Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Scotty Burke It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

TheLittleSongbird In fact, for me, a close second best to 1950's 'Three Little Words', which just gets the edge for having a little more energy pace-wise and never giving the impression that it should have been shorter.Despite pretty much all of them being heavily fictionalised, with some like 'Till the Clouds Roll By' and 'Words and Music' really coming to life in the musical numbers and losing interest pretty significantly in the biographical sections, all of the 1940s-1950s composer musical biopics (titles being 'Till the Clouds Roll By', 'Rhapsody in Blue', 'Night and Day', 'Words and Music', 'Three Little Words' and this) are worth watching at least once.Based on the life of operetta composer Sigmund Romberg, whose magnificent tunes often paired with librettos that could be silly and thin but with enough elegance and charm, 'Deep in My Heart' is very loose biographically but as a piece of entertainment in its own right it does excel. It is let down only really by the story dragging pretty badly in the middle section where there's less emphasis on song and more on biography, with the biographical sections despite being nicely written and excellently played lacking the momentum shown when the music/dancing takes centre stage. At over 2 hours, with parts dragging, it does feel like a long haul at times and did feel like it could have been 15-20 minutes shorter.However, 'Deep in My Heart' is a beautiful-looking film, photographed with elegance and lavishly designed. Can't get enough of Jane Powell and Cyd Charisse's dresses either. The music is magnificent (more on the highlights later), with none of the singers and dancers not doing justice to it, while the script has some cute, witty and sometimes sophisticated humour and also some emotional moments like the very moving Carnegie Hall finale.Jose Ferrer gives a bravura performance in the title role, essential for being the one holding everything together. He is very well supported by a lovely Merle Oberon and a fine Walter Pidgeon. Stanley Donen directs beautifully in the first and last thirds, if plodding a little in the middle act. The choreography in "It" and "One Alone" is on the same level as the music, electrifying in "It" and erotic in "One Alone".There are many musical/performing highlights here. A big standout is the Cyd Charisse/James Mitchell dancing in "One Alone", sensuous doesn't describe it, while Ann Miller electrifies in "It" and Jane Powell and Vic Damone make hearts swoon in "Will You Remember". Helen Traubel also sounds great, and 'Deep in My Heart' offers rare and delightful chances of seeing Ferrer and real life wife Rosemary Clooney together in "Mr and Mrs" and brothers Fred and Gene (yes that Gene) Kelly in "I Love to Go Swimmin with Wimmen". Tony Martin sounds glorious in "Lover Come Back to Me" as does Howard Keel in "Your Land and My Land".In conclusion, flawed but with so many wonderful things. 8/10 Bethany Cox

mark.waltz By 1954, a biography of operetta composer Sigmund Romberg seems a bit out of place just two years before Elvis Presley took the recording industry by storm. But Hollywood wasn't giving up on operettas, at least not yet, having just filmed Romberg's "The Desert Song" (for the 4th time, if you include "The Red Shadow, a 1934 short) and "The Student Prince", as well as Rudolph Friml's "Rose Marie". As a movie biography, "Deep in My Heart" is a lot of "and then I did", but it is completely charming. A glorious opening has the MGM chorus singing the title song after a brief orchestral medley of his songs, and don't be surprised if your spine doesn't tingle a bit when the first close-up on Jose Ferrer comes up.As other musical biographies always start, Sigmund Romberg is a hopeful composer who reluctantly writes jazzy tunes (the delightful "Leg of Mutton") to get his name bandied about by Broadway producers. They take his beautiful medley, "Softly as a Morning Sunrise", and turn it into a Folies Bergere type number for his first show, but Romberg insists that he won't be satisfied until he can have his operetta, "Maytime", produced. In the meantime, he writes for a few more reviews, but when "Maytime" is produced, he has an artistic and financial smash on his hands. The pairing of Jane Powell and Vic Damone singing "Will You Remember?" is glorious, which sets the tone for the on-stage numbers. It's ironic here that the best numbers are the ones for his operettas, "The Student Prince", "The Desert Song", and "New Moon". Jazzy numbers like "It", "I Love to Go Swimmin' With Women" are slightly disappointing, as if stating these types of songs didn't have his heart in them. In fact, "It", lively sung and danced by Ann Miller is a little offensive.As far as the storyline goes, the music drops out completely in the middle of the film as Romberg's romance with his future wife Lillian (Doe Averdon) erupts, but fortunately, it's not gone for long. Ferrer gives a hysterical performance while describing the plot and music of his newest show "Jazz-a-Doo" to Averdon and her uppity mother (Isobel Elsom) that is reminiscent of Danny Kaye's early work. Supporting Ferrer, along with his wife, are the lovely Merle Oberon as Romberg's lyricist and book writer Dorothy Donnelly and the amazing Helen Traubel as Anna Mueller, his life-long friend who has the voice of an angel, not to mention the heart of gold to go along with it. Traubel, who made few films, is a gifted comic and steals every scene she is in.For fans of "Funny Girl", there is a nice ironic scene of Walter Pidgeon playing J.J. Shubert in a scene with Paul Henreid as Florenz Ziegfeld. (It's too bad they couldn't get William Powell to play David Belasco or some other Broadway producer of that era.) "Mr. Magoo" and "Thurston Howell III" fans will instantly recognize Jim Backus in the role of one of Romberg's writing partners. Overall, "Deep in My Heart" is typical MGM gloss with only the outline of a story, but works tremendously because of the entertainment quotient it brings. It ranks up there with "Till the Clouds Roll By" and "Three Little Words", and outshines the fictitious Cole Porter story ("Night and Day") and the sanitized "Words and Music" (the Rodgers and Hart story).

Cdorothygale-1 DEEP IN MY HEART is one of the last of the great MGM Musicals, and almost unknown today. This is too bad, because it contains some wonderful musical numbers: Cyd Charisse at her most spectacular in a number from THE DESERT SONG, Gene Kelly and his brother Fred as song-and-dance men, Jose Ferrer doing a surprising one-man-show routine that is astonishing, as well as a charming song and dance with opera star Helen Traubel. It is supposedly based on the life of famed composer, Sigmund Romberg, and it is presented in typical MGM glossy style, but this was a composer of great melodies who deserved the plush treatment. This is a top-flight production that is well worth watching. You'll see additional numbers by Ann Miller, Howard Keel, Jane Powell and Rosemary Clooney!

movibuf1962 This film is a curiosity more than anything else. Like most of MGM's alleged composer biographies, it distorts the details of the composer's actual life (in this case Broadway operetta composer Sigmund Romberg), but hangs all of his magnificent songs on an all-star coat rack. And there lies the attraction: seeing Gene Kelly in his only on-screen appearance with real life brother Fred; Jose Ferrer performing with real life bride Rosemary Clooney (in all of her stunning beauty); and his friend and business compatriot Helen Traubel trilling away-- most effective in the beautiful and uncluttered "Softly" and the lush "Aufwiedersen" for the ears of a dying Merle Oberon (was librettist Oberon supposed to have a crush on composer Ferrer?). Also choice is Ann Miller's Charleston tap dancing (and she looked great in that red dress); and super-babe Cyd Charisse in an 'Arabian Nights' ballet with James Mitchell (maybe the single most erotic dance performed on film): "One Alone--" in an incredibly sexy, nearly all-lace gown.