When this one was released I was still dazzled by the sleek beauty of the line of 1956 Lincoln automobiles. So, in the opening sequence, when Joan Fontaine, with her protege, Vince Edwards (playing a hot-headed boxer), in a "long, low, luxurious Lincoln" convertible (top down, of course), stop by the side of a vineyard where Mario Lanza is laboring (quite without any sign of perspiration, by the way...must have been an unseasonably cool day, despite the blazing sunshine!), to ask directions, I was hooked. The fire-engine red Premiere convertible is as lovingly photographed as the stars and it wasn't until Sarita Montiel, playing Mario's true love, Juana, makes her entrance, that I ceased wishing that resplendent automobile would again appear to do justice to the use of Technicolor (oops!), I mean, Warnercolor, in this soap-with-music.
Sarita, though her list of Spanish language films is quite awesome, never enjoyed much of a career in Hollywood films. (We weren't nearly as accepting of non-Anglo leading ladies back then.) She is just gorgeous in this one and her playing as the fiery and passionate (what else?!?) Juana helped Mario convince us that he was a man who could be snatched from the diabolical and devastating ensnarements of Joan Fontaine's spoiled heiress, Kendall Hale. The introduction of her character, when Mario flees in disgrace to Mexico, permits a scenic and worth-the-price-of-admission tour of Mexican locales.
The music is fairly well presented in this one. Not being an opera connoisseur, I am not qualified to comment knowledgeably on Mr. Lanza's renditions of operatic excerpts, but I have always found his tenor voice to be among the most listenable (So many of them just bleat!), and his constant reprising of the title song throughout this movie did not grow tiresome, at least to these ears.
A side note: Mario's father, quite a dear old gentleman, who had remarried, lived down the street in the Huntington Palisades section of Pacific Palisades, in southern California, where my family owned a home. I frequently saw Mario's Cadillac parked in his father's driveway, but, alas!, never caught a glimpse of the golden-voiced Mario himself, who was, you may be sure, his father's pride and joy.
Sarita, though her list of Spanish language films is quite awesome, never enjoyed much of a career in Hollywood films. (We weren't nearly as accepting of non-Anglo leading ladies back then.) She is just gorgeous in this one and her playing as the fiery and passionate (what else?!?) Juana helped Mario convince us that he was a man who could be snatched from the diabolical and devastating ensnarements of Joan Fontaine's spoiled heiress, Kendall Hale. The introduction of her character, when Mario flees in disgrace to Mexico, permits a scenic and worth-the-price-of-admission tour of Mexican locales.
The music is fairly well presented in this one. Not being an opera connoisseur, I am not qualified to comment knowledgeably on Mr. Lanza's renditions of operatic excerpts, but I have always found his tenor voice to be among the most listenable (So many of them just bleat!), and his constant reprising of the title song throughout this movie did not grow tiresome, at least to these ears.
A side note: Mario's father, quite a dear old gentleman, who had remarried, lived down the street in the Huntington Palisades section of Pacific Palisades, in southern California, where my family owned a home. I frequently saw Mario's Cadillac parked in his father's driveway, but, alas!, never caught a glimpse of the golden-voiced Mario himself, who was, you may be sure, his father's pride and joy.