Caro Nome (1926) User Reviews

Film Buffs Will Love the History

[Michael_Elliott · 14 April 2013]

Caro Nome (1926)

*** (out of 4)

Marion Talley, star of the New York Metropolitan Opera, appears in this historic short from Warner. She performs the title song from Rigoletto with The Vitaphone Symphony Orchestra but what makes this collaboration so important is that this was one of the shorts shown before DON JUAN, the feature that introduced sound to people. If you're coming to this expecting some sort of masterpiece then you're going to be disappointed as there's really not much here outside of what film buffs are going to find entertaining. I think film buffs are going to love the historic nature of the picture and on this level alone I found it to be entertaining. There's no question that Talley has quite a voice and she's the second reason people will want to check this out. I'm sure there are opera fans out there who are going to be interested in hearing from this former star and this here gives them that chance. The cinematography is pretty much what you'd expect from a film of this era as the camera stays still and the star pretty much stays in place as well. CARO NOME is for film buffs only but it's an important picture.

An early curiosity that is rather hard to rate.

[planktonrules · 27 July 2013]

Several years before the release of "The Jazz Singer" in 1927, Warner Brothers experimented with some early sound experiments using its Vitaphone division. These experiments were shown to the public where the proper sound equipment was available--and this was rarely the case but in the biggest markets. However, in the case of "Caro Nome", this experimental film was seen a bit more than most because it accompanied the release of "Don Juan"--the first full-length film with a recorded soundtrack. And, since it was such an important release, many theaters were adapted for sound and folks got to see and hear Marion Talley sing a short operatic piece from Verdi's "Rigoletto".

The clip was quite good technically for 1926. However, given the limitations of sound equipment, Miss Talley stood rather motionless in one spot for much of the song. However, towards the end, she ascended some stairs and there was a reduction in sound quality. Again, because sound equipment was so primitive, you cannot really blame the studio--and the same could be said for the jerky camera-work as she moved. Primitive, yes, but you have to start some place! Mildly interesting but extremely important to the history of film.

By the way, I think this short was originally part of a longer piece with multiple acts. That's because at the beginning you briefly catch a glimpse of a guy with a banjo AND after Talley's song, you see (briefly) a card announcing "The Kreutzer Sonata"--which you never see.