Ulichnaya Serenada Filjm

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Contents • • • • • • • • • Plot [ ] Serenade tells the story of poor vineyard worker Damon Vincenti (Mario Lanza), who becomes an operatic tenor, and is involved with two women — one a high society hostess, Kendall Hale (Joan Fontaine), the other a Mexican bullfighter's daughter, Juana Montes (Sara Montiel). The tenor has a breakdown because of his unrequited love for the society woman, but finds love (and a happy ending) with the Mexican girl. Highly melodramatic, the film features a great deal of operatic music, all of it sung by Lanza. Sample letter completion drug treatment program free software and shareware.

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Of note are the Act III Monologue from 's and an extract from the duet 'Dio Ti Giocondi' from the same opera featuring soprano. Cast [ ] • as Damon Vincenti • as Kendall Hale • as Juana Montes (as Sarita Montiel) • as Charles Winthrop • as Maestro Marcatello • as Tonio • as Marco Roselli • as Lardelli • as Manuel Montes • as Everett Carter • as Desdemona in Otello • as Soprano in San Francisco Differences from the source novel [ ] The movie differs greatly from the source novel.

In the book, the male protagonist is John Howard Spring, a professional opera singer who has lost his voice and fled the United States to Mexico in a crisis of confidence after being sexually wooed (not unsuccessfully, though details are vague) by a male socialite and impresario. Juana Montes is a Mexican prostitute who sees Spring as gay and therefore a trouble-free partner to open a brothel with. But after having sex in a deserted church with Juana, Spring recovers his voice and his preferred sexual identity. The two lovers come into conflict with the local police and flee to Los Angeles, where Spring reestablishes his singing career, more successful than ever. But once they move to New York, the singer must struggle against the renewed blandishments of the gay impresario, whom Juana eventually murders with a torero's sword.

As none of this material could be considered suitable for an American movie in 1956, the story's male impresario becomes female instead and the Mexican prostitute becomes a Mexican bullfighter's daughter. Production [ ] Film rights to the novel were bought in 1946 by the production company of. Reception [ ] Reviewing the film in, A.H. Weiler wrote that Lanza, 'who was never in better voice, makes this a full and sometimes impressive musical entertainment.' The film made a purported loss of $695,000.

See also [ ] • Bibliography [ ] • Cesari, Armando. Mario Lanza: An American Tragedy. (Fort Worth: Baskerville 2004) References [ ].

I cannot condone the fact that Mario was substandard in this film. He had been under the restrictions of an MGM ban, before Warners offered him a chance to return to the filmworld. He was naturally nervous (it shows in some of the scenes) as he had not worked for about three years and his voice was taking on a darker hue.

Yes, he was a little overweight, but his singing was superb. He could sing anything and did, with complete conviction. His operatic arias in this film are superb and those of us who are lucky enough to have heard the outtakes from the soundtrack will agree that he was coming to terms with the fact that he had to adjust to his voice getting bigger. It was a really awesome instrument. The power was immense, but he could also sing falsetto when required. His 'Ave Maria' in this film is one of the most moving I have ever heard. A good effort by him to re-establish himself and his fans will bear me out.

To hell with the plot - listen to the voice of the century.