Da quando sei mia

Some people think that this is the best of Mario Lanza's 10 film appearances. It actually had a good story behind it.

Lanza plays an Elvis-type role (G.I. Blues) as he goes into the Army. He hits the jackpot immediately as his drill sergeant is a big fan, and he also wants to get his sister on stage. Lanza, of course, falls for the sister, Doretta Morrow, in her only movie role.

Their duet, Because You're Mine, was nominated for an Oscar, but lost to High Noon (Do Not Forsake Me, Oh My Darlin').

It was a good story of love found, lost, and found again, with a bucket-load of Lanza songs.

Because You're Mine was Mario Lanza's fourth movie, and was much criticised on its release as artistically a step backwards for the celebrated tenor. Certainly, coming straight after The Great Caruso it suffers badly in comparison with that considerable achievement, but is Because You're Mine really THAT bad?

Actually, this is a fun movie. It lacks the polish of That Midnight Kiss and the sheer high spirits of Toast of New Orleans, but vocally at least this film has more going for it than either of those two movies. Highlights include a definitive Granada (in a key one and a half tones higher than the Three Tenors have ever dared to attempt!), a moving Lord's Prayer and several pleasing operatic and popular selections. My only regret is that All the Things You Are was inexplicably cut from the movie. One of Lanza's loveliest recordings, it was recently restored on the Mario Lanza at MGM soundtrack CD released by Rhino.

The film also boasts a fine co-star in James Whitmore, who provides much of the movie's comic relief, and a pleasant leading lady in Doretta Morrow of the Broadway Kismet fame. She's no great shakes as a singer, but then - unlike Kathryn Grayson in the earlier movies - she isn't meant to be.

Lanza hated making this movie, and did his best to sabotage it, gaining a huge amount of weight in the vain hope that this would discourage the producers from going ahead with it. As a result, Lanza's weight varies from 240 pounds to 159 pounds (often in successive scenes), a distracting but intriguing sight.

But none of this need detract from your enjoyment of a pleasant movie that includes some agreeable singing from the finest tenor of his generation. And you can always watch Serenade (Lanza's next movie) straight after it for a reminder of what this man could do with a much meatier tale.

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.

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.

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.