"Serenade" is one of the great Mario Lanza's more interesting films, taking on a heavier dramatic tone than his early fluff with MGM. There is true pathos and tragedy in some of the scenes, and you really feel for his character.
Spanish movie legend Sarita Montiel is quite fetching and likeable as his lady love, and for once, we see the American protagonist being saved by the love of a non-Anglo (older movies would always show the brunette as the femme fatale and the blonde girl back home as the virtuous one). Too bad she sings no songs in this movie, although the Mexico scenes are colorful and well-done.
But as usual, it is Mario's great voice which truly shines here. He sings more opera arias in this film than in any other movie of his (except possibly "The Great Caruso"). His combination of lyric sweetness, magnificent dramatic sound and ringing top notes, plus sheer versatility, is unmatched even by some of the greatest classically-trained singers, including Pavarotti and Domingo. And he is certainly better than today's pop opera darling Andrea Bocelli.
Vincent Prince and Joan Fontaine (still gorgeous here) bring their usual great support.
The final scene (at Joan Fontaine's party) actually has great dramatic tension although somewhat marred by a less than satisfying ending to the movie. Still very watchable.
Spanish movie legend Sarita Montiel is quite fetching and likeable as his lady love, and for once, we see the American protagonist being saved by the love of a non-Anglo (older movies would always show the brunette as the femme fatale and the blonde girl back home as the virtuous one). Too bad she sings no songs in this movie, although the Mexico scenes are colorful and well-done.
But as usual, it is Mario's great voice which truly shines here. He sings more opera arias in this film than in any other movie of his (except possibly "The Great Caruso"). His combination of lyric sweetness, magnificent dramatic sound and ringing top notes, plus sheer versatility, is unmatched even by some of the greatest classically-trained singers, including Pavarotti and Domingo. And he is certainly better than today's pop opera darling Andrea Bocelli.
Vincent Prince and Joan Fontaine (still gorgeous here) bring their usual great support.
The final scene (at Joan Fontaine's party) actually has great dramatic tension although somewhat marred by a less than satisfying ending to the movie. Still very watchable.