IMDb > The Toast of New Orleans (1950)

The Toast of New Orleans (1950) More at IMDbPro »


Overview

User Rating:
6.0/10   187 votes
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Up 7% in popularity this week. See why on IMDbPro.

Director:

Norman Taurog

Writers:

Sy Gomberg (written by) and
George Wells (written by)

Contact:

View company contact information for The Toast of New Orleans on IMDbPro.

Release Date:

24 August 1950 (USA) more

Genre:

Musical more

Plot:

Snooty opera singer (Kathryn Grayson) meets a rough-and-tumble fisherman (Mario Lanza) in the Louisiana bayous... more | add synopsis

Plot Keywords:

Awards:

Nominated for Oscar. more

User Comments:

Effect rather than finesse more (12 total)


Cast

  (Complete credited cast)
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Additional Details

Runtime:

97 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1 more

Sound Mix:

Mono (Western Electric Sound System)


Fun Stuff

Goofs:

Continuity: Three-quarters of the way through the "Tina-Lina," Pierre's trousers develop a tear at the seam near the hip, which magically repairs itself in the next shot. more

Quotes:

Oscar: Since society began there's been a way of doing things right and a way of doing them wrong. more

Movie Connections:

Featured in That's Entertainment! (1974) more

Soundtrack:

Be My Love more


FAQ

This FAQ is empty. Add the first question.
3 out of 6 people found the following comment useful.
Effect rather than finesse, 12 July 2004
6/10
Author: Michael Bo (michael.bo@pol.dk) from Copenhagen, Denmark

A bayou fisherman of deplorable social graces but endowed with a wonderfully resonant, if unschooled voice (Mario Lanza) is discovered by the director of the New Orleans French Opera (David Niven), and falls in love with the prima donna, a refined young soprano (Kathryn Grayson).

I never thought I would say this, opera fan that I am, but 'Toast of New Orleans' boasts altogether too much singing to keep the admittedly meager narrative afloat. And the singing is not, honestly, always of the highest possible standard, Lanza as well as Grayson aiming for rather coarse, stylistically 'wrong' effects rather than finesse, and their Italian and French leave much to be desired. Having said that, the climactic love duet from 'Madame Butterfly', which actually has a meaning in the film beyond that of pretty sounds, works brilliantly, and the involved cinematography of that penultimate scene helps the drama along.

There isn't so much else in the film. What it wants is to entertain us with gorgeous music and good-looking stars, and it does just that. That may not be enough to engage very many TV viewers in this day and age, but if you like opera and if you are none too puritanical about how it is done, you're probably in for a good time.

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...be my love... keith-298
Opera Duet... Peerce
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