So This Is Love


1h 41m 1953
So This Is Love

Brief Synopsis

Opera singer Grace Moore turns to popular music when her dreams of a classical career fail to materialize.

Film Details

Also Known As
The Grace Moore Story
Genre
Musical
Biography
Release Date
Aug 15, 1953
Premiere Information
World premiere in Knoxville, TN: 29 Jul 1953; New York opening: 11 Aug 1953
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
United States
Screenplay Information
Based on the book You're Only Human Once by Grace Moore (Garden City, NY, 1944).

Technical Specs

Duration
1h 41m
Sound
Mono (RCA Sound System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1

Synopsis

In 1928, in a dressing room at New York's Metropolitan Opera, singer Grace Moore prepares for her debut performance and reminisces about her climb to success: As a child in Jellicoe, Tennessee, Grace is always doing the unexpected, often embarrassing her stiff-necked father, Col. James Moore. In church, where she sings in the choir, the appearance of a handsome young minister inspires Grace to dedicate her life to spreading the gospel. At her high school graduation, she fervently preaches to the crowd who is expecting to hear her sing. Because of the intervention of her aunt, Laura Stokley, who considers herself a fellow "dreamer" and recognizes Grace's uncultivated musical talent, Grace is sent to study music at Wilson Greene School, a conservatory near Washington, D.C. There Grace briefly meets opera star Mary Garden, who encourages her dream to sing opera. Later, during her first public performance at the National Theater, Grace performs in a recital with the famous singer, John McCormack, and although her song is interrupted by the impromptu celebrations of Armistice Day, the newspaper duly reports the musical event. Upon reading the review, Col. Moore is outraged that his daughter is performing on a stage and proceeds to Washington to bring her home. However, by the time he arrives, Grace has escaped to New York with a friend, Ruth Obre, and they take up residence in an apartment with two other young women. After catching up with Grace, Col. Moore reluctantly agrees to support her stay in New York until Christmas. However, when her performance at an amateur "talent night" leads to a singing job in a nightclub, Grace remains in New York. While taking voice lessons with a teacher who encourages loud singing, Grace develops acute laryngitis and loses an opportunity for the lead role in a show. Advised by Dr. Marafioti, a teacher and voice specialist, to resign herself to rest and complete silence for three months, Grace refuses the marriage proposal of her boyfriend, Buddy Nash, a Broadway performer, and moves to a lakeside cottage near Boston that is owned by the wealthy family of Ruth's boyfriend, Bryan Curtis. Alone, Grace spends the winter in silence, and learns in a letter that Buddy is marrying someone else. When she returns to New York in the spring, after not speaking for months, Marafioti confirms that the inflammation in her throat has healed and then teaches her the proper way to sing. Later, Grace gets a role in a show, but her provocative movements to "I Wish I Could Shimmy Like My Sister Kate" embarrasses Col. Moore, and she struggles to convince him that the show is a stepping stone to something greater. The show closes after four weeks, but composer George Gershwin refers Grace to Harry Cort, who is putting on a show in Boston. Although she gets the part, she must contend with its jealous star, Marilyn Montgomery, but Grace's confident stubbornness is equal to Montgomery's tantrums. During rehearsals, Bryan spends time with his family, and he and Grace develop an affection for each other, despite their desire not to hurt Ruth. However, the understanding Ruth has guessed that her boyfriend and best friend have become close and forgives them. Montgomery gets sick after the show opens, and Grace stands in for her. Over the next several years, Grace becomes one of the biggest Broadway stars. In a restaurant one night, Grace finally agrees to marry Bryan, who has waited patiently for her career to stabilize. However, as they are dining, Mary Garden shows up and Grace re-introduces herself. Garden introduces her companion, Otto Kahn, the chairman of the board of the Metropolitan Opera, and Grace remembers that her first dream was to sing opera. Later, at an audition for the Met arranged by Kahn, Grace is rejected by the committee because of her lack of operatic experience. Undaunted, she bets Kahn that she will debut there in two years and accompanies Mary to Europe, leaving behind her Broadway show and Bryan. Two years later, Bryan and Ruth, who are back together, are part of the audience waiting to hear Grace's Met debut. With them are Grace's family, teachers and friends. On cue, the twenty-seven-year-old Grace comes on stage and sings "Mimi" in La Bohéme and afterward takes twenty-eight curtain calls: one for each year of her life, and one to grow on.

