Movies about Serenade
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Přestože bylo vynaloženo veškeré úsilí na dodržování pravidel citačního stylu, mohou se vyskytnout určité nesrovnalosti. Máte-li jakékoli dotazy, nahlédněte do příslušné příručky stylu nebo z jiných zdrojů.
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Externí webové stránky
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Články z Britannica Encyclopedias pro studenty základních a středních škol.
Napsáno
Lee Pfeiffer
Autor/spoluautor mnoha knih o kinematografii a je považován za jednoho z předních učenců Jamese Bonda. Jeho kniha Essential Bond: Autorizovaný průvodce světem roku 007 (psáno s.
Lee Pfeiffer
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Editoři Encyclopaedia Britannica
Editoři Encyclopaedia Britannica dohlížejí na obory, ve kterých mají rozsáhlé znalosti, ať už z let zkušeností získaných prací na tomto obsahu nebo studiem na vyšší stupeň. Píší nový obsah a ověřují a upravují obsah přijatý od přispěvatelů.
Editoři Encyclopaedia Britannica
Poslední aktualizace: Historie článku
Obsah
Penny Serenade, American melodrama film, released in 1941, that highlights the difficulties of a young couple trying to raise an adopted child.
The film follows Julie Adams (played by Irene Dunne) and her husband, Roger ( Cary Grant), a reporter in San Francisco, from the beginning of their relationship. When Roger accepts an assignment in Japan, the couple quickly marries and moves there, but an earthquake soon destroys their house and causes the pregnant Julie to miscarry. Upon returning to the United States, where Roger has decided to buy a small-town newspaper, Julie discovers that she is unable to bear future children, and the two decide to adopt a baby girl. Though they struggle financially, their lives are brightened by their daughter, Trina. After Trina dies of an illness at age six, however, the couple plunges into depression. On the verge of separation, Julie and Roger find hope yet again when they are offered another child for adoption.
Britannický kvíz
Kvíz o nejlepší filmový film
Following their teaming in the hit comedies Hrozná pravda a Moje oblíbená manželka, Grant and Dunne reunited under George Stevens’s direction for this highly sentimental dramatic picture. Despite being among the most glamorous of stars, Grant and Dunne convincingly portrayed ordinary middle-class people. Their genuine chemistry, combined with Stevens’s sensitive direction, made this one of the most popular and enduring films of both actors’ careers.
Movies about Serenade
Serenáda is far and away Mario Lanza’s most interesting movie, and has a great deal more going for it than Čas Magazine and other habitual Lanza-knockers would care to admit. While undeniably flawed, the film contains moments of greatness that redeem its shortcomings, and successive viewings only enhance one’s appreciation of this underrated work.
Most people would nominate Velký Caruso as Mario Lanza’s best movie, and certainly it’s a much more consistent film than Serenade. The Great Caruso also takes far fewer risks, featuring a «safe» choice of familiar operatic standards, and a screenplay that is little more than a series of entertaining vignettes. There is no real dramatic pulse to Velký Caruso at all, with a clichéd script that leaves Lanza few opportunities to flex his acting muscles. On the positive side, Lanza is in exceptionally beautiful voice, and it is this combination of gorgeous vocalism and his charisma that holds the whole thing together so well.
Zatímco Velký Caruso would probably be most Lanza aficionados’ first choice as an introduction to the tenor, Serenáda has so much more meat on its bones that it invariably makes the stronger impression, warts and all.
«I didn’t know Lanza could act!» was one friend’s response to this movie. And Lanza’s acting is one of the big surprises in Serenáda . For aside from some superb singing, the tenor succeeds more often than not in a performance that should have been a revelation to moviegoers at the time, accustomed as they were to the tenor’s fluffier cinematic vehicles.
Not that he was given much credit for his efforts, with some critics preferring to comment on his appearance rather than acknowledge any real acting potential. «He looks like a colossal ravioli set on toothpicks,» sneered Čas Magazine in a typically mean-spirited and inaccurate review.
