Quando Eu Te Amei

With the success that Mario Lanza and Kathryn Grayson had in That Midnight Kiss, MGM knew it had a box office team of appeal. The following year the two of them moved from contemporary Philadelphia to pre-World War I, New Orleans.

People paid their money to hear Mario sing and really didn't care about the plots of his films. Lanza was cast as an opera singing truck driver in That Midnight Kiss, as an opera singer drafted into the army in Because You're Mine, and the greatest opera singer of all in The Great Caruso. I think we can see a pattern forming here.

In The Toast of New Orleans Lanza plays a shrimp fisherman who works on the boat with his uncle J. Carrol Naish. When opera singer Kathryn Grayson comes to town, Lanza boisterously and impulsively joins her in a duet of Be My Love. Her manager and New Orleans opera kingpin, David Niven is as impressed as everyone else was in 1950 with Mario's voice. He's even willing to overlook to some extent the fact he's moving in on Grayson.

Acting wise The Toast of New Orleans is no strain on anybody. Mario and Kathryn play a pair of singers and Mario as in all of his films, just played himself. It's interesting that the only times he attempted to play a role from classic operetta, The Student Prince and The Vagabond King it didn't work out for him.

As for David Niven, he's as debonair and charming as he always was. Niven carried more films on the strength of his charm than any other star in the sound era.

But no one worried about acting and a plot in this film. Like That Midnight Kiss, The Toast of New Orleans has a nice mixture of classical opera and some good songs by Nicholas Brodzsky and Sammy Cahn to round out a very full score. One of the songs, Be My Love, became Mario Lanza's signature song, his biggest selling record on RCA Victor Red Seal label. You could not go ANYWHERE in 1950 without hearing Be My Love coming out of some radio. Be My Love was nominated for Best Song in 1950, but lost to Mona Lisa.

Norman Taurog directed Mario in this film, he had previously won an Oscar for Skippy and had directed Spencer Tracy to his second Academy Award in Boy's Town. Taurog was an interesting choice for a director to pilot a picture with a personality like Lanza. Later on Taurog would end his career directing nine of Elvis Presley's feature films, another instance of him directing a mega-pop personality successfully.

The Toast of New Orleans is for Mario Lanza fans everywhere and this review is dedicated to my father who was a big fan.

I've watched this film more than 50 times, and as much as I watch as much as I like best. Mario Lanza was just unique, I agree that he did not educated his voice enough, but his natural voice was so wonderful, none of the best tenors hadn't his magnificent voice, is enough to know that Mo. Toscanini said that was "The Voice of the Century". This film is fresh and light and romantic, Mario's performance of "Be my love" as a duet is nice too, and "Madame Butterfly duet" is the greatest I've ever heard. David Niven, J. Carroll Naish and Rita Moreno, each one in the role they played are just wonderful too. Mario Lanza should be in the opera stage but if so, common people didn't had the opportunity to be delight with opera.

Mario Lanza's second film bursting with energy and musical talents with Kathryn Grayson in old New Orleans. Mario is discovered by David Niven and teamed up with Kathryn and they are the Toast of New Orleans. Mario is the scruffy seaman and his partner J. Carrol Nash, who provides the comedy. The music includes arias from Aida, Madame Butterfly, and La Boheme, etc. Mario does imitations of various people and this is a delight to all. The glorious voice of Lanza still lingers on!

Hokey almost beyond belief but also bright and colorful this can be enjoyed in a mindless way. The story is meaningless anyway since the picture serves merely as an excuse to highlight both Kathryn Grayson and Mario Lanza's voices and on that basis it succeeds well. As for the rest of the movie it provides a very young Rita Moreno one of her first roles of any size as Mario's wharf-side spitfire girl, she performs well and has a nice dance number with James Mitchell. David Niven does what he can to make something out of his nothing role as Kathryn's benefactor and his dignity does much to balance out the overacting hamminess of J. Carrol Naish's Uncle Nicky. The real reason to watch this though is a great deal of good music highlighted by the beautiful Be My Love.

This is without a doubt the most consistently cheerful of Lanza's movies, and a real hoot. Mario's hitherto unknown comedic skills are a big surprise, and the supporting cast of J Carroll Naish and David Niven is wonderful. I wish I could say the same for co-star Kathryn Grayson, but her shrill coloratura, grating vibrato and minimal acting skills make her a poor match for Lanza.

This is the film that introduced Lanza's signature song, Be My Love. The scene in which the song is first sung (as a duet between Grayson and Lanza) is great fun to watch, with both singers trying to outdo the other. The Madama Butterfly Love Duet scene is even better, as Lanza throws caution to the wind and shows Grayson the true meaning of PASSION.

Were it not for Grayson, the movie would merit the highest evaluation. Despite this one casting flaw, Toast of New Orleans is an excellent vehicle for newcomers to opera. Like the man himself, Lanza's screen character's lusty ways and thorough lack of pretentiousness are a breath of fresh air, and he sings impressively throughout. Highlights include the Libiamo (much better than his commercial recording), a gorgeous Bayou Lullaby and the aforementioned Butterfly Love Duet.

Following this movie, Lanza would go on to star in The Great Caruso, the pinnacle of his movie career and the film that has influenced more singers than any other in cinematic history.