Crew

Harold Adamson

Composer

Jack Albin

Stills

Egbert Van Alstyne

Composer

George Asaf

Composer

Jules Barbier

Composer

Gordon Bau

Makeup Artist

Irving Berlin

Composer

Eubie Blake

Composer

Folmar Blangsted

Film Editor

Henry Blanke

Producer

Joe Burke

Composer

Robert Burks

Director of Photography

Michel Carré

Composer

Edward Carrere

Art Director

Al Dubin

Composer

L. S. Edwards

Props

Ralph Erwin

Composer

Henry Field

Men's Wardrobe

David Forrest

Sound

Oliver S. Garretson

Sound

Ira Gershwin

Composer

Giuseppe Giacosa

Composer

E. Ray Goetz

Composer

Mack Gordon

Composer

Jane Gorton

Hairdresser

Charles Gounod

Composer

Mecca Graham

Assistant Director

Paul Haakon

Assistant Dance Director

Oren Haglund

Assistant Director

Otto Harbach

Composer

Ray Heindorf

Music Director

Ray Heindorf

Composer

Charles Henderson

Composer

Charles Henderson

Vocal Arrangements

Elva Hill

Women's Wardrobe

Louis A. Hirsch

Composer

George James Hopkins

Set Decoration

Luigi Illica

Composer

Gus Kahn

Composer

Mitchell G. Kovaleski

Technicolor Color Consultant

Sam Lewis

Composer

Mitzi Mayfair

Dance stand-in for Kathryn Grayson

Norman Mcclay

Best Boy

Rita Michaels

Script Supervisor

John Monks Jr.

Screenwriter

Wolfgang Amadeus Mozart

Composer

Harold Noyes

Grip

Charles O'bannon

Gaffer

Alberto Pestalozza

Composer

A. J. Piron

Composer

Lorenzo Da Ponte

Composer

Felix Powell

Composer

Leroy Prinz

Music numbers staged and Director

Giacomo Puccini

Composer

Leah Rhodes

Wardrobe

Frita Rotter

Composer

William Schurr

Camera Operator

Noble Sissle

Composer

Leonard South

Camera op Assistant

Max Steiner

Music Adapted

Rudolf Thaler

Composer

Charles Wesley

Composer

Lee White

Assistant Director

Vincent Youmans

Composer

Joe Young

Composer

Film Details

Also Known As
The Grace Moore Story
Genre
Musical
Biography
Release Date
Aug 15, 1953
Premiere Information
World premiere in Knoxville, TN: 29 Jul 1953; New York opening: 11 Aug 1953
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
United States
Screenplay Information
Based on the book You're Only Human Once by Grace Moore (Garden City, NY, 1944).

Technical Specs

Duration
1h 41m
Sound
Mono (RCA Sound System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1

Articles

So This is Love


In the 1953 musical biopic So This Is Love, Kathryn Grayson portrays real-life American opera star Grace Moore whose untimely death in a 1947 plane crash tragically cut short a luminous singing career. The film traces Moore's early life as a musical prodigy in Tennessee and subsequent triumph in her debut as Mimi in La Boheme at the New York Metropolitan Opera House. Based on Grace Moore's 1945 autobiography You're Only Human Once, So This Is Love is a highly entertaining film filled with exuberant music and Kathryn Grayson at the peak of her talent and beauty.

Grayson was also at the height of her popularity when she made So This Is Love. While she was beloved by audiences, she also had a reputation for being difficult to work with according to Merv Griffin, who co-starred in the film as Grace Moore's suitor Buddy Nash. "I would need all the encouragement I could get, word around the studio being Kathryn Grayson was a terror to work with," said Griffin in his 1980 autobiography Merv. "She was supposed to fight constantly with her leading men, forcing their faces out of scenes, giving them acting lessons and generally wreaking havoc on the set," said Griffin. "When I ran into her ex-husband, Johnny Johnston, on the lot and told him I was in the new film with Kathryn, he shook his head. 'You're in for a lot of trouble, pal. Good luck.'"

Despite his trepidation, Griffin's inevitable meeting with Grayson was not what he expected. "When I first met Kathryn I must have looked like a boxer sizing up an opponent," said Griffin. "But from day one she popped all my preconceptions by being the most charming, helpful person I'd met in the business. Perhaps she sensed I was a fish out of water on a movie set because she patiently guided me through scene after scene. Once she stopped a scene in midtake just to explain, 'How will you ever be a star, Merv? You keep turning your face away from the camera and losing your key light. Now make sure to talk to me from this angle...so your face will be on the screen, for heaven's sake.' I didn't seem to know where the camera was or where the 'key light' was coming from; I just knew how to find the commissary. But Kathryn slowly taught me the bare essentials of film acting."

