Because You're Mine (Alexander Hall, 1952) was Mario Lanza's fourth film. He played a famous opera singer, who falls for his sergeant's sister at boot camp. Although there are parallels with his own life where he served in the army and married his buddy's sister, Lanza did not like the script nor his co-star. The critics did not like the result either but the public made the film a success. Who was right?
British postcard in the Picturegoer Series, London, no. D 236. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and Cath Chapman.
British postcard in the Picturegoer Series, London, no. D 237. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and James Whitmore.
After the triumph of The Great Caruso (1951), Lanza was ready for The Student Prince as his next project. However, MGM wanted to exploit their star's popular image and persuaded him to start on the musical comedy Because You're Mine (Alexander Hall, 1952) with the promise that The Student Prince would be his next project.
With Kathryn Grayson refusing to work with him again, Mario Lanza had a new leading lady, Doretta Morrow, who had just played Tuptim in The King and I on Broadway and would later star in Kismet. The cast of Because You're Mine also included James Whitmore, Paula Corday, Jeff Donnell, and Spring Byington.
Mario Lanza did not like the script of his film, nor his co-star Doretta Morrow, who constantly smoked. He considered Morrow to be unsuitable for her role, because of her limited experience. It would be Morrow's only film role. Reportedly Mario Lanza had behaved so outrageously to her during the shooting that after the film was finished, she left Hollywood and never returned.
The plot of Because You're Mine reminds of the stories of Lanza's first two films, That Midnight Kiss and The Toast of New Orleans, although there was a change of characters. Principal photography of the film was interrupted and during the hiatus Lanza put on a huge amount of weight. According to his manager, Lanza then began to lose weight and ended filming at less than 160 pounds.
The temperamental tenor had gained the weight in the vain hope that this would discourage the producers from going ahead with the film. As a result, Lanza's weight varies from 240 pounds to 159 pounds in the film, sometimes even in one scene as when Lanza's character enters a church. In the exterior, shot late in the filming schedule, he looks trim and slim in his military uniform. But, when he steps inside, in a scene filmed earlier, he is noticeably heavier. It is a distracting but intriguing sight. Reportedly, Lanza's costumes had to be remade or altered almost daily.
Dore Schary, MGM studio head at the time, has recounted Lanza's petulant and boorish behaviour on the set, including sexually harassing Doretta Morrow.
British postcard in the Picturegoer Series, London, no. D 238. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952).
British postcard in the Picturegoer Series, London, no. D 239. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza, Paula Corday and Eduard Franz.
Mario Lanza plays in Because You're Mine (Alexander Hall, 1952) the famous tenor Renaldo Rossano. The great opera star is only one month away from being too old to be drafted, and is headed for the Army. Even though he earns $5000 a month, he takes it in stride.
Renaldo is recognised right away, but the Captain insists he be treated the same as everyone. Fortunately for him, his commanding officer, Sergeant 'Bat' Batterson (James Whitmore) is a fan. The rest of his platoon as well as the company commander disapproves of Batterson's showing favouritism to Rossano by excusing him from normal training.
Batterson is also trying to promote his sister Bridget (Doretta Morrow) who sings live commercials for the radio. The sergeant arranges for Renaldo and Bridget to meet as a way to help his little sister further her career. Renaldo only does it for selfish reasons, so he will continue to get treated well. But he is surprised to find Bridget beautiful, charming, and a great soprano.
Renaldo falls for her. He is smitten, but Bridget doesn't think she will fit into his lifestyle after Renaldo gets out of the Army. Rossano schemes to have Batterson allow him to go to New York, supposedly to have his manager appraise Brigit's singing voice but in reality allowing him to do a performance.
After realising he's been tricked, the sergeant sets out to make Rossano's military life considerably more difficult. The general's wife (Spring Byington) who also is a big fan helps out. The film ends with Renaldo and Bridget singing a duet, the title song 'Because You're Mine.'
British postcard in the Picturegoer Series, London, no. D 240. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and James Whitmore.
British postcard in the Picturegoer Series, London, no. W 875. Photo: Metro Goldwyn Mayer.
The title song 'Because You're Mine', a duet with the despised Doretta Morrow, became one of Lanza's greatest hits. Written by Sammy Cahn and Nicholas Brodszky, it became Lanza's third and final million-selling effort. The song was nominated for an Oscar, but lost to Do Not Forsake Me, Oh My Darlin' from High Noon.