Serenáda
contains moments
of greatness
that redeem
its shortcomings
To be objective, Lanza’s acting does veer towards hamminess at times—a fault which director Anthony Mann should have corrected—but there are many scenes in which he is highly effective.
Could Lanza have become an accomplished screen actor? Ludwig Donath, who played the role of Enrico’s manager in The Great Caruso , certainly thought so. While acknowledging that Lanza lacked some of the fundamental aspects of screen acting, Donath felt that the tenor possessed «the warmth that one needs [to be an actor] and he loved the world of make believe.» Vincent Price went further, observing that in Serenade, Lanza performed «a thorough job, a sincerely conscientious one. He’s so sincere, he is almost dedicated — like a New York actor.» Price’s comments were high praise indeed for a man who had not acted for over three years, and was undoubtedly nervous as shooting began on location in Mexico in the late summer of 1955.
James M. Cain’s Serenade must have struck observers at the time as a strange choice for the tenor. After all, the novel had gained considerable notoriety for its themes of prostitution, violence and homosexuality, and one can imagine the image-conscious Joe Pasternak, producer of Lanza’s previous movies and purveyor to the masses, shuddering at the thought of his «boy» appearing in such a lurid melodrama. Warner Bros, however, were mercifully not MGM, and indeed they prided themselves on their grittier approach to film-making.
It was Lanza’s close friend Edmond O’Brien who apparently introduced the tenor to the novel. According to O’Brien, Mario was immediately enthused by the cinematic potential of Serenade , reasoning that the scenarists would be able to tone down some of the more controversial aspects of the novel without sacrificing its dramatic power. How well they succeeded in adapting Serenade to the screen I will discuss shortly. But enough introduction—let’s go to the movie itself.
A wealthy woman discovers a vineyard worker with a beautiful operatic singing voice. She helps make him a star but then breaks his heart. He flees in misery to Mexico where he meets a sweet farm girl.
Obsazení
Ředitel Ředitel
zástupce ředitele Asst. ředitelé
Producent Producent
Spisovatelé Spisovatelé
Původní spisovatel Původní spisovatel
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Kinematografie Kinematografie
Návrh výroby Návrh výroby
Sada dekorace Sada dekorace
Skladatel Skladatel
Zvuk Zvuk
Návrhy kostýmů Návrhy kostýmů
studio
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Alternativní tituly
Serenata, Dos pasiones y un amor, 세레나데
Žánry
Témata
Vydání podle data
Seřazeno podle
Divadelní
Mar 23 1956
Srpna 28 1956
- Německo 12
31 Dec 1956
Vydání podle země
Seřazeno podle
Brazílie
31 Dec 1956
- Divadelní
Německo
Srpna 28 1956
- Theatrical 12 Warner Bros.
Spojené státy americké
Mar 23 1956
- Divadelní NR
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Populární recenze
Action!: MANN MEN — Anthony Takes It All! Anthony Mann returns with another musical based on a novel of the same name and starring Mario Lanza as an opera singer seeking to make it in the industry while dealing with his complicated love life. Even while Fontaine and, especially, Montiel are great, the love triangle never managed to hook me. That being said, and probably I’d be contradicting myself, but while I liked Montiel here, like many others in the film, they go a little too over the top at times. Lanza’s singing is wonderful, and he’s fantastic in this department; his acting is otherwise decent, but nothing exceptional. The visual style and color scheme of the film are both stunning. All in all, the music and singing is excellent but the film itself leaves a lot to be desired. Action!: MANN MEN — Anthony Takes It All! DNES PROGRAM
Luther: Padlé slunce
Serenáda
Muži ve válce
Ali
When I saw on TCM that Anthony Mann had adapted had adapted a favorite lesser-known James M. Cain novel, I was excited for this perfect recipe for a noir full of shadowy moral ambiguity and sexual frisson. Then I realized that in 1956 the time probably wasn’t ripe for a faithful adaptation of Cain’s pulpy homosexual noir about an opera singer who falls from primo uomo to aspiring brothel keeper in Mexico. (It’s a fun read by the way and pretty shocking for the 1930s.) So Mann leaned into the locations, melodrama and music and turned out an Elvis Movie for Mario Lanza. Like Elvis, Lanza has the vocal chops if not the acting. The filmmakers have him shut up…
Mario Lasagna — er, Lanza — was a big Parma ham with a high pompadour and a voice, and that voice was, as Lina Lamont would say, good and loud. Serenade was made in an era when someone who could merely sing — or skate, or swim — would be groomed for movie stardom. Lanza was an awful actor with so many facial tics he appears to be overdosing on Pop Rocks. This ridiculous cornball riot plays like a musical version of Blood and Sand, replacing the matador with an opera singer who is torn between the wicked city woman and the wholesome country girl, halting the story every few minutes so that Lanza can sing, oh, about 400 songs.…
Vinnie is so distractingly hot in this film I do not care about anything else
Tato recenze může obsahovat spoilery. Zvládnu pravdu.
