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cards to a number of Torontonians for a season or two. He automatically cut them out as soon as he went to Hollywood or should I say had "gone Hollywood",
The only other significant musical films of 1949 came from Italy, including the almost complete film version of Verdi's "Rigoletto" with Tito Gobbi in the title role. Watching Signor Gobbi’s vital delineation of the hunchback-jester one was not always conscious of his vocal shortcomings. Mario Filippeschi was a vibrant-sounding Duke, if a rather colourless actor. Anna Maria Canali mouthed the words to the singing of Lina Pagliughi as Gilda and Giulio Neri was Sparafucile. The main criticism, besides the regrettable cuts in the score, was the poorly lighted sets. Vocally it was the unseen Pagliughi who garnered most of the laurels.
"Carnival of Venice", which had been produced some time previously was also shown during that year and it starred Venice’s vocal gift to the world Toti Dal Monte. Among some of the other Italian musical productions of the period, although most had been made immediately prior or during World War II, were the following: "Musica Proibita", a Smilin’? Through'-type story with Tito Gobbi singing very little but acting very much; "0 Sole Mio again with Gobbi this was a fairly engrossing drama dealing with the German occupation of Naples during the final days of the last War with Gobbi more interested in getting the Germans out than letting his voice out. "Cantate Con Me" (Sing With Me) and "Ia Mia Canzone Al Vento (My Song to the Wind) both starred the dapper Giuseppe Ingo, who looked more like a prosperous businessman than a world-famous tenor. Ingo's voice was certainly one of the better ones and his singing of arias from "Ia Fanciulla Del West", “La Boheme" and"luisa Miller" are still vividly remembered although the screenplays have long been forgotten. "Torna a Sorrento", "Voice of Love and "The Lovers” all starring Gino Bechi were of variable quality; the former was a pleasant enough tale of mistaken identity