Customer Reviews

That Midnight Kiss [VHS]

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

Mario Lanza makes a very confident screen debut with this movie. The scene in which he first appears - some 15 minutes into the film - is teasingly executed: we hear his voice (singing the Neapolitan classic, Mamma mia, Che Vo' Sape) as co-star Kathryn Grayson enters her home, and - with her (and our) interest aroused - the camera slowly pans to reveal his handsome presence. It's a great moment, helped by the fact that Lanza really does look terrific, especially in comparison with the portly stock tenor we have been watching only minutes earlier.

Lanza has some formidable acting talent to compete with in this movie. That he succeeds speaks volumes about the man's much-underrated acting ability. Appearing in the film are such seasoned veterans as Ethel Barrymore, J. Carroll Naish, Jules Munshin and Thomas Gomez (hilarious as the aforementioned portly tenor). Keenan Wynn is also on hand as Lanza's amusing buddy, and the film also boasts another big musical name: conductor/pianist Jose' Iturbi, who plays himself.

The film is fun, and very competently produced in the grand tradition of MGM musicals. Lanza doesn't have a great deal to sing, but among the highlights are a lyrical Celeste Aida (minus the recitative), the second half of Una Furtiva Lagrima, and Jerome Kern's They Didn't Believe, which is sung as a duet with Kathryn Grayson. MGM was clearly nervous about allowing Lanza too many "heavy" vocal offerings, but they were soon to rectify this with The Great Caruso, just two years later.

The critics were not especially kind to the film - or to the tenor's co-star, the established Miss Grayson - but most were in agreement that it was Lanza who made the picture worth seeing. This is what Newsweek Magazine had to say:

"Aside from Jose' Iturbi's music, virtually the only excuse for this one is Mario Lanza, a singer whose talents would be conspicuous even outside a film devoted to opera. He can act as well as sing. But his efforts in both directions are hampered by an inconsequential story which enmeshes him with Kathryn Grayson - a girl who neither sings nor acts in his league."

And from The New York Times:

"As for the budding Mr. Lanza, the opinion rendered of him by the sanguine Mr. Iturbi is good enough for us. "His voice," says Mr. Iturbi, 'has quality and warmth and he has a very nice personality.' Check."

All in all, then, That Midnight Kiss is an enjoyable romp with Lanza as its raison d'etre. If you enjoy this, check out The Toast of New Orleans for even more fun and a larger musical offering from the unforgettable tenor.

This was Mario Lanza's screen debut in what was to become a brilliant, although brief, career. His recordings for RCA and their resounding popularity have made him a musical legend. He won the hearts of millions with his rich and powerful tenor voice and his charismatic presence. He was an idol and inspiration for Placido Domingo and Jose Carerras. He is revered today as one of the greatest singers of our time.

His co-star is the lovely Kathryn Grayson, whose lyrical voice has thrilled us in a delightful array of screen musicals. In the film, Kathryn, an opera diva, is in search of a young, handsome tenor to replace the walrus-like, unpleasant person who currently shares billing with her. She finds her answer in the young Mario, but she is not prepared for the romantic complications that follow.

Among the musical highlights are Lanza's renditions of UNA FURTIVA LAGRIMA and CELESTE AIDA. Miss Grayson sings the beautiful CARA NOME and they duet with THEY DIDN'T BELIEVE ME and the film's showpiece, LOVE IS MUSIC. Jose Iturbi plays Chopin's stirring REVOLUTIONARY ETUDE.

Screen greats Ethel Barrymore, Keenan Wynn, J. Carrol Naish and Thomas Gomez add substance and interest to the story line. Filmed during the Golden Age of Hollywood Musicals. This film will delight music lovers of all ages.

"That Midnight Kiss," is one of Mario's first and best films. It's so memorable. The lovely romance moving opera songs. It's a must see and hear film. Katheryn Grayson is lovlier then ever in it. They make a great couple. In my opinion it's one of Mario's best films. The costumes are colorful and a feast for the etyes. The scenery is delightful and the acting is good. Mario besides being a great singe rin my opinion is a first rate actor, and has great acting abilities, and this film proves it.

I grew up listening to Mario Lanza on radio & seeing his movies, but I had never seen his first movie, That Midnight Kiss. What a joy to watch and hear him, as well as Kathyrn Grayson. He was so young, and his weight the best I've ever seen of him. Guess he was born with natural acting talent as well as beauty of voice, because I saw no flaws in his acting--only perfect timing, expression of feeling, and enthusiasm (and, of course, that fabulous voice). A really sweet, romantic movie. Kathryn Grayson also was a favorite of mine at that time--so pretty, with a delightful voice. I think this is my favorite of his movies.

Mario Lanza and Kathryn Grayson speak words of love to each other and to their fans in this Technicolor delight from MGM's Pasternak unit. The Pasternak unit had more freakish talent assigned to it than the Freed unit (though there was in actual practice quite a bit of back and forth)--suffice it to say that you don't see movies teaming Mario Lanza with Judy Garland--ever wonder why not? Freed had Gene Kelly, Fred Astaire, Lena Horne; Pasternak had Esther Williams, Red Skelton, Jane Powell. Obviously both men made boatloads of money for their mother studio, but I think it's time for a Pasternak revival, for his pictures are by far the most fun, even though they might not be classy per se.

This story of a spoiled opera singer, Prudence, who learns love from a singing truck driver, is made to order for those of us who like a good laugh at ourselves and a lesson in auteur humility. Grayson looks delectable in a pale peach gown and other fancy dresses whipped up for her by the incomparable Helen Rose, who really knew how to take her measurements. (In other vehicles, Grayson sometimes looks unfortunately like she went to the bargain basement and all her clothes fit too tightly.) Here she looks fantastic, like a cloud above the Niagara, pink with rain and just about to melt. As her lower-class beau, Mario Lanza makes an outstanding debut, and you can still see why he made opera a popular art form all over again just about singlehandedly. He's like an animal, with the brute masculinity of a boa constrictor and a child's charm. Grayson (and the divine Ethel Barrymore, slumming as Grayson's forebear) both look fascinated by him, and worried too, the way you and I might be if an angel or a devil landed in our kitchen or bed.

I have watched this opus at least a dozen times and can still never figure out what the midnight kiss is supposed to signify. Is it a kiss of commitment, or a Judas kiss of betrayal? What ever happened to Jose Iturbi? He was there for years, the tentpole of the Pasternak movies, and then all of a sudden this is it for him. The old order changeth, and the new order hath a new name, MARIO LANZA. The movies have only one rule, that nothing is eternal, yet everything returns again. In THAT MIDNIGHT KISS you can feel the gap between two eras of kitsch. It yawns wide like a throat filled with champagne, or like the eerie creak when the bridge over the San Luis Ray begins to fall apart.

These two singers were my favorites and I was privileged to attend a Mario Lanza concert. This is probably my favorite of their movies.

The tape came in good time and good condition..
The playback is fine.. Very pleased.. Fondly,

Don't really know if I liked it or not, as I was never able to watch it, due to the fact that the VHS tape was so VERY POOR in quality. Noise over the sound - streaks across the picture. It was totally unwatchable.

Only purchased it on VHS because it was not availabe on DVD.

I will NEVER buy anything on VHS again!