Mr. Imperium

Plot

An exiled European king, known as Mr. Imperium, meets and falls in love with American nightclub singer Fredda Barlo while she's performing in Italy. Their romance blossoms during a brief encounter, but duty calls him back to his homeland to reclaim his throne after the war. Years later, when Fredda has become a major Hollywood star, they meet again in California. The king, now living in exile and working as a racing car driver, attempts to rekindle their romance while facing the challenges of their different social statuses and his royal obligations. Their love story unfolds against the backdrop of Hollywood glamour and European political intrigue, culminating in a difficult choice between love and duty.

Historical Background

Mr. Imperium was produced during Hollywood's golden age of musicals, when MGM was the undisputed leader in lavish productions. The film emerged in the post-World War II era when European royalty in exile was still a relatively recent phenomenon, lending authenticity to the story. The early 1950s marked the beginning of television's challenge to cinema, causing studios to invest heavily in spectacles that couldn't be replicated on the small screen. The film also reflected America's fascination with European culture and royalty, a theme that resonated with audiences who had followed the war's impact on European monarchies. MGM's production approach exemplified the studio system at its peak, with complete control over casting, production, and distribution.

Making Of

The production faced numerous challenges from the start. Director Don Hartman, primarily known for comedies, struggled with the musical format and clashed with MGM executives over the film's tone. Lana Turner, initially enthusiastic about her first musical, became increasingly difficult on set as she realized her singing limitations. The studio secretly hired Trudy Erwin to dub Turner's vocals, a fact that was kept from the press during filming. Ezio Pinza, despite his operatic background, had difficulty adapting to film acting techniques and required extensive coaching. The elaborate racing sequences caused production delays when weather conditions proved unsuitable for filming. MGM invested heavily in the film's marketing, positioning it as their prestige musical of 1951, but the final product was considered overproduced and emotionally distant by preview audiences.

Visual Style

The film's cinematography, handled by Robert Surtees, showcased MGM's mastery of Technicolor. Surtees employed rich, saturated colors particularly in the musical sequences, creating a dreamlike quality that contrasted with the more realistic racing scenes. The camera work during the musical numbers featured sweeping crane shots and elaborate tracking movements, characteristic of MGM's prestige productions. The lighting design emphasized Turner's glamour, using soft focus and backlighting to create her signature luminous appearance. The racing sequences utilized innovative camera mounting techniques to capture the speed and excitement of the track scenes, representing some of the most dynamic automotive cinematography of its time.

Innovations

Mr. Imperium showcased several technical innovations for its time. The racing sequences featured some of the earliest uses of camera mounts directly on racing cars, providing audiences with unprecedented perspectives of high-speed action. The film's sound recording techniques were particularly advanced for the musical numbers, using multiple microphone setups to capture both the performances and orchestral accompaniment with clarity. The Technicolor processing employed the latest three-strip technology, allowing for more subtle color gradations than earlier color films. The production design utilized new techniques in creating realistic European palace interiors on studio soundstages, incorporating forced perspective and matte paintings to achieve grandeur within budget constraints.

Music

The musical score was composed by Bronisław Kaper, with lyrics by Sammy Cahn for the original songs. The film featured six original musical numbers, with 'Never' emerging as the standout piece that earned an Academy Award nomination. The orchestration blended classical European motifs with contemporary American popular music, reflecting the story's cultural themes. Ezio Pinza performed his own singing, bringing his operatic training to the popular songs, while Lana Turner's vocals were provided by Trudy Erwin. The soundtrack was released on MGM Records and became modestly popular, particularly the ballad 'Never,' which was covered by several popular artists of the era including Perry Como and The Ink Spots.

Memorable Scenes

• The opening sequence where the king and Fredda first meet at the nightclub in Italy, featuring the romantic duet 'We'll Go Walking Together'
• The elaborate racing sequence at Santa Anita Park where the king demonstrates his driving skills while Fredda watches from the stands
• The emotional balcony scene where the king must choose between his royal duties and his love for Fredda
• The final musical number 'Never' performed against a backdrop of European palace interiors
• The Hollywood premiere sequence where Fredda's stardom contrasts with the king's anonymity

What Critics Said

Contemporary critics were largely disappointed with Mr. Imperium. The New York Times criticized the film's 'lack of emotional depth' and noted that 'the chemistry between Turner and Pinza never quite ignites.' Variety called it 'a handsome production without a heart' and questioned the casting decisions. Modern critics have been somewhat kinder, recognizing the film as an interesting curiosity piece. The film is often cited in film studies as an example of how even the most expensive productions could fail when lacking genuine emotional connection. The musical numbers, particularly 'Never,' have been praised in retrospect for their melodic sophistication, even if the film as a whole is considered flawed.

What Audiences Thought

Audience reception in 1951 was lukewarm, contributing to the film's box office failure. Turner's fans were disappointed by her limited singing and the lack of her usual dramatic intensity. Opera enthusiasts who came to see Pinza found the material beneath his talents. The film struggled to find its target audience, being too sophisticated for mass appeal yet not sophisticated enough for art-house patrons. Modern audiences who discover the film through classic movie channels often appreciate its visual splendor and period charm, though many find the pacing slow by contemporary standards. The film has developed a small cult following among musical enthusiasts who appreciate its unique place in MGM's catalog.

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