Starring Lana Turner, Enzio Pinza, Marjorie Main, and Cedric Hardwicke
Directed by Don Hartman
Music by Harold Arlen; Lyrics by Dorothy Fields
This week, we dig into the MGM vaults to check out two of their lesser-known films from the 1950's. This was the first of two attempts to turn stage and opera star Enzio Pinza into a movie idol, though it was the second released. The previews for this one went over so badly, they rushed his second movie, Strictly Dishonorable, out first. Despite that not doing well, they still released this one, pushing it into the lower half of double bills. Did it deserve that fate, or should it be rediscovered? Let's begin in 1939 Italy, as "Mr. Imperium" (Pinza) waits to see singer Fredrica "Fredda" Brown (Turner) do her act, and find out...
The Story: Mr. Imperium manages to get into Fredda's dressing room. She's not impressed, but he manages to charm her anyway when she sees him in the balcony adjourning hers. He shows her the Italian countryside and tells her about his little five-year-old son. He also admits that his real name is Prince Alexis, and will inherit the throne on his father's death. That comes all too soon when his father becomes sick and he has to join him. He gives a note to the family butler Bernand (Hardwicke) intended for Fredda. Bertrand merely claims that the prince has seduced and abandoned her.
Twelve years later, Fredda is a major movie star. Alexis, however, is no longer king, thanks to a revolution in his country after World War II. He arrives at a Palm Springs resort where Fredda is considering a proposal from her producer Paul Hunter (Barry Sullivan) and to decide who should play a king in her next movie. They reconnect when he takes the room next to hers. She thinks he could be the king in her film, and he thinks she could be the queen in his life. Trouble is, his country has decided it needs a king after all. His son is being groomed for the role, but he could end up being the target for assassins if his father doesn't step in.
The Song and Dance: The song and the MGM largess are really all this one has going for it. Pinza was a Metropolitan Opera star who made a splash on Broadway in the original cast of South Pacific. He was such a hit, MGM snapped him up to be their next leading man in musicals. Turner also ended up in a few musicals in the early 50's, despite not being a singer or dancer by any stretch of the imagination. At least they're surrounded by a gorgeous production, with fabulous full-skirted gowns for Turner, elegant suits for Pinza, and glowing cinematography in Italy and Palm Springs. Marjorie Main and Debbie Reynolds make the most of their scenes as the owner of the California hotel and her nosy niece who suspects something is going on between the movie star and the mysterious "Mr. Imperium."
The Numbers: We kick off with the rather absurd nightclub number "My Man and My Mule," which Fredda performs while perched on the back of a cardboard mule cut-out. Alexis implores Fredda to "Let Me Look at You" when he realizes she has the balcony next to him. "Adiamo (Let's Go)" is the appropriately bouncy ballad Fredda and Alexis sing during a donkey cart ride in the countryside. Real-life guitarists The Guadalajara Trio accompany Alexis and Fredda as they duet on the Spanish-language standard "You Belong to My Heart."
Trivia: Turner was dubbed by Trudi Erwin.
What I Don't Like: Apparently, the movie went through a difficult production, and it shows on the lackluster performances from Pinza and Turner. He's trying too hard to be charming and witty; she looks like she'd rather be anywhere else. They have no chemistry whatsoever. You'd never believe that these two would seek each other out at all, let alone after twelve years. In fact, he apparently tried to hit on her and she was having none of it, which explains the frosty tone between the two.
There's also the fact that he's too old for her, and frankly for the role he's playing. Main, Reynolds, Hardwicke, and Sullivan are all capable of doing far more than their small and rather thankless roles allow. And as lovely as the costumes are, you'd never know it was 1939 in the first half if they didn't tell you. It looks like 1951 for the entire film.
The Big Finale: For die-hard opera nuts or Turner fans only.
Home Media: Thanks to this being in the public domain, it's pretty easy to find anywhere. It's currenly streaming for free with commercials on Tubi.
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