Così parla il cuore

The music is, of course, the reason to watch this movie. Jose Ferrer does an admirable job of portraying the composer Sigmund Romberg, and an all-star cast performs some of Romberg's tunes.

Especially noteworthy is Rosemary Clooney, singing, most appropriately, the song "Mr. and Mrs." with her then-husband, Ferrer. "Deep in My Heart" was their only on-screen performance together.

Other memorable moments feature brothers Fred and Gene Kelly dancing and Ferrer performing a one-man show. Altogether, the film is long and somewhat slow but the music makes it worth watching.

This film is a curiosity more than anything else. Like most of MGM's alleged composer biographies, it distorts the details of the composer's actual life (in this case Broadway operetta composer Sigmund Romberg), but hangs all of his magnificent songs on an all-star coat rack. And there lies the attraction: seeing Gene Kelly in his only on-screen appearance with real life brother Fred; Jose Ferrer performing with real life bride Rosemary Clooney (in all of her stunning beauty); and his friend and business compatriot Helen Traubel trilling away-- most effective in the beautiful and uncluttered "Softly" and the lush "Aufwiedersen" for the ears of a dying Merle Oberon (was librettist Oberon supposed to have a crush on composer Ferrer?). Also choice is Ann Miller's Charleston tap dancing (and she looked great in that red dress); and super-babe Cyd Charisse in an 'Arabian Nights' ballet with James Mitchell (maybe the single most erotic dance performed on film): "One Alone--" in an incredibly sexy, nearly all-lace gown.

Way back in the day when the big studios did biographical pictures about composers and songwriters all they were was an excuse to do a lot of musical numbers by that composer. The real lives of the composers were either too dull like Jerome Kern or like Cole Porter way too naughty to be discussed in earnest.

Sigmund Romberg hardly had a dull life and I wish that some of it would have been shown. Watching this film you would never know he was Jewish and came to this country to both escape the draft for the Hapsburg army and because of the vicious anti-Semitism in Vienna as typified by Vienna's mayor, Karl Lueger a precursor of Hitler. I think that's a theme that should have been explored and is crucial to understanding him.

The real Romberg who wrote those wonderful Viennese schmaltz melodies was a lot like the Jewish peddler in Ship of Fools, celebrating that culture which discriminated against him. Remember he was proud and rightly so of the Iron Cross he won in World War I. Romberg fortunately for him and the world of songwriting was not half the fool that the peddler was.

That being said, Romberg is delightfully essayed by that most castable of players Jose Ferrer. Ferrer with that impeccable diction, courtesy of the Triangle Club at Princeton, played every kind of nationality in his screen career and he's great here. He has a great monologue in this where he's describing a current project where he plays all the parts in the musical he's writing at the moment.

Merle Oberon rings true with her portrayal of Dorothy Donnelly who collaborated with Romberg on Student Prince and My Maryland. She was crushing on Sigmund big time, but Ferrer only had eyes for Doe Avedon who played his beloved Lillian Harris.

Operetta plots are so silly that productions are hardly ever done today. Criticism of such work as Maytime, Student Prince, Desert Song and New Moon rightly belong in those films, but speaking as someone who likes good melodies, Sigmund Romberg certainly composed them in abundance. MGM dragged out a good group of performers to do them. A particular favorite here is Tony Martin singing Lover Come Back to Me from the New Moon.

One of the reasons that this film came out in 1954 was also because Romberg had a posthumous hit running on Broadway at the time. The Girl in Pink Tights opened that year with lyrics done by Leo Robin to some unpublished melodies that Romberg had written.

My parents when they were alive remembered seeing Sigmund Romberg in concert. The film at the end gives a glimpse of Romberg conducting an orchestra as he did often in the last 15 years of his life and Ferrer does ring true with Romberg the performer. Also performing was Helen Traubel, Wagnerian soprano who was also enjoying a good run as Jimmy Durante's, Margaret Dumont. MGM took advantage of her small screen popularity by casting her in Deep In My Heart.

