Mélodie interrompue

I just want to respond to the ludicrous question in another review as to why MGM didn't just cast Jeanette MacDonald or Kathryn Grayson. This part called for real dramatic acting, which neither of these two were much chop at frankly: and Grayson would have certainly blown a gasket trying to sing most of this repertoire; probably MacDonald as well, who was not in great health by this time. The thought of either of them as Carmen makes me feel quite ill. And the end result would have been just another musical ... I also want to point out that Lawrence was far from the second Australian opera star after Melba. There were Florence Austral, John Brownlee, many others.

Great acting, award winning performances by Eleanor Park and Glenn Ford. Lack of Aussie accents was very noticeable. Good to see this many years after it's original release. Thank you YouTube.

Last night, I was surfing channels on foxtel (cable provider), where I came across a movie that was set in the Australian outback. AS this was not common for 1950's movies, I stayed to have a look for a while. This was at 10pm. I went to bed at 12am - due to how good this movie is! I recently was in a car accident that left me with spinal damage, and a friend of mine still in hospital. I want to tape it for her, as it taught me that no matter how hard it is, you can do it...so there, I am now empowered! Thanks

I studied opera with Marjorie Lawrence in the 1970's and she was an incredible, vital, and exciting personality. She was larger than life and her presence dominated any gathering she attended. The movie captures many of her physical mannerisms. Her voice was most suited to the Wagnerian repertoire and the selection of the great Eileen Farrel to sing the more popular arias chosen for the film was an excellent one. However, Miss Lawrence was disappointed that her own voice wasn't used as had been agreed, which I understand resulted in a settlement in her favor. Her husband, Doctor King, was an great gentleman and devoted to her. Following the years depicted in the film, she became an educator at Southern Illinois University where she was very respected and loved.

Eleanor Parker is one of my favorite actresses from the '40s and '50s and does a marvelous job here, lip-synching to perfection various Wagnerian opera arias (as well as Puccini and Verdi). The storyline is somewhat similar to that of Jane Froman's career in that both were singers who, although paralyzed, continued with their singing careers and entertained servicemen as well. Glenn Ford lends solid support as the understanding, long-suffering husband who is always there when she needs his moral support. Roger Moore has a small role as her brother. Everything moves smoothly under Curtis Bernhardt's direction. The opera segments are beautifully staged and filmed (in gorgeous technicolor, of course). Parker demonstrates her acting skills to the fullest and Eileen Farrell does a superb job on the vocal dubbing. Well worth your time--inspirational and enjoyable even if you're not an opera lover. Filmed in wide screen technique, it loses something on video showings.

The film does a fine job with the crippling illness of Lawrence and her comeback onstage, but most notable are the performances by the stars. Glenn Ford and Eleanor Parker were never better. Just superb. The scene where she tried to commit suicide and Ford stopped her, broke down, and asked God for help is magnificent and a must-see. Ford and Parker should be well-remembered as excellent actors.

I was fortunate enough to be chosen as the stunt double for Eleanor Parker in this extraordinary film. I was in awe of her performance and cannot say how much I enjoyed working with her for several of her films. I thought the script was marvelous and did win an award I believe. Eleanor Parker is the true lady she portrayed in this once in a lifetime film. I never tire of seeing it - over and over again.