When it came time to kiss Grayson in front of the cameras, Griffin got more than he bargained for. "I can be very romantic in the privacy of my own home," said Griffin, "but the idea of playing a love scene in front of a camera crew petrified me. So what does the picture's publicist do for the first day of kissing scenes? He invited a college football team from Texas, in town for the Rose Bowl, to watch us film, without saying a word to me. We were on the set rehearsing a tender love scene in which I whisper a few endearments in Kathryn's ear, then kiss her passionately, and as I'm getting my courage up for the first take I see a mob of large men slowly surround the set. The crew accepted it as normal procedure, so I tried to take it in stride...Sweat rolled down my forehead and onto Kathryn's nose; the makeup man stood by with lots of cotton swabs to use between takes. And there were lots of takes. I kept kissing her head-on, my nose leaving a dent in her face. Director Gordon Douglas quietly prodded me: 'Merv, you're putting your nose in her eye. Turn your head, exaggerate it.' She tried to help me but I was having a terrible time transporting myself from being Merv Griffin to being Buddy Nash, master kisser. After ten takes the football players started mumbling. 'What's the matter with this guy?' 'Give me five seconds and I'll show her a kiss.' 'He's gettin' paid for this, jeez.'...I eventually managed to make it through the kissing scenes, and they actually received quite a bit of attention when the picture was released; in one of the scenes our mouths were open when we kissed, and believe it or not, in 1954 that raised a few eyebrows."

Warner Bros. sent Kathryn Grayson and Merv Griffin on a multi-city tour to promote So This Is Love upon its release, beginning in Grace Moore's home town of Knoxville, Tennessee. The publicity tour along with many positive reviews helped make the film a solid hit and kept Grayson at the top of the musical star pantheon of her day.

Songs in So This Is Love include "The Kiss Waltz," "Remember," "I Wish I Could Shimmy Like My Sister Kate," and "Time on My Hands."

Producer: Henry Blanke
Director: Gordon Douglas
Screenplay: John Monks, Jr.
Cinematography: Robert Burks
Art Direction: Edward Carrere
Music: Max Steiner
Film Editing: Folmar Blangsted
Cast: Kathryn Grayson (Grace Moore), Merv Griffin (Buddy Nash), Joan Weldon (Ruth Obre), Walter Abel (Col. James Moore), Rosemary DeCamp (Aunt Laura Stokley), Jeff Donnell (Henrietta Van Dyke), Douglas Dick (Bryan Curtis), Ann Doran (Mrs. Moore), Margaret Field (Edna Wallace), Mabel Albertson (Mary Garden), Fortunio Bonanova (Dr. Marafioti), Marie Windsor (Marilyn Montgomery).
C-101m.

