That Midnight Kiss - Warner Archive Collection

Movie buffs might dismiss Mario Lanza as a flash-in-the-pan sensation whose booming tenor voice propelled him to brief Hollywood stardom before his ego, artistic temperament, and addictions to food and alcohol derailed his career and led to his far-too-early death at age 38. I know I certainly did. In fact, I so completely dismissed Lanza I must (sheepishly) admit I had never seen any of his movies before That Midnight Kiss arrived in my mailbox a short time ago. While I expected to admire his voice, I wasn't prepared to be blown away by it or to be captivated by his easygoing on-screen charm. That Midnight Kiss may have been Lanza's debut film, but he's so at ease and in such command of the medium, you'd swear he was a seasoned pro.

Many scholars deemed Lanza's voice the greatest of the 20th century, eclipsing even that of Enrico Caruso (who Lanza would portray in a 1951 biopic), and after watching That Midnight Kiss I can understand why. I can also understand why Lanza reportedly inspired and was revered by such lofty operatic legends as Placido Domingo, Luciano Pavarotti, and José Carreras. Though That Midnight Kiss doesn't rate that highly on the rarefied scale of MGM musicals, whenever Lanza bursts - or should I say bulldozes - into song, it's impossible not to be dazzled and transfixed. If you appreciate fine music, you'll be thrilled. If you're an opera lover, you'll think you've died and gone to heaven.

Lanza grew up in Philadelphia and that's where director Norman Taurog's featherweight musical is set. Loosely based on his own discovery, That Midnight Kiss casts Lanza as a blue-collar (literally) truck driver who's plucked from obscurity and thrust into the operatic spotlight. While working at the mansion of filthy-rich arts patron Abigail Budell (Ethel Barrymore), Johnny Donnetti (Lanza) can't resist playing the piano and singing an aria. Abigail's granddaughter, Prudence (Grayson), stumbles upon him and brings him to the attention of virtuoso pianist and conductor José Iturbi, who is managing the new opera company Abigail has started for the express purpose of showcasing Prudence. In her girlhood, Abigail aspired to become an opera singer, and she now hopes her money and connections will afford Prudence the opportunities she never had and lead to the stardom she so deeply desired.

Prudence is quite talented, but she's green and naïve and can't bear Guido Betelli (Thomas Gomez), the bombastic, blubbery, egotistical, and highly renowned tenor Iturbi has hired to sing opposite her. Prudence lobbies hard for Johnny to replace him and ultimately gets her wish, but as rehearsals progress and sparks begin to fly between the two, she learns Johnny has been dating the trucking company's dispatcher (Marjorie Reynolds) for years, a revelation that takes the wind out of Prudence's sails, causes friction between her and Johnny, and jeopardizes her debut.

The wispy narrative, which just barely hangs together and often makes little sense, is capped by a hasty ending that doesn't allow Prudence and Johnny sufficient time to iron out their differences and properly reunite. (In addition to the head-spinning resolution of the romantic complications, the duet from the Italian opera Lucia di Lammermoor that Grayson and Lanza repeatedly rehearse throughout the film is puzzlingly replaced in the climactic opera performance by a new English-language song called "Love Is Music" that's based on a portion of Tchaikovsky's "Symphony No. 5." Go figure.) The music, glossy production values, and lush Technicolor photography help smooth out the plot's rough edges, but aside from spotlighting Lanza - and occasionally Grayson and Iturbi - there's really no meat on the film's bones.

Grayson plays the prima donna-in-training with aplomb (the role is kind of a warm-up for her terrific turn as a Broadway diva in Kiss Me, Kate four years later), the second-billed Iturbi gets to play a bravura Chopin piano duet with his equally accomplished sister Amparo (who also performed with him in 1944's Two Girls and a Sailor and 1948's Holiday in Mexico), and Barrymore brings her customary grace, dignity, and sophistication to Prudence's protective grandmother. Keenan Wynn, Arthur Treacher (as - what else? - a butler), and Jules Munshin supply comic relief and the roly-poly Gomez gives a rip-roaring performance as the quintessential tempestuous tenor. (Whoever dubbed his singing - and I haven't been able to uncover who did - gives Lanza a run for his money.)