I watched this for Vincent Price’s supporting role, and Price certainly delivers in that role. I had started to write the beginning of this in the last couple minutes of the movie as I figured I was about done, and that much of the rest of this didn’t really seem that interesting. The plot follows a singer who has a bit of an unrequited love for a socialite that likes to find fresh talent and toy with them before discarding them. So he flees to Mexico, meets a woman there (the daughter of a bullfighter), marries, and eventually returns to sing again. I’m underwhelmed by the music, and much of the plot, and didn’t find Mario Lanza’s Damon Vincenti all…
Serenáda is a beautifully made musical melodrama diminished by a shallow screenplay. The musical numbers are well staged and filmed for the most part, and there are a lot of stunning individual moments where Anthony Mann shows his eye for framing and sweeping tracking shots. At its best, Serenáda uses a purely cinematic language to wonderfully convey pain, love or lust. The plotting itself is somewhat unremarkable but it would be sufficient for a touching experience if the characters were given more psychological depth and clearer motivations. Mario Lanza seemed to be a limited actor, yet he had a truly emotive face perhaps better noticeable when he sang. However, we never really understand his character here, which makes for a…
so y’all want me to believe this sexy queen was in the wrong when she dumped his ass by not showing up to his blackface performance? she was absolutely right to do that actually.
these stars are for joan fontaine and sara montiel giving homoerotic feud in the last 5 minutes of the movie
happy birthday joan fontaine
whenever joan wasn’t on screen also she’s so sexc in this wow
I enjoyed it. I wouldn’t say it’s a great film. The characters are cliched, although I liked the general outline of the story: an opera singer screws up his career and has to wander in the wilderness until he can regain it. At first I thought, uh, too much singing, but I enjoyed the singing the most, probably. This is neither here nor there, but have to say: Sara Montiel is so beautiful.
Anthony Mann is a well known name in the business, mainly because of his high class Western (i.e. «Naked Spur», «Winchester 73»), but he directed also several crime movies and some decent epics. So it’s no wonder a film like «Serenade» stands out just because of its completely different setting, a musical drama. Yes, Mr Mann made «The Glenn Miller Story» with his favourite actor James Stewart, but where Glenn Miller was an american person of interest — I won’t go for the label ‘hero’ — and a BioPic not only covered music acts but also a huge bunch of history, «Serenade» is a pure Mario Lanza vehicle camouflaged as melodramatic musical. The choice of Anthony Mann as director can…
This one had more plot than most of the Mario Lanza movies I’ve seen thus far. It’s not a great plot but it is there. There are two really great things about this movie. The first is Vincent Prince dropping sassy one-liners all over the place. The second is Joan Fontaine as the villainess. Everything else is fairly meh. These films are just an excuse for Lanza to sing a lot — which he does — they’re like Elvis flicks for people who thought they were too good for Elvis flicks.
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