According to MGM records, the film earned $2,267,000 in the US and Canada and $2,304,000 elsewhere, resulting in profits of $735,000. Because You're Mine was the fifth most popular film at the British box office in 1953,and was chosen as the 1952 Royal Command film in U.K. However the film was much criticised on its release as artistically a step backwards for the celebrated tenor. Coming after The Great Caruso it suffered badly in comparison with that considerable achievement.
At the premiere, Bosley Crowther of The New York Times voiced a common opinion, finding the film's plot "banal" and observing, "It's really Mario Lanza's singing that should and will attract attention to this technicolored film. (...) Mr. Lanza delivering a song is a great deal more entertaining than Mr. Lanza delivering a gag, especially the sort here written for him by Karl Tunberg and Leonard Spigelgass. It is not that Mr. Lanza's delivery or the gags are really poor or the story in which they cozily nestle is in any way hard to take. It is just that the lot of them—the story, the gags and Mr. Lanza's aplomb in playing what is supposed to be funny—are a little bit obvious and banal."
But how is the film seen by viewers today? Derek McGovern at IMDb: "Actually, this is a fun movie. It lacks the polish of That Midnight Kiss and the sheer high spirits of Toast of New Orleans, but vocally at least this film has more going for it than either of those two movies. Highlights include a definitive 'Granada' (in a key one and a half tones higher than the Three Tenors have ever dared to attempt!), a moving 'Lord's Prayer' and several pleasing operatic and popular selections."
At IMDb, Blanche2 adds: "Broadway star Doretta Morrow is perky, and while not as pretty as Grayson, sings beautifully. Lanza was not very nice to her - that's putting it mildly - but apparently eventually apologized. (...) the film is pleasant enough, and he sings like a dream, doing a segment from 'Il Trovatore', the 'Addio' from 'Rigoletto', the end of 'Cavalleria Rusticana', the 'Our Father', the title song, 'Because You're Mine', and a very impressive 'Granada'. Not only does he impress with his glorious high notes, he does some very lyrical and soft singing as well. (...) Very pleasant and a must for opera and Lanza fans."
And finally Craig Butler at AllMovie: "Here's the long and the short of it: if you like Mario Lanza, you will like Because You're Mine, and if you don't like Mario Lanza, there's no point in subjecting yourself to Because."
Sources: Bosley Crowther (The New York Times), Craig Butler (AllMovie), Derek McGovern (IMDb), Blanche-2 (IMDb), Wikipedia and IMDb.
British postcard in the Picturegoer Series, London, no. D 236. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and Cath Chapman.
British postcard in the Picturegoer Series, London, no. D 237. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and James Whitmore.
A distracting but intriguing sight
After the triumph of The Great Caruso (1951), Lanza was ready for The Student Prince as his next project. However, MGM wanted to exploit their star's popular image and persuaded him to start on the musical comedy Because You're Mine (Alexander Hall, 1952) with the promise that The Student Prince would be his next project.
With Kathryn Grayson refusing to work with him again, Mario Lanza had a new leading lady, Doretta Morrow, who had just played Tuptim in The King and I on Broadway and would later star in Kismet. The cast of Because You're Mine also included James Whitmore, Paula Corday, Jeff Donnell, and Spring Byington.
Mario Lanza did not like the script of his film, nor his co-star Doretta Morrow, who constantly smoked. He considered Morrow to be unsuitable for her role, because of her limited experience. It would be Morrow's only film role. Reportedly Mario Lanza had behaved so outrageously to her during the shooting that after the film was finished, she left Hollywood and never returned.
The plot of Because You're Mine reminds of the stories of Lanza's first two films, That Midnight Kiss and The Toast of New Orleans, although there was a change of characters. Principal photography of the film was interrupted and during the hiatus Lanza put on a huge amount of weight. According to his manager, Lanza then began to lose weight and ended filming at less than 160 pounds.
The temperamental tenor had gained the weight in the vain hope that this would discourage the producers from going ahead with the film. As a result, Lanza's weight varies from 240 pounds to 159 pounds in the film, sometimes even in one scene as when Lanza's character enters a church. In the exterior, shot late in the filming schedule, he looks trim and slim in his military uniform. But, when he steps inside, in a scene filmed earlier, he is noticeably heavier. It is a distracting but intriguing sight. Reportedly, Lanza's costumes had to be remade or altered almost daily.
Dore Schary, MGM studio head at the time, has recounted Lanza's petulant and boorish behaviour on the set, including sexually harassing Doretta Morrow.
British postcard in the Picturegoer Series, London, no. D 238. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952).
British postcard in the Picturegoer Series, London, no. D 239. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza, Paula Corday and Eduard Franz.
