As a movie history lover/collector, from the Silent Era, to the present, I rank The Vagabond King, as one of my favorites of all time. This classic is not only a fine musical, with first rate music/dancing/singing, but it also has a fine love story, comic relief, passion, adventure, and drama. The acting of the principal players is quite good, thanks to it's director, the great Michael Curtiz, who's credits rank him as one of the best directors of Hollywood's Golden Era. The singing is first rate, yes it is Operatic, but it comes across as Popular music. There is no comparison here to Nelson Eddy and Jeanette MacDonald's movie operas of old, the Vagabond King is a modern 1950s vehicle. All in all, this movie is utterly satisfying, and it will keep you on the edge of your seat from beginning to end.

The last operetta released by a major studio, and it's a pity, for this adaptation of the 1925 Rudolf Friml war horse is pretty nimble. It stars Oreste, a European tenor with the requisite high notes and a fair amount of dash, as the leader of the Paris rabble; he's quite at ease for such a major screen debut, though his accent, so apparent in song, mysteriously disappears in much of his dialogue, making one wonder if some of his lines were post-dubbed. Kathryn Grayson is her usual shrill and simpering self, albeit in a part Callas herself couldn't have made interesting, and Rita Moreno shows a lot of life and a lot of leg as Huguette. Walter Hampden, as the king, has better lines than most screen kings, and underplays them effectively. Friml, then in his mid-70s, appended his stage score with several new melodies set to adequate Johnny Burke lyrics, and one, "This Same Heart," is quite lovely. It's a studio-bound eyeful, with big sets and colorful costumes that have little to do with reality but everything to do with screen spectacle (did 15th century Parisians really don so much purple and yellow and green?), and the screenplay's pretty erudite for this genre, and Michael Curtiz ably keeps things moving (save a brief, silly Adam and Eve ballet that stops the action dead). Nobody went to it in 1956, audiences just weren't interested in operetta anymore, and they still preferred Mario Lanza to an unknown European quantity. But if you can catch this one--I did on Amazon Prime--you'll get a fine eyeful and earful of the lush melody, sweeping spectacle, and ringing romance that endeared audiences to operetta decades before.

The Vagabond King did have the ingredients in the first place to be good. And it was. The story is rather old-fashioned and has a couple of dull spots, but I also think it is quite charming and well-meant too. You do forget that though when you see the lavish production values, the costumes, sets and photography are all gorgeous to look at, and hear the beautiful score and memorable songs that add so much to the film's quality. Song of the Vagabonds is especially catchy. The choreography and direction, apart from a couple of stage-bound moments, are otherwise skillful. The cast also add a lot. Kathryn Grayson is a charmer, Rita Moreno plays her role with both grace and fire and you can never go wrong with Vincent Price as narrator. The real surprise though was Oreste, handsome in looks, dashing in acting ability and ringingly resonant in voice, one does wonder why he like the film was forgotten afterwards. All in all, a very well-done film that is worthy of more appreciation. 8/10 Bethany Cox

It is a great shame that one cannot find past recordings of this great movie. Also it is almost impossible to find recordings of this unique Tenor. Perhaps it is about time that "Vagabond King" will be resuscitated by the use of today's technology. Likewise digital recorings from the Archives of this great Voice can at lest give us a rest from listening to the "three Tenors" over, and over again.