Naught Moses DiMH rated a 6.5 when I saw the thing for the first time tonight. I certainly understand that it is a snapshot of both it's own time in the HUAC - Tail Gunner Joe - Blacklist era and the turn of the 19th to 20th century... mid-century faux-Broadwayish rendition and all. Nevertheless, as a collection of set designs, use of Technicolor, musical performances, gorgeous (and talented) females in stunning costumes, and star turns for otherwise "serious" actors like Jose Ferrer, DiMH is both visually and aurally mindblowing to any student of the development of film-making. Moreover as an example of craftsmanship on so many levels that was head and shoulders above almost anything else I can think of during that era. Why "American in Paris" continues to get accolades is no mystery. But this film is at least on a par with that one, and it's all but ignored now. If the genre that gave us Fred & Ginger and Judy in St. Louis -- not mention Gene, Don O'Connor and Danny Kaye -- twists your pretzel, fer cryssake don't miss =this=.

vincentlynch-moonoi While it can be said that without question MGM cornered the market in producing high quality musicals, that is not to say that all of those musicals were good. It seems to me that the quality varied a great deal, and that after a while audiences tired of seeing the same old stars trotted out for virtually every major musical.Having said that, I would have also say that "Deep In My Heart" is one of MGM's better musicals. Yes, you see quite a few of those "same old stars", but here there are enough...well, you might call them gimmicks...to keep you interested. For example, when did you ever see Gene Kelly doing a peppy dance number...with his real brother Fred? Or Rosemary Clooney singing and dancing...with her husband Jose Ferrer (star of the film). And then again, how often did you see Jose Ferrer singing and dancing? Yes, there are a number of things to keep you interested here. Among them are the "cameos" for the musical numbers -- (in addition to those already mentioned) Jane Powell, Vic Damone, Ann Miller, Cyd Charisse, Howard Keel, and Tony Martin.In terms of the acting cast, Jose Ferrer was different enough here that I must reevaluate his talents. He really does rather nicely on the song and dance numbers. Merle Oberon is around as a lyricist, but her talents are rather wasted. Helen Traubel -- opera singer -- does a nice turn as a friend of Romberg's. Walter Pidgeon has a bit of a role as one of the theatrical Shuberts, and Paul Henreid appears briefly as Florenz Ziegfeld. Paul Stewart and Jim Backus do nicely in supporting roles, though Backus is underused.The problem with this film -- for modern audiences -- is that the music is very outdated. And most audiences today do not have very diverse musical tastes.

jotix100 This MGM little gem, evidently, has been forgotten. I don't recall having seen it before, so it was a complete surprise when TCM showed it recently. MGM certainly was the studio where musicals were done right because of its power and its resources.The choice of Stanley Donen as director was the right one. Mr. Donen's distinguished career in this genre, as well as his contribution to musicals, enhances this a winning film. We don't watch musicals looking for high brow entertainment, but when we find one that has a story line, the numbers are brilliantly staged with beautiful costumes, then we have a winner, as it's the case with "Deep in my Heart".Siegmund Romberg was one of the most beloved composers working on the Broadway stages at the beginning of the last century. His collaboration with Dorothy Donnelly produced a string of winning musicals that helped establish his reputation as one of the best musicians working in America.Of course, this is a film that, by today's standards, would be considered politically incorrect. At no time do we learn that Mr. Romberg was Jewish, or that he had come to America after having suffered discrimination in Europe. Like the great American composers of the early 20th century, Mr. Romberg drew upon his European roots and the popular culture of the times he encountered in his adopted country.One of the best cinema actors of the time, Jose Ferrer, plays the title role. Mr. Ferrer gives an excellent portrait of the composer during his life. He makes Mr. Romberg a joy to watch. Having known this great actor personally, and having admired him for his work in films and the theater, brought back happy memories.The rest of the cast is equally interesting. Merle Oberon makes a beautiful Dorothy Donnelly, the woman who was the other half of the composing team. We see in smaller roles Walter Pigeon, Paul Henried, Paul Stewart, Jim Backus, Helen Traubel. Doe Avedon is Lillian, the woman who stole Romberg's heart.One of the benefits of having made the movie at MGM is the added bonus of seeing stars of the magnitude of Gene and Fred Kelly, Ann Miller, Rosemary Clooney, Cyd Charise, Tony Martin, Jane Powell, Howard Keel, Russ Tamblyn, Vic Damone interpreting the best Romberg's songs as part of whatever musical he was working at the time.A movie to treasure.

ftm88_99 I found this one to start out strong, sag painfully in the middle when plot takes over, then pick up again and finish with a bang. Some splendid singing from the very likeable Miss Helen Traubel, and some swell production numbers by a bevy of MGM artists. Highlight for me was Cyd Charisse dancing with James Michell (sp?). A movie in which the splendid music Sigmund Romberg is well-served.