International Films

Lanza

The Mario Lanza Story

Maestro Steven Mercurio is the musical director of this film. Boasting many years of symphonic and operatic expeience, Maestro Mercurio is a sought after collaborator having been a part of award winning recordings, arrangements and film projects.
Having created arrangements for Placido Domingo, Mercurio's involvement in this film, is a match made in heaven.

A powerful operatic voice sings With A Song In My Heart, a voice to conquer the world. Lanza runs in a rubber suit streaming sweat. He jokes about his life with scriptwriter Hecht jogging to keep up, working on his next film. Flashback to early career: a trim, youthful Lanza stuns a stadium. It's a voice Rosati, New York singing teacher, has been waiting for all his life. But with it comes temperament. Mario blows up when top conductor Morelli tell him how to sing. A big step, he gets an agent, Wieller, triumphs at the Hollywood Bowl where Louis B Mayer falls for the voice. Next is a 7-year contract, he is snapped up by MGM.

Producer Pasternak says at last they have a singer movie-goers want to look at, but it takes a personal trainer to keep him in shape: Terry Robinson becomes a confidant, part of the family. Despite this Lanza's weight and look change so much the film editors pull their hair out cutting it but for now they put up with any problems. He's box-office gold.

Betty his loyal, fan-mail-answering wife knows Mario's heart is in opera. They squeeze Madame Butterfly into his schedule. He's a sensational Pinkerton for just two days at New Orleans Opera. The Met, La Scala chase him, his film contract even allows 6 months off a year. He puts them off, thinks there ll be time later. He discovers what it is to be a film actor, appears on radio, in live concerts, gets his own TV show, has a million-selling recording career. On set he learns you don t really sing, that only happens in recording sessions, and this will be a time-bomb. Sinatra says, don t let anyone touch your voice. Onset the coffee is laced with cognac. Drinking is the scene, like the zing of Hollywood parties.

His films succeed wildly, Lanza is a household name, has to hide in the car boot sometimes. In The Great Caruso he plays his idol, the part of a great opera star. He stays in-character off set, wears the daffy hat, walks the walk. Opera stars in the cast urge him to join them at the Met. The Met sure wants him, so now does Covent Garden. Cross over and become a true opera star, not just play one? a Critic asks him, Lanza says he's not ready.

He rejects his 4th film Because You're Mine, as unworthy material, but learns the celebrity's curse: he belongs to others, star power is illusion, they force him into it. A true performer, he makes the title song a best seller, then loses a protector when Mayer is sacked. His fifth film should be a dream, Romberg's operetta The Student Prince. In the recording session fate catches up, Director Bernhardt objects he is singing too passionately for a Prussian prince. Mario blows up, walks out, thinking he is irreplaceable. He waits by the phone at home. Holds out. New MGM boss Schary coolly sacks him and hires an actor to mime the songs. They have the recordings. Lanza is in denial, out of work, no studio will touch him, his radio and TV shows cancel. His huge earnings disappear in a Wieller's investments. He drinks, goes on a wild night rampage, is two years in the wilderness but the Student Prince album goes to No.1. It's still his voice. When he does get an engagement, he fails to appear it's for the Mob at Las Vegas. They had shot his uncle in front of his eyes in childhood. He is only prevented from driving his car over a cliff by Robinson in the passenger seat. Despite everything, the great opera houses believe in him and offers keep rolling in. Impresario Adler urges him: put your voice to the best possible use. Maria Callas wants to sing with the greatest tenor of my generation, but Mario hangs out for a film contract. Then there's a miracle, Jack Warner phones and asks, Ever been to Mexico?

Lanza is back. In Serenade he plays a singer rebuilding his career, sails with his young family for Italy, two more shoots, sell-out concerts. He tries a new Deep Sleep Weight Reduction Therapy. He doesn t need Terry now. His health is not good, a doctor warns him, it's dangerous but he's still young at 38 and full of plans. They are lining up another five films. Taking the plunge with Rome Opera he commits to open their season. He phones Betty from the weight loss clinic, thrills her with the news, launches into practice. The patients of the clinic wake to hear him singing powerful, spell-binding notes.

It's Dio mi potevi scagliar, Othello's acceptance of his fate, the defiant closing aria. Tender, dramatic, passionate, they are the last living notes from Mario Lanza.