Word: carminati
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Dates: during 1930-1939
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...cast, Tullio Carminati, as Jumel, is excellent, and Irene Bordoni, playing a French dressmaker who becomes a countess, is, as always, delightful; Shepperd Strudwick, the Napoleon addict is adequate, but his performance lacks sureness. Frederick Loewe's music is pleasant if not catching, the outstanding number being "Why Can't This Night Last Forever." William Dollar's choreography is often striking, but over balanced with quasi-ballet. Albert Johnson's revolving sets are superb...
...Tullio Carminati is an Italian nobleman who meets Ida Lupino on top of the Eiffel Tower from which he is doing his best to jump because Miss Ellis, a cafe singer, has refused to marry him. James Blakeley, looking for Ida Lupino, his fiancee, enlists the help of Lynne Overman, magnificent as a member of the Sûreté. Things build to a spacious and impressively scored wedding night in a chateau with a large cast of serfs singing nuptial choruses regardless of the fact that neither woman is with the right man, and neither is married...
...Live Tonight," with Tullio Carminati and Lilian Harvey, is one of those cinemas which strive to be charming. Diffused lighting, yachts, Monte Carlo, the Riviera in the moonlight, and a champagne supper for two--all these ingredients achieve a sort of Midsummer Nights Dream atmosphere. Carminati, rich and cynical, complains that love is an ephemeral flower, but that, of course, is before he meets Miss Harvey. Also on the program is a very interesting installment of the "March of Time," including a Russian chapter of unusual brilliance...
...Live Tonight (Columbia). A gay bachelor (Tullio Carminati) sings a waltz to a young girl (Lilian Harvey) whom he picked up in the Casino, took aboard his yacht. Fearing he loves her honestly, he sails away alone without telling her why. When he returns, the girl has agreed to marry his brother. Clearing the matter up takes much dialog and some music. Best shot: the final one, in which the heroine hears the theme song, "Love Passes By," played by a hurdy-gurdy, tooted on an automobile horn, sung by a beautician, a gardener and Carminati...
Miss Moore's talents are given more than adequate support by the suave charm of Tullio Carminati, the explosive humour of Louis Alberni, and the truly excellent technical and musical work which have been expended on this picture. Despite these other virtues, however, the film is all Miss Moore's. The plot is simple and straightforward and has the great advantage of providing Miss Moore with the maximum opportunity for using her voice. She sings all sorts of music ranging from the modern "One Night of Love" to the difficult last act aria of Madame Butterfly all with finished technique...