The other night I decided to unwind by watching Because You're Mine in its entirety. I was surprised by how much I enjoyed it! To be sure, it's not in the same class as The Great Caruso, but it's by no means inferior *as a film* to That Midnight Kiss and The Toast of New Orleans ─ and it's a lot more satisfying vocally and musically than those first two movies. For a start, there's the very well-sung Addio alla Madre, the exciting Granada, and an extremely moving Lord's Prayer. Other points in its favour: Mario acts well, the _script_ is actually rather witty in places, Doretta Morrow is a *much* better actress and singer than Kathryn Grayson, and James Whitmore's an excellent co- star. The pace of the film is also good (if only the meandering Seven Hills of Rome had got that aspect right!), and Lanza at least *looks* as though he's having fun. I loved the sweet scene near the beginning when he visits his mother (Celia Lovsky ─ another of the film's assets), and I was amused by the photo of him on the mantlepiece as the Duke in The Great Caruso, not to mention the coincidence of his Mamma telling him to walk with God. Incidentally, it's amazing how slim Mario is in certain scenes (e.g., the Addio alla Madre scene, and the early scene with Paula Corday). Looking as he does here, he would have made a suitably youthful and romantic Student Prince.

Hi Tony: No, it wasn't Marni Nixon who provided the voice this time (though, interestingly, Ms. Nixon was in the chorus at several of Lanza's RCA sessions in 1956). Peggy Bonini sang for Paula Corday. Ms. Bonini, whom I believe is still alive, was a lyric soprano with the New York City Opera from 1954 to 1969. I like Doretta Morrow too and, in fact, I was aware of her voice even before that of Lanza! Her 1953 recording of Kismet (with the magnificent Alfred Drake) was always being played at our house when I was a child. Incidentally, it's a myth that Doretta and Mario never got on. As Armando points out in his book, Lanza did behave very rudely to her in the beginning, but after realizing how offensive he'd been to her, apologized profusely for his behaviour. They ended up getting on very well together. As Doretta herself remarked, Once you get to know him, how can you possibly stay mad at him? (p. 153 in Armando's book). For some reason, however, this point always seems to be ignored by other biographers. Al Teitelbaum also did his bit to encourage the myth that Lanza and Morrow never got on by stating on the 2005 BBC Singing to the Gods documentary that Mario had eaten garlic before one of their love scenes for no other reason than to aggravate her. In fact, it was *Joan Fontaine* who got the garlic treatment (and, apparently, as a joke). The Lanza-hated-Morrow myth is about as pervasive as the other hoary old story about Mario not making The Student Prince simply because he was too fat to get into the costumes!

Speaking of Doretta Morrow, I disagree with Derek Mannering's assertion that in Because You're Mine her acting skills left a lot to be desired. I find her performance quite believable. She has a slightly unusual way of speaking (hard to describe, really), but unlike, say, Grayson she never overacts. Others have criticized the supposed lack of chemistry between her and Lanza. But watching the film again the other night, I didn't sense that at all.

For me, this was a fun movie on its own, removed from its Lanza filmography niche. What a great vehicle for James Whitmore and Doretta Morrow.   Perhaps not so much for Mario Lanza, but that sense comes, I think, from having more information about him and about the point where he was in his career, as well as  being totally immersed in his music before watching the movie.  I saw it for the first time (no ulterior reference intended) just a few weeks ago. What I loved. The humor, The music, of course. From Because You're Mine (which I hadn't know, got the Oscar nomination for Best Musical, Original Song in 1953.), Granada, the Lord's Prayer or Addio alla Madre. We see (and feel) the scope of the Voice.  The pace, as tonytenor pointed out