Liberace had already done some motion picture work before he signed a deal at Warner Brothers to make this film. Of course this would be his first starring role and hopes were high that he could translate his success as a musician into movie stardom. However, that was not to be the case, since SINCERELY YOURS did not do well with audiences, and it lost money for the studio. Jack Warner reportedly paid off Liberace not to make a second film that was guaranteed in his contract.
It's really a shame too, since this is a gorgeously produced film with capable direction by Gordon Douglas and a most excellent supporting cast. The set design for Liberace's penthouse apartment is worth a look; the clothes and hairstyles are fabulous; and the music...well, the music speaks for itself. The musical numbers are boffo. We see him play everything from classical music (Mozart, Brahms, Lizst, Chopin and Gershwin) to popular tunes that include boogie-woogie jazz; uptempo Spanish sounds and even a traditional Irish ballad. Undoubtedly these were some of his fans' most favorite selections in concert, so it made sense for them to be featured in the film.
The first half of the story is rather light, with many lively musical interludes. There is also a budding romance between his character and Miss Malone. On the sidelines is his faithful secretary (Dru) and a stern paternal manager (William Demarest). I would suspect that Demarest's character is modeled on Liberace's older brother George who guided much of his career.
Things take a dramatic turn when during a performance, Liberace start to lose his hearing. Soon he goes deaf. Afraid of a risky surgery to restore his hearing, he withdraws from his busy touring schedule and he also withdraws from life. The plot is a reworking of Warners' earlier hit THE MAN WHO PLAYED GOD (1932) starring George Arliss.
While hiding away from the world, Liberace learns to read lips and uses a set of binoculars to observe people in the park across the street. This includes a crippled boy (Richard Eyer) who wants to play football; as well as a young woman ashamed of her low-class mother (Lurene Tuttle). It's interesting to see how he becomes involved in the lives of these other folks. He grows as a human being through knowing them, and that is the heart of the story.
Meanwhile Malone has gotten over her infatuation with Liberace and has fallen in love with another man, an ex-military soldier (Alex Nicol). Naturally, Liberace does the honorable thing and breaks up with Malone so she can have her freedom to pursue a lasting relationship with Nicol. This decision ultimately paves the way for Liberace to reunite with Miss Dru, who has quit her job as his faithful girl Friday. It's mid-1950s schmaltz. But it's good schmaltz.
It's really a shame too, since this is a gorgeously produced film with capable direction by Gordon Douglas and a most excellent supporting cast. The set design for Liberace's penthouse apartment is worth a look; the clothes and hairstyles are fabulous; and the music...well, the music speaks for itself. The musical numbers are boffo. We see him play everything from classical music (Mozart, Brahms, Lizst, Chopin and Gershwin) to popular tunes that include boogie-woogie jazz; uptempo Spanish sounds and even a traditional Irish ballad. Undoubtedly these were some of his fans' most favorite selections in concert, so it made sense for them to be featured in the film.
The first half of the story is rather light, with many lively musical interludes. There is also a budding romance between his character and Miss Malone. On the sidelines is his faithful secretary (Dru) and a stern paternal manager (William Demarest). I would suspect that Demarest's character is modeled on Liberace's older brother George who guided much of his career.
Things take a dramatic turn when during a performance, Liberace start to lose his hearing. Soon he goes deaf. Afraid of a risky surgery to restore his hearing, he withdraws from his busy touring schedule and he also withdraws from life. The plot is a reworking of Warners' earlier hit THE MAN WHO PLAYED GOD (1932) starring George Arliss.
While hiding away from the world, Liberace learns to read lips and uses a set of binoculars to observe people in the park across the street. This includes a crippled boy (Richard Eyer) who wants to play football; as well as a young woman ashamed of her low-class mother (Lurene Tuttle). It's interesting to see how he becomes involved in the lives of these other folks. He grows as a human being through knowing them, and that is the heart of the story.
Meanwhile Malone has gotten over her infatuation with Liberace and has fallen in love with another man, an ex-military soldier (Alex Nicol). Naturally, Liberace does the honorable thing and breaks up with Malone so she can have her freedom to pursue a lasting relationship with Nicol. This decision ultimately paves the way for Liberace to reunite with Miss Dru, who has quit her job as his faithful girl Friday. It's mid-1950s schmaltz. But it's good schmaltz.