Don't expect the life of Sigmund Romberg here, but be prepared for a great melodic treat.

"Deep in My Heart" is a 1954 MGM musical starring Jose Ferrer. It purports to tell the story of Sigmund Romberg, and while much I'm sure is left out, the film is filled with not only great music, but great singing.

Well directed by Stanley Donen, the movie shows us Romberg trying to fit in with the musical comedy style, but really having a talent with a more classical, operetta-like bend.

Not only is the music beautiful, but it is exquisitely sung by some of the best singers of that era. My favorite song, "Softly, as in a Morning Sunrise" from "New Moon" is initially sung by the great Wagnerian opera star, Helen Traubel.

And be still my heart, my second favorite song, "Lover Come Back to Me" is sung by Tony Martin and Joan Weldon. Martin was for me the best tenor of that time, better than Allan Jones, James Melton - absolutely phenomenal.

MGM pulled out all the stops, with Cyd Charisse and Ann Miller taking part in "One Alone" and "It" respectively; Vic Damone is on hand for a well-sung "The Road to Paradise," and he's joined by Jane Powell for "Will You Remember" from "Maytime," which in the beginning of the film is the operetta Romberg keeps insisting he wants to do.

Gene Kelly and his brother Fred Kelly sing and dance to "I Love to Go Swimmin' with Wimmin" - you a see from the titles that Romberg had a versatility. Howard Keel a strong "Your Land and My Land."

The song "Mr. And Mrs." is performed by real-life Mr. And Mrs. Jose Ferrer and Rosemary Clooney. One number after another, a fine film for a music lover.

The cast is interesting - Merle Oberon as Romberg's writing partner Dorothy Donnelly, Walter Pidgeon is Shubert, Paul Henried is Flo Ziegfeld, and Dorothy Avedon, who died some months ago, is Romberg's beloved wife Lillian.

All in all, a feast for the ears and eyes, with Ferrer doing a beautiful, energetic job as Romberg, even at one point performing an entire musical at full speed by himself. Very impressive.

A gem from MGM.

I missed this film when it first appeared, and only saw it quite by chance very recently on the TCM channel. I felt it was a rather unappreciated gem that I would like to commend to other IMDb users. It purports to be a biography of early nineteenth century composer Siegmund Romberg. Unfortunately biographies are not Hollywood's strong suite, and this one does not "cut the mustard" as a biography. Romberg was a Central European Jew who came to the U.S.A. as a refugee from the pre-first world war Hapsburg Empire; and made a very successful career as a much admired composer of light music, much of which was coupled with romantic songs written by Dorothy Donnolley for Broadway musicals. Here surely is a great subject for a biography which shows the trauma of being a refugee and the problems of an artist in becoming accepted in a new country with a different language and very different culture. Unfortunately this chance was blown in favour of a script which paraded all the musical stars that MGM could command, presenting re-creations of a series of extracts from his stage successes. However if accepted at this level the film is unusually successful, helped by a great cast and the direction of the often under-rated Stanley Donen. Romberg is remembered for writing light Viennese style romantic orchestral music which was extremely popular in the pre-jazz era, and I was surprised how enjoyable this music made watching the film. For me, and probably others of my generation, the music in more recent musicals does not often compare with that in this film.

One of Romberg's best known stage works was 'The Desert Song', which has been filmed three times, (the 1929 version containing more of Romberg's music), and watching an Arabian Nights sequence featuring Cyd Charise and James Mitchell made me very sad that all colour copies of the 1929 film appear to have been lost (although a monochrome version prepared for TV has survived.)

The background notes above may be helpful to the many people today who have never heard any of Romberg's music, but as a review of this film the following (which alone would not have satisfied the IMDb 10 line minimum criterion) is all that is needed:

This is a perfect film to watch with a life partner, or significant other, at the start of a short vacation together. But it would be better seen in a cinema rather than on TV.