Carmine Gallone Movies

The Russian Czar's special courier, Jurgens, is entrusted with an important message destined for the Czar's troops and he sets off across the Tartars' land with Page in this 19th century setting. ~ All Movie Guide

Puccini's famous opera gets a royal treatment, a few million dollars worth of it, in costumes and sets for this 1956 cinematic production. Although this is filmed opera performed on a stage, the singing and the performance, as well as the visuals, are excellent. Floria Tosca (sung by Maria Caniglia, performed by Franca Duval) has fallen in love with Mario (Franco Corelli), an artist who helped Floria's brother when he needed to escape the evil clutches of Scarpia (Afro Poli), the nasty local police chief. Scarpia gets his revenge -- and Floria -- when he arrests Mario and is willing to release him only on the condition that Floria complies with his amorous demands. ~ Eleanor Mannikka, All Movie Guide

Previously filmed twice as a straight drama, Madame Butterfly was offered in its operatic form in this Japanese-Italian production. Karuo Yachigusa plays the central role of the tragic Chocho-San, while her singing has been dubbed by an anonymous soprano. Chocho-San's American lover/bertrayer Lt. Pinkerton is portrayed by Italy's Nicola Filacurdi, who like his leading lady relinquishes the singing responsibilities to someone else. The only member of the cast who actually sings Puccini's words and music is Ferdinando Lidonni as Sharpless. The stars are backed up by the chorus of the Teatro dell'Opera di Roma and by the dancers of Japan's Takarazuka Girls Opera Company. ~ Hal Erickson, All Movie Guide

Don Camillo e l'on Peppone was the third in a series of film comedies based on characters created by Giovanni Gareschi. Fernandel and Gino Cervi return as, repectively, resourceful Italian village priest Don Camillo and his friendly enemy, Communist mayor Peppone. This time, the two adversaries are pitted against each other in a local election, even though neither one wants to win. Don Camillo comes out on top by promising to help Peppone pass an important qualifying exam, in exchange for a new church construction project. Most slapsticky than previous "Don Camillo" entries, the highlight of Don Camillo e l'on Peppone is a zany runaway-tank sequence. ~ Hal Erickson, All Movie Guide

The life of composer Giacomo Puccini is dramatized in this attractively produced biopic. Gabriele Ferzetti plays the title character, from his student days to his still-active 80s. The script is structured in classic "persevering over the odds" fashion, with Puccini recovering from the poor reception afforded his Madame Butterfly and going on to the loftiest of professional heights. Along the way, the protagonist's life is profoundly affected by three very different women: Small-town girl Elvira (Marta Toren), opera-diva Cesira Ferrari (Nadia Gray) and a tragic servant girl (Miriam Bru). Ample screen time is given over to full-blooded performances of Puccini's best works. ~ Hal Erickson, All Movie Guide

It is Maria Felix's turn to play one of Ancient Rome's most notorious femme fatales in Messaline. Sleeping her way to the top, Messaline weds Emperor Augustus (Memo Bessani), all the while entertaining dozens of virile young males. Enjoying unbridled power, the empress holds the entire Roman Empire in her grip. When her husband and courtiers fail to satisfy her, she takes to the streets disguised as a prostitute to sexually exploit a few average citizens. Filmed on an enormous scale, Messaline contains all that is expected of a Roman epic, including a few graphically detailed episodes in the Colosseum. Among those tossed to the lions is dancing girl Cynthia (Delai Scala), who like empress Messaline displays pulchritude aplenty before her inevitable demise. ~ Hal Erickson, All Movie Guide

At the time of its release, this filmization of Verdi's opera Il Trovatore was praised for its "cinematic" qualities: that is, it didn't look like just another photographed stage play. Director Carmine Gallone even expanded upon the battle sequences that are usually sketchily presented on stage. At 109 minutes, the film takes a lot less time getting to the tragically ironic finale than the original opera, which runs four full acts. The leading roles of gypsy woman Azucena and Conte di Luna are sung and acted by opera favorites Gianna Pederzini and Enzo Mascherini; on the other hand, hero and heroine Manrico (Gino Sinimberghi) and Leonora (Vittorina Colonello) appear to be dubbed. The choral numbers are performed by members of the Rome Opera House. One word of warning: anyone who's seen the Marx Brothers' Night at the Opera may have trouble getting through The Anvil Chorus with a straight face. ~ Hal Erickson, All Movie Guide

At the time of its release, this filmization of Verdi's opera Il Trovatore was praised for its "cinematic" qualities: that is, it didn't look like just another photographed stage play. Director Carmine Gallone even expanded upon the battle sequences that are usually sketchily presented on stage. At 102 minutes, the film takes a lot less time getting to the tragically ironic finale than the original opera, which runs four full acts. The leading roles of gypsy woman Azucena and Conte di Luna are sung and acted by opera favorites Gianna Pederzini and Enzo Mascherini; on the other hand, hero and heroine Manrico (Gino Sinimberghi) and Leonora (Vittorina Colonello) appear to be dubbed. The choral numbers are performed by members of the Rome Opera House. One word of warning: anyone who's seen the Marx Brothers' Night at the Opera may have trouble getting through The Anvil Chorus with a straight face. ~ Hal Erickson, All Movie Guide

Long before Amadeus, the life story of Wolfgang Amadeus Mozart was committed to celluloid in the Italian Eternal Melodies. Gino Cervi stars as Mozart, the former child prodigy who reaches the heights of operatic fame in the 18th century, only to be buried in a pauper's grave after his premature death at age 37. There's no "Salieri" to plague Mozart in this film: instead, the story concentrates on a romantic triangle involving the composer and the two lovely Weber sisters, Aloisia (Conchita Montenegro) and Costanza (Luisella Beghi). Betrayed by Aloisia, Mozart finds solace in the arms of Costanza. Though historical accuracy is hardly a consideration in Eternal Melodies, the film is redeemed by its all-Mozart musical score. The film was originally released in Italy in 1940 as Melodie Eterne. ~ Hal Erickson, All Movie Guide

The Lost One is the English-language title for the 1948 adaptation of Giueseppe Verdi's opera La Traviata. Departing somewhat from the original plotline, the film accommodates a "framing story" involving Verdi (Nerio Bernardi) and Alexandre Dumas Jr. (Massimo Serato), author of the opera's source novel La Dame aux Camelias. Standing by the grave of legendary Parisian courtesan Alphonsine Plessis, who died of a broken heart after falling truly in love for the first time in her life, Verdi and Dumas are inspired to immortalize Plessis' story in print and on stage. The film then segues into the opera proper, as the tragically coquettish Violetta (Nelly Corradi) enters into a romance with handsome and wealthy young Alfredo (Gino Mattera), ultimately and sadly coming to the realization that their marriage will never take place due to her soiled reputation. For the benefit of English-speaking audiences, The Lost One was provided with a voiceover narration, in which the heroine records the events of her life in her diary. ~ Hal Erickson, All Movie Guide