Taurog, who would go on to helm nine Elvis Presley musicals and eight Jerry Lewis comedies (six of them with co-star Dean Martin), keeps the film rolling along, but it's Lanza who really propels That Midnight Kiss. He's the reason to watch this otherwise run-of-the-mill MGM confection, and the disc's song menu makes it easy to bypass the story and revel in his stirring vocals over and over again.

Vital Disc Stats: The Blu-ray
That Midnight Kiss arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4, and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, that static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the original nitrate Technicolor negatives yields another stunning 1080p/AVC MPEG-4 transfer from Warner Archive that faithfully honors the lush cinematography of three-time Oscar-winner and 16-time nominee Robert Surtees. Though a bit more grain than usual for a Warner Archive Technicolor transfer is evident, the image flaunts a lovely film-like warmth and bursts with vivid, sumptuous color. Costume designer Helen Rose really knew how to maximize the impact of Technicolor through wardrobe, and here she smartly dresses Grayson in bold reds, greens, and yellows and Barrymore in softer, complementary pastels like pink and lavender. Rose also drapes Barrymore in black occasionally and this transfer renders its denseness to perfection. Whites are also vivid and well defined, sequins sparkle, and flesh tones appear natural (or as natural as possible in Technicolor) and remain stable throughout.

Contrast is superb, but clarity levels fluctuate here and there, with some shots registering a tad soft. Fabric textures are distinct, background elements are easy to discern, and sharp close-ups showcase Grayson's peaches-and-cream complexion, Lanza's ruggedness, and Barrymore's wrinkles. All the print damage that plagued the 2007 DVD has been meticulously erased, and the resulting spotless picture combined with the enhanced vibrancy, clarity, and color of high definition make this Blu-ray an essential upgrade for fans. 

The DTS-HD Master Audio 2.0 mono track supplies robust sound...to say the very least! The musical numbers are given a hefty volume boost, and coupled with Lanza's booming tenor tones and Grayson's stratospheric soprano the audio can become a bit ear-splitting at times. Fiddling with the volume control is necessary to achieve the right balance between the dialogue and music, but the fidelity and depth of tone on the glorious vocals are superb...and quite amazing considering the movie is 76 years old. The wide dynamic scale handles the lush orchestrations and everything Grayson and Lanza throw at it with ease, sonic accents like sirens and rumbling truck engines are crisp, and all the dialogue is easy to comprehend. A bit of faint surface noise can be heard early in the film, but that's the only hiccup in what is otherwise a top-notch track.

Warner Archive imports some of - but not all - the extras from the 2007 DVD. The musical outtake, Señor Droopy cartoon, and trailer have been ported over, but the Pete Smith Specialty comedy short Sports Oddities has been replaced with a Tom & Jerry cartoon.

• Musical Outtake: "One Love of Mine" (SD, 3 minutes) - A Grayson-Lanza duet that deepens their emotional connection somehow ended up on the cutting room floor.
• Vintage Cartoon: Señor Droopy (HD, 8 minutes) - In this amusing animated short, that deadpan dog Droopy becomes a bullfighter to win the affection of beautiful Latin - and human - lady.
• Vintage Cartoon: Heavenly Puss (HD, 8 minutes) - After a tussle with Jerry, an unconscious Tom takes a trip to the pearly gates, but can't gain admittance to heaven until he gets Jerry to sign a paper saying he's worthy of the honor. Otherwise, he'll be sent straight to hell. Tom is given an hour to accomplish the task, but will that be enough time to butter up his dyed-in-the-wool nemesis?
• Theatrical Trailer (SD, 3 minutes) - The film's original preview heralds the arrival of Lanza as the screen's next great singing star. 

That Midnight Kiss skimps on plot, but the music is sublime. Lanza is a revelation, and though Grayson struggles to keep up with him, she asserts herself well, bringing charm and beauty to a cardboard role. This is hardly one of MGM's best musicals, but Mario's magnetism keeps us engaged and makes this tuneful trifle well worth a spin. Recommended.