick off a few juicy tidbits (the opera music) hanging above the mud. We have other ways in which to appreciate the great Pavarotti, and this one isn't one of them. Just get one of his many superb opera or vocal-concert recordings and recognize the master tenor where he is most suited.

    It would be one of IMDb's 100 Worst Films if more people remembered it and gave it some votes; it would fit neatly in a list including several efforts of singers, actors, models, and athletes to exploit their popularity through film. Very often it all goes badly wrong due to incompetent acting or a horrible script. Pavarotti would have been a decent actor had he not shown such a superb voice. However effective he is as an actor (opera requires it), not even Jimmy Stewart could have rescued this turkey of a script.

    I give it a polite 3 of 10 because someone may have become a fan of Pavarotti's singing and of opera because of this movie.

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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The movie's star, Luciano Pavarotti, refused to work more than 12 hours a day and also declined to work after 8 pm. On-set, he insisted that he only be filmed in angles that made him look smaller. Allegedly, he made so many demands that crew-members began to jokingly call the film "No, Luciano" (a parody of the actual title ''Yes, Giorgio'').
    • भाव

      Giorgio Fini: Pamela, you are a thirsty plant. Fini can water you.

      Pamela Taylor: I don't want to be watered on by Fini.

    • इसके अलावा अन्य वर्जन
      There is one scene known to have been cut out of the film. When Giorgio has dinner with Pamela at the Copley Plaza, he dances with her and dips her. This scene is present on the color lobby cards for the film.
    • कनेक्शन
      Featured in At the Movies: The Long Good Friday/Class of 1984/Lola/Pink Floyd The Wall (1982)
    • साउंडट्रैक
      If We Were In Love
      Lyrics by Alan Bergman and Marilyn Bergman

      Music by John Williams

      Performed by Luciano Pavarotti

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल

    • How long is Yes, Giorgio?
      Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 24 सितंबर 1982 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषाएं
      • अंग्रेज़ी
      • इतालवी
    • इस रूप में भी जाना जाता है
      • Geliebter Giorgio
    • फ़िल्माने की जगहें
      • सैन फ़्रांसिस्को, कैलिफोर्निया, संयुक्त राज्य अमेरिका
    • उत्पादन कंपनी
      • Metro-Goldwyn-Mayer (MGM)
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    बॉक्स ऑफ़िस

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    • बजट
      • $1,90,00,000(अनुमानित)
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      • $22,79,543
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    • चलने की अवधि
      1 घंटा 50 मिनट
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      • Color
    • ध्वनि मिश्रण
      • Dolby Stereo
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      • 1.85 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Yes, Giorgio (1982)
    टॉप गैप
    By what name was Yes, Giorgio (1982) officially released in India in English?
    जवाब
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