by Andrea Passafiume
So This Is Love

So This is Love

In the 1953 musical biopic So This Is Love, Kathryn Grayson portrays real-life American opera star Grace Moore whose untimely death in a 1947 plane crash tragically cut short a luminous singing career. The film traces Moore's early life as a musical prodigy in Tennessee and subsequent triumph in her debut as Mimi in La Boheme at the New York Metropolitan Opera House. Based on Grace Moore's 1945 autobiography You're Only Human Once, So This Is Love is a highly entertaining film filled with exuberant music and Kathryn Grayson at the peak of her talent and beauty. Grayson was also at the height of her popularity when she made So This Is Love. While she was beloved by audiences, she also had a reputation for being difficult to work with according to Merv Griffin, who co-starred in the film as Grace Moore's suitor Buddy Nash. "I would need all the encouragement I could get, word around the studio being Kathryn Grayson was a terror to work with," said Griffin in his 1980 autobiography Merv. "She was supposed to fight constantly with her leading men, forcing their faces out of scenes, giving them acting lessons and generally wreaking havoc on the set," said Griffin. "When I ran into her ex-husband, Johnny Johnston, on the lot and told him I was in the new film with Kathryn, he shook his head. 'You're in for a lot of trouble, pal. Good luck.'" Despite his trepidation, Griffin's inevitable meeting with Grayson was not what he expected. "When I first met Kathryn I must have looked like a boxer sizing up an opponent," said Griffin. "But from day one she popped all my preconceptions by being the most charming, helpful person I'd met in the business. Perhaps she sensed I was a fish out of water on a movie set because she patiently guided me through scene after scene. Once she stopped a scene in midtake just to explain, 'How will you ever be a star, Merv? You keep turning your face away from the camera and losing your key light. Now make sure to talk to me from this angle...so your face will be on the screen, for heaven's sake.' I didn't seem to know where the camera was or where the 'key light' was coming from; I just knew how to find the commissary. But Kathryn slowly taught me the bare essentials of film acting." When it came time to kiss Grayson in front of the cameras, Griffin got more than he bargained for. "I can be very romantic in the privacy of my own home," said Griffin, "but the idea of playing a love scene in front of a camera crew petrified me. So what does the picture's publicist do for the first day of kissing scenes? He invited a college football team from Texas, in town for the Rose Bowl, to watch us film, without saying a word to me. We were on the set rehearsing a tender love scene in which I whisper a few endearments in Kathryn's ear, then kiss her passionately, and as I'm getting my courage up for the first take I see a mob of large men slowly surround the set. The crew accepted it as normal procedure, so I tried to take it in stride...Sweat rolled down my forehead and onto Kathryn's nose; the makeup man stood by with lots of cotton swabs to use between takes. And there were lots of takes. I kept kissing her head-on, my nose leaving a dent in her face. Director Gordon Douglas quietly prodded me: 'Merv, you're putting your nose in her eye. Turn your head, exaggerate it.' She tried to help me but I was having a terrible time transporting myself from being Merv Griffin to being Buddy Nash, master kisser. After ten takes the football players started mumbling. 'What's the matter with this guy?' 'Give me five seconds and I'll show her a kiss.' 'He's gettin' paid for this, jeez.'...I eventually managed to make it through the kissing scenes, and they actually received quite a bit of attention when the picture was released; in one of the scenes our mouths were open when we kissed, and believe it or not, in 1954 that raised a few eyebrows." Warner Bros. sent Kathryn Grayson and Merv Griffin on a multi-city tour to promote So This Is Love upon its release, beginning in Grace Moore's home town of Knoxville, Tennessee. The publicity tour along with many positive reviews helped make the film a solid hit and kept Grayson at the top of the musical star pantheon of her day. Songs in So This Is Love include "The Kiss Waltz," "Remember," "I Wish I Could Shimmy Like My Sister Kate," and "Time on My Hands." Producer: Henry Blanke Director: Gordon Douglas Screenplay: John Monks, Jr. Cinematography: Robert Burks Art Direction: Edward Carrere Music: Max Steiner Film Editing: Folmar Blangsted Cast: Kathryn Grayson (Grace Moore), Merv Griffin (Buddy Nash), Joan Weldon (Ruth Obre), Walter Abel (Col. James Moore), Rosemary DeCamp (Aunt Laura Stokley), Jeff Donnell (Henrietta Van Dyke), Douglas Dick (Bryan Curtis), Ann Doran (Mrs. Moore), Margaret Field (Edna Wallace), Mabel Albertson (Mary Garden), Fortunio Bonanova (Dr. Marafioti), Marie Windsor (Marilyn Montgomery). C-101m. by Andrea Passafiume

Quotes

Trivia

Notes

The working title of the film was The Grace Moore Story. The title card reads: "So This Is Love The Story of Grace Moore." Voice-over narration by Kathryn Grayson as "Grace Moore" is heard intermittently throughout the film. Although their appearance in So This Is Love has not been confirmed, December 1952 and January 1953 Hollywood Reporter news items add Lorraine Elliott and Gilbert Russell to the cast. Onscreen credits list the brother-sister act, Giselle and François Szony, as "The Szonys."
       As depicted in the film, the Tennessee-born Grace Moore (ca. 1901-1947) studied music in Washington, D.C. and New York, then performed in musical comedy for five years. After continuing her studies in France, she returned to New York in 1928 and debuted at the Metropolitan Opera as "Mimi" in La Boheme. She continued to perform internationally and appeared in several films, including the 1934 Columbia production One Night of Love (see AFI Catalog of Feature Films, 1931-40), until her death in an airplane accident. According to a March 1951 Los Angeles Herald Express news item, independent producer Michael Phillips of DeMyrtha Productions, with his associate, Bob Ratford, prepared a film story based on Grace Moore's life and were searching for an actress to play the lead. However, Jack Warner bought the rights to Moore's biography from her husband, Hal Parera, according to a November 1951 Los Angeles Examiner news item.