SpecialsTarget Disturbing yet enthralling

Sammy-Jo Cervantes There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Abegail Noëlle While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

TheLittleSongbird As a fan of opera and as somebody who loves Mario Lanza's voice, Seven Hills of Rome(or Arrivederci Roma) is not a bad film and has some good things about it, but it could have been better and Lanza's other films showcase his talents much more.The stars here are the cinematography and the Rome scenery itself. The cinematography is bursting with gorgeous colour and is the very meaning of lavish, capturing Rome beautifully. The scenery itself is just splendid, so much so it makes one wish they were back in Rome, and the film does a good job making the costumes and settings as authentic as possible. Seven Hills of Rome has a music score that's energetic and romantically whimsical, and while only Questo a Quella from Verdi's masterpiece Rigoletto and the unforgettable Arrivederci Roma(which is the highlight of the film other than the visuals) are truly memorable the songs themselves are very pleasant and hummable.Lanza is not at his absolute best, and Seven Hills of Rome is the film that showcases his talents the least effectively(he definitely deserved more music to sing), he still sounds great with his very distinctive tone ringing and beautiful and his phrasing and musicality very good too. Marisa Allasio and Peggie Castle are charming and Renato Reschel brings some amusing comedy.Sadly, the story is poor, even for a Lanza film where it was never was a strong point, the reason being that it is so flat and wafer-thin that it is almost non-existent and seems more of an excuse to string alone scenes together. It also has a tendency to move along a little sluggishly and aimlessly and with any charming or amusing moments being in spades rather than consistent. The script fares even worse, getting increasingly tedious and meandering, with comedy that doesn't really sparkle(ranging from mildly amusing to falling flat) and parts that could have been trimmed easily. And while Lanza does sound great here, his acting is another story. It has its moments, like in Arrivederci Roma but he does try too hard and comes over as stiff. His impersonation scene is also hit-and-miss, his impression of Dean Martin is not bad but his one for Louis Armstrong is so off the mark it's embarrassing. He is not the only person whose acting is not great, because the acting generally is either too broad or going-through-the-motions, while the direction generally is limp.In conclusion, Lanza was a great talent that we lost too soon, but Seven Hills of Rome does not show it as well as his other films. Has its moments but of Lanza's films it's by far his weakest. 5/10 Bethany Cox

wes-connors TV, radio and recording star Mario Lanza (as Marc Revere) quarrels with beautiful blonde fiancée Peggie Castle (as Carol Ralston). She leaves Mr. Lanza's New York studio and heads for Europe. Lanza follows. On a train to Rome, the operatic tenor meets beautifully-proportioned Marisa Allasio (as Rafaella Marini). The young woman got wet in the rain. Lanza advises her, "You better take that dress off." Just in case you didn't notice Ms. Allasio has arousing curves, director Roy Rowland makes it obvious as she jiggles out of her clothing, on screen...Allasio's clothes stay on for the rest of the film, alas, but she remains eye-catching. The location photography, by Tonino Delli Colli, is also lovely. A low-point is Lanza's increasingly excruciating impersonations of Perry Como, Frankie Laine, Dean Martin and Louis Armstrong. Lanza is not a great impressionist. Still, he's a great when he does Mario Lanza. His beautiful co-stars, Italian "cousin" Renato Rascel (as Pepe Bonelli) and the incidental music are pleasant enough to offset a substandard story. In less than two years, Lanza would be gone, sadly.**** Arrivederci Roma (11/21/57) Roy Rowland ~ Mario Lanza, Marisa Allasio, Renato Rascel, Peggie Castle

Nicholas Rhodes Here,s a film after my own heart, not so much for its plot, which is limited, but rather for the beautiful 1950's atmosphere, romantic Italy, beeeeautiful women ( Rafaella in Particular ) and that lovely music. A feast for the eyes and ears. I m not much into Opera, but Mario Lanza's voice is just something else. I so much prefer the 1950's atmosphere of romance and beautiful music, to the violence and aggressiveness of today's films. That alone is more than a saving grace for a film of which the plot would be judged no doubt by today's critics as being too weak. You just have to hand it to the Italians, they have an innate sense of beauty, whether it be art, music or women ! For these reasons alone, the film is worth having.

artzau Mario Lanza was and remains an enigma. Endowed with an incredible voice and a rugged sex appeal, he rose to the top and slid to the bottom in a few short years. This film, his penultimate, is a stinker in many ways. The story sucks, the acting ghastly and the scenes contrived and unconvincing. So, why am I not slamming it with a spoiler (as indeed, this comment is not)? Easy. Mario. Mario, the voice. This guy who lived in excess of the excesses, had an absolutely great voice. He was a lousy musician (most singers are, BTW), utilized horrible vocal technique and emoted all over the place. But, the voice. Ah, the voice. It was golden. And, Mario, the ham, sang from the heart and from the soul. Trite? Perhaps. But, the truth is, his was a unique talent that even some of the great tenors of our time acknowledge as inspirational. When you consider that tenors of the quality of Pavarotti, Domingo, Carreras and McCord declare he was their inspiration, what more can you say? This film, a story not unlike Mario's own odyssey, of a tenor returning to Italy to get in touch with roots and start over again, is a bit corny. But, the singing is worth the price of watching. That voice. We will never hear another like it. In my youth, I aspired to be an operatic tenor and sang on the stage at UC Berkeley and in Italy. I found out quickly that my talent was likely not going to support a great career, but I had pursued it to that point because I loved imitating Mario. He had it. I didn't, but then, who else but Mario did? Check it out.