InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Murphy Howard 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.

Suman Roberson It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

TheLittleSongbird Judging from what was said about 'Yes Giorgio' at the time of its release, this reviewer was expecting utter rubbish and a film bad enough to be among the worst films ever made.Finally watching it, as a singer myself, a life-long opera enthusiast and as someone who likes Luciano Pavarotti very much, 'Yes Giorgio' is not a great film, or even a good one. However, to me it was not that bad. Taken for what it is, which is essentially a vehicle for Pavarotti, it's okay, with some huge flaws but also enough charms to make it worth a one-time-only watch.Starting with the positives, 'Yes Giorgio' is beautifully shot and contains some positively gorgeous scenery, particularly towards the end. The music, which contains operatic favourites "Nessun Dorma" (Puccini's 'Turandot'), "Una Furtiva Lagrima" (Donizetti's 'L'Elsir D'Amore'), "Cielo e Mar" (Ponchielli's 'La Gioconda') and "La Donna e Mobile" (Verdi's 'Rigoletto') and popular classical songs "Ave Maria" (the Schubert version) and "O Sole Mio", is enough to transcend even non-opera fans to heaven, while the charming music score and the justly Oscar-nominated "If We Were in Love" complement beautifully.Pavarotti as ever sounds absolutely glorious throughout the whole duration of 'Yes Giorgio'. All the operatic arias (especially "Nessun Dorma" and "La Donna e Mobile", "Una Furtiva Lagrima" is also quite heartfelt) suit him perfectly as do "Ave Maria" and "O Sole Mio", his endearing personality too shines. Eddie Albert gives his usual solid performance, he's understated but looks as if he's having fun too. Although Pavarotti is the thing that people will remember, Albert gives the best overall performance in the film.Unfortunately, although Pavarotti sounds glorious and there is no doubting that he has a personality that radiates, his acting (which admittedly, with some exceptions, never was a strength of his) looks awkward and the amount of preparation and polish that went into the singing doesn't translate in the line delivery. He surprisingly (although he was not the best of actors, he always did have a charming rapport with his leading ladies) shares very little chemistry with the female lead Kathryn Harrold, or at least not a very natural or obviously amorous one. The romance is not very well written, being contrived and cloying, and Harrold's unbearably obnoxious performance is an even larger part of the problem, her character being written and performed in a way that makes one wonder what did Pavarotti's character see in her.The script has some sweet and amusing moments, but too many forced and nauseatingly sugary ones as well. The romantic dialogue was particularly squirm-inducing, so much so it beggars belief how it was approved beyond first draft. With the story, the predictability- with a very old-fashioned premise that worked just fine before with the right execution but not so much now- isn't the issue, but the erratic pacing and thin structure were issues and even worse was that it felt more an excuse to string along arias and classical favourites to show off Pavarotti's voice and talents. Sure the Mario Lanza films can be seen as guilty of this too, but the acting was more consistent in those films with better leading ladies and while the stories were among the weaker assets of most they were handled with more charm and emotion and easier to relate to, never did they feel exploitative in the way 'Yes Giorgio' sometimes did. With the acting, the only really consistently good performance came from Albert, the rest of the supporting roles are underwritten and the rest of the performers can't do anything with the material.Overall, okay for what it is and not as bad as its reputation but at the same time not particularly great or good. 5/10 Bethany Cox

arieliondotcom Okay, let's face it. this is a god-awful movie. The plot (such as it is) is horrible, the acting worse. But the movie was made for one reason and one reason only, like all of those awful Mario Lanza movies...just to hear the voice of the star, in this case Pavarotti in his prime. Okay, so maybe the Lanza movies were also an excuse for him to hit on women, but this movie is about hearing Luciano. That alone is worth watching the movie. A big opera star stuck on himself faces his fears, finds humility and love along the way, and belts out a lot of hit numbers, too.I must admit I'm prejudiced on a number of levels. I'm Italian. I'm a big Pavarotti fan (is there anything about Pavarotti that isn't big, including his fan base?). And when I first saw this movie I was going out on my own, seeing the height and depth of Life's possibilities and in love for the first time. So as awful as this movie is, the beautiful voice and memories are enough to make me breathe deep of life and love again.Yes, it's corny and awful. But the voice is immortal and timeless, and the voice is what it's all about. So I give this movie a high rating in hopes that someone who has never heard Pavarotti before will listen and watch and enjoy a new level of music and love, especially since he is now gone. Like Italian food that you've never tried before, try it! You may be pleasantly surprised, as a Luciano lover or prospective Pavarotti peep.

brower8 An attempt at crossover to appeal to those who don't appreciate opera, exploiting the fame of one of the greatest opera singers of all time, it fails badly. All that is desirable in this movie is the opera, and one can best find a recording of Pavarotti doing what he does best. The plot revolves around a romance with a doctor who heals his throat which has suddenly become troublesome. Only because it came out so long ago is it largely forgotten. Like most opera stars, Pavarotti is a decent actor and has stage presence aside from his singing talent, and nothing that he does in this movie negates that opinion. His culpability lies in not rejecting the horrid script. Perhaps because great operas can have silly stories he tolerated this one.Who knows, except those involved? Do we need to know? The plot is weak and trite. This movie is like trudging through cold mud to pick off a few juicy tidbits (the opera music) hanging above the mud. We have other ways in which to appreciate the great Pavarotti, and this one isn't one of them. Just get one of his many superb opera or vocal-concert recordings and recognize the master tenor where he is most suited.It would be one of IMDb's 100 Worst Films if more people remembered it and gave it some votes; it would fit neatly in a list including several efforts of singers, actors, models, and athletes to exploit their popularity through film. Very often it all goes badly wrong due to incompetent acting or a horrible script. Pavarotti would have been a decent actor had he not shown such a superb voice. However effective he is as an actor (opera requires it), not even Jimmy Stewart could have rescued this turkey of a script.I give it a polite 3 of 10 because someone may have become a fan of Pavarotti's singing and of opera because of this movie.

tsimpson56 Yes, Giorgio, is a feel good movie. A little romance, great music, beautiful scenery, comedy, (a great food fight), and a little taste of bittersweet are the ingredients of Yes, Giorgio. Any movie buff would enjoy this film. Those who require massive special effects, should look elsewhere. Most of us need a little escape now and then, and how better to do this, than with a feast for the eyes, ears, and heart? A must see!