A great opera star headed for the army
Mario Lanza plays in Because You're Mine (Alexander Hall, 1952) the famous tenor Renaldo Rossano. The great opera star is only one month away from being too old to be drafted, and is headed for the Army. Even though he earns $5000 a month, he takes it in stride.
Renaldo is recognised right away, but the Captain insists he be treated the same as everyone. Fortunately for him, his commanding officer, Sergeant 'Bat' Batterson (James Whitmore) is a fan. The rest of his platoon as well as the company commander disapproves of Batterson's showing favouritism to Rossano by excusing him from normal training.
Batterson is also trying to promote his sister Bridget (Doretta Morrow) who sings live commercials for the radio. The sergeant arranges for Renaldo and Bridget to meet as a way to help his little sister further her career. Renaldo only does it for selfish reasons, so he will continue to get treated well. But he is surprised to find Bridget beautiful, charming, and a great soprano.
Renaldo falls for her. He is smitten, but Bridget doesn't think she will fit into his lifestyle after Renaldo gets out of the Army. Rossano schemes to have Batterson allow him to go to New York, supposedly to have his manager appraise Brigit's singing voice but in reality allowing him to do a performance.
After realising he's been tricked, the sergeant sets out to make Rossano's military life considerably more difficult. The general's wife (Spring Byington) who also is a big fan helps out. The film ends with Renaldo and Bridget singing a duet, the title song 'Because You're Mine.'
British postcard in the Picturegoer Series, London, no. D 240. Photo: Metro Goldwyn Mayer. Publicity still for Because You're Mine (Alexander Hall, 1952) with Mario Lanza and James Whitmore.
British postcard in the Picturegoer Series, London, no. W 875. Photo: Metro Goldwyn Mayer.
A must for opera and Lanza fans
The title song 'Because You're Mine', a duet with the despised Doretta Morrow, became one of Lanza's greatest hits. Written by Sammy Cahn and Nicholas Brodszky, it became Lanza's third and final million-selling effort. The song was nominated for an Oscar, but lost to Do Not Forsake Me, Oh My Darlin' from High Noon.
According to MGM records, the film earned $2,267,000 in the US and Canada and $2,304,000 elsewhere, resulting in profits of $735,000. Because You're Mine was the fifth most popular film at the British box office in 1953,and was chosen as the 1952 Royal Command film in U.K. However the film was much criticised on its release as artistically a step backwards for the celebrated tenor. Coming after The Great Caruso it suffered badly in comparison with that considerable achievement.
At the premiere, Bosley Crowther of The New York Times voiced a common opinion, finding the film's plot "banal" and observing, "It's really Mario Lanza's singing that should and will attract attention to this technicolored film. (...) Mr. Lanza delivering a song is a great deal more entertaining than Mr. Lanza delivering a gag, especially the sort here written for him by Karl Tunberg and Leonard Spigelgass. It is not that Mr. Lanza's delivery or the gags are really poor or the story in which they cozily nestle is in any way hard to take. It is just that the lot of them—the story, the gags and Mr. Lanza's aplomb in playing what is supposed to be funny—are a little bit obvious and banal."
But how is the film seen by viewers today? Derek McGovern at IMDb: "Actually, this is a fun movie. It lacks the polish of That Midnight Kiss and the sheer high spirits of Toast of New Orleans, but vocally at least this film has more going for it than either of those two movies. Highlights include a definitive 'Granada' (in a key one and a half tones higher than the Three Tenors have ever dared to attempt!), a moving 'Lord's Prayer' and several pleasing operatic and popular selections."
At IMDb, Blanche2 adds: "Broadway star Doretta Morrow is perky, and while not as pretty as Grayson, sings beautifully. Lanza was not very nice to her - that's putting it mildly - but apparently eventually apologized. (...) the film is pleasant enough, and he sings like a dream, doing a segment from 'Il Trovatore', the 'Addio' from 'Rigoletto', the end of 'Cavalleria Rusticana', the 'Our Father', the title song, 'Because You're Mine', and a very impressive 'Granada'. Not only does he impress with his glorious high notes, he does some very lyrical and soft singing as well. (...) Very pleasant and a must for opera and Lanza fans."
And finally Craig Butler at AllMovie: "Here's the long and the short of it: if you like Mario Lanza, you will like Because You're Mine, and if you don't like Mario Lanza, there's no point in subjecting yourself to Because."
Sources: Bosley Crowther (The New York Times), Craig Butler (AllMovie), Derek McGovern (IMDb), Blanche-2 (IMDb), Wikipedia and IMDb.
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