YES, GIORGIO

US, 1982, 106 minutes, Colour.
Luciano Pavarotti, Kathryn Harrold, Eddie Albert, James Hong.
Directed by Franklin Schaffner.

Yes, Giorgio is a cinema concoction. It was planned as a promotion for Luciano Pavarotti when he was in his 40s, had a great deal of celebrity, had a cult personality following. The story is very slight, modelled somewhat on the career of an opera singer like Pavarotti. There are Italian locations, some romantic songs, and an opportunity to see the tenor in his heyday and enjoying himself on-screen. The romance, with Katherine Harold, is a bit hard to believe.

The strength of the film probably comes from its director, Franklin Schaffner who had won an Oscar for directing Patten and had directed a number of interesting films from the 60s to the 80s including The Stripper with Joanne Woodward, the original Planet of the Apes, the Hemingway story Islands in the Stream.

1. An entertaining Luciano Pavarotti vehicle? A piece of entertainment fluff? The tradition of American musicals for opera stars - Lauritz Melchior, Mario Lanza etc.?

2. The impact of Pavarotti as a singer: his voice, the selection of songs and excerpts from opera? His range? Songs, concerts, opera performances? Pavarotti as actor - stilted but genial? As a large and genial presence? His bringing opera to the people in the film - and to the film's audience? The selection of opera and songs? The theme song?

3. The colour photography and the use of Italian locations, Boston, San Francisco and New York? The Californian countryside and the balloon ride? Colourful and scenic? The touristic background of the film? The staging of the concerts, the opera - especially Turandot? The affluent background of the film?

4. The supporting cast and their contribution? Playing to Pavarotti? The skill of the director and his ability to make an enjoyable glossy vehicle?

5. The introduction to Pavarotti: the Ave Maria, an Italian wedding? Friendship and farewells? The hitch-hiking nuns? The shrewd nun getting her own concert? Filling in Giorgio's Italian background?

6. Giorgio as an Italian, his fame? His relationship with Carla - a comfortable long marriage? our not seeing her but knowing of her presence via the phone? The manager and his long work for Giorgio's success? Audience response, audience adulation e.g. the woman with the scarf in Boston? The Boston rehearsals? The concert and the crowds? San Francisco and the hotel? The response of the opera cast at the Metropolitan, the audience? Pavarotti's fame and applause?

7. The temperament of the opera star? The phone call about the Metropolitan? His memories of his failure? Voice failure? His needing a doctor and his hypochondria? His not wanting a woman doctor? His response to her challenge? His charm e.g. the ice cream for the children? His invitation to Pamela? The visit to San Francisco and his singing - and losing his voice again? His moodiness with Pamela and tempting her, dedicating his song to her? Her arrival and his response? The affair and his explanation - comfort for him even though married to Carla? Not falling in love? A fling for Pamela? Outings together? The balloon ride with the singing of the theme song? The fight and the colourful pies? The discussions about the Metropolitan and Pamela's persuading him to go?

8. His arrival at the Metropolitan? An achievement in opera? The feel, the acclaim of the cast? The rehearsals and the monstrous dragon and the accident? Ultimate success - with Pamela able to leave him?

9. Pamela: in herself, as a doctor. Giorgio's arrogance and her anger, the television and the song, the invitation and her rejection of the ticket, her deciding to go to San Francisco, treating his voice, the fling? Staying with the family and the cover-up? The balloon ride? The agent and his pleading with her to help Giorgio? The pie fight and her helping him? The phone calls from Carla? The truth, her standing by him, the discussions in the dressing room, the achievement and her being able to leave?

10. The sketch of the harassed agent and his having to help the temperamental star?

11. A piece of entertainment fluff? A vehicle for the opera star? The romantic ingredients - echoing the more permissive tone of the '80s? The popularising of opera?