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Prelude to Fame (1950) is an inspiring drama that follows the journey of a young musical prodigy as he discovers his talent and navigates the world of performance. Encouraged by mentors and supported by family, he strives to develop his skills and share his music with audiences.

The film highlights dedication, perseverance, and the joy of artistic expression while exploring themes of friendship, mentorship, and personal growth. Through challenges and opportunities, the protagonist learns the value of hard work, confidence, and pursuing one’s passion.

With captivating performances and a heartfelt story, Prelude to Fame offers a family-friendly cinematic experience celebrating music, ambition, and the rewards of following one’s dreams.
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00:00:00Il nostro corso gratuito www.mesmerism.info
00:00:30www.mesmerism.info
00:01:00www.mesmerism.info
00:01:30Philosophy nowadays is not looked upon as the solely, as the property of the scholar and the student, to the exclusion of the man in the street.
00:01:47A philosophy that belongs upon the bookshelf. A philosophy that was not meant to be lived. Should never have been written. A social philosophy.
00:01:57A social philosophy. Sorry, darling.
00:01:59Signora Morel? Yes.
00:02:02From Signora Bondini.
00:02:03Signora Bondini? She owns the fellow over the hill, doesn't she?
00:02:07And most of the village, Signora. We all belong to the Signora.
00:02:10She's English, isn't she? But I thought she lived in Rome.
00:02:13We travel, Signora. We're very rich.
00:02:15We're very lucky.
00:02:16My compliments to Signora Bondini, and I'll be glad to call today.
00:02:20That's right, Signora. You do what she says.
00:02:25The end of peace in our time. Must you, Catherine?
00:02:29Of course, John. Listen.
00:02:31The Signora Bondini has returned from Rome, and would be pleased to receive Mrs. Morel if she will call.
00:02:36Practically a royal command. Suppose you don't.
00:02:39Oh, I must. She has the evil eye.
00:02:41Well, that's very interesting. Who says so?
00:02:43Nick. Nick. What does he know about the evil eye?
00:02:45Oh, he talks to the villagers. He knows lots of the local sayings.
00:02:48Yes, and lots of local superstitions, apparently.
00:02:51By the way, talking of Nick, where is he? I never seem to see him these days.
00:02:54He's with Guido. You know the boy from the farm.
00:02:56Ah, yes. And do we approve?
00:02:58Hmm. Why not? Guido's a nice boy.
00:03:02Precocious, maybe, but not dangerously so.
00:03:05And Nick won't come to any harm with Guido.
00:03:08Guido!
00:03:11Come on, Guido!
00:03:36Come on, Guido!
00:03:37Come on, Guido!
00:03:37Come on!
00:03:41Guido, è stato il tuo idea, non ti vuoi fare più?
00:03:46Nick, se tu senti long enough, do you hear the noises beginning to make a shape?
00:03:51A what?
00:03:52A shape, like people in the village having an argument.
00:03:56The wind in the grass, then the river going over the stones, a cock suddenly, then a cow.
00:04:01Do you mean you can understand what they say? Cocks and cows and things?
00:04:05Of course not. They aren't people.
00:04:07It doesn't matter what they say. It's the way the sounds mix.
00:04:13Listen, that man's so much shopping aside.
00:04:17A bird.
00:04:19Now the train in the valley.
00:04:22The man stopped the fool.
00:04:25Oh, if you were God, you could make them all do it when you wanted.
00:04:29Your bet, Skeeter.
00:04:31Here, mind out. The game, we're in the middle of it.
00:04:33Oh, that. It's an awful kids' game, you know.
00:04:36The mafia are kids' game?
00:04:38It might be in England, but here men play it with blood.
00:04:41Men hold up the whole government while they get their revenge.
00:04:43All right. We'll stick up a car on the road and make it give us a lift.
00:04:46There's one. We'll ambush it.
00:04:50It's Lucio, the carrier. He's going towards our villa.
00:04:52To kick all my own father.
00:04:54Leaving a parcel, more likely.
00:04:56Avenge, now!
00:04:57We're in the mafia.
00:05:04You're dead. You're dead, Lucio.
00:05:06I have a package here for your father, Signorina.
00:05:08Big package. You know what it is?
00:05:10No.
00:05:11We try and guess.
00:05:12Francesco, me, the station master, the butcher.
00:05:15You think your father will tell me?
00:05:17It's a body.
00:05:17Yes, it's a body.
00:05:19No.
00:05:20I find out.
00:05:21I find out.
00:05:22Bye.
00:05:23Bye.
00:05:23Bye.
00:05:24Well, Giuseppe, you came back the long way, of course.
00:05:31Oh, no, Signora. Of course not.
00:05:32I've given your note to Signora Morel.
00:05:34Any reply?
00:05:35She's going to call this morning.
00:05:38She'll be delighted, Signora.
00:05:39All right, Giuseppe. That'll do.
00:05:43Those are the people who arrived when we were in Rome.
00:05:45I hear they have a son.
00:05:48It would be pleasant for you to have another English family here.
00:05:51We shan't have them here much, I hope.
00:05:53They're quite insignificant.
00:05:55He's some sort of professor, and she was his secretary, I gather.
00:05:58We have to invite these kind of people once, but once is enough.
00:06:01One needn't make lifelong friends of them.
00:06:03No, my dear, of course one needn't.
00:06:05We should have stayed in Rome for the Gardini exhibition.
00:06:08Absolutely everybody was there.
00:06:10You find it tedious here alone with me, don't you?
00:06:13For none of your artist friends to talk to?
00:06:15If I wanted them, I'd ask them, and they'd come.
00:06:19Anne, why don't you try painting?
00:06:22Or the piano, perhaps?
00:06:23You have talent.
00:06:24I loathe amateurs.
00:06:26That's just to give you an interest.
00:06:28You talk as if I had nothing to do with my life.
00:06:30Oh, this looks like the Morel woman.
00:06:33You'd better go for a walk or something.
00:06:35We don't get really involved with them.
00:06:36Perhaps you might like her if you tried.
00:06:38Good morning, Signora Bondini.
00:06:44I'm Catherine Morel.
00:06:45How do you do?
00:06:46Won't you come and sit down?
00:06:52I signed the delivery note, didn't I, no chair?
00:06:54Oh, sure, sure, Signore.
00:06:55All signed.
00:06:57Good packing.
00:06:59Nothing broken.
00:06:59I hope not.
00:07:01A vase, perhaps.
00:07:04No, but perhaps if something is broken, you should see it now.
00:07:06If you think I should, you're right, I should.
00:07:25Not broken.
00:07:26So I go, Signor.
00:07:27Thank you, little chair.
00:07:29Good morning, Signor.
00:07:30Good morning.
00:07:30Forgive this intrusion, but this dog has seen me to walk.
00:07:33That's all right.
00:07:34Come in.
00:07:34Bring him with you.
00:07:35Is he yours?
00:07:35My wife's.
00:07:36Permit me.
00:07:37My name is Mario Bondini.
00:07:38How do you do?
00:07:38We're neighbors, then.
00:07:39Yes.
00:07:40You're a professor, they say, of music.
00:07:42No, worse luck.
00:07:43Philosophy.
00:07:43Music's only a hobby.
00:07:45I have to ration myself, otherwise I'd never get any work done.
00:07:47My wife will be interested.
00:07:48She's very cultured.
00:07:49Now, if you will forgive me, I must go.
00:07:51I just wish to make your acquaintance and to welcome you to Trano.
00:07:53Oh, won't you stay and have a drink?
00:07:54Oh, some other time, if I may.
00:07:56This dog is...
00:07:57Yes, he appears to be quite a character.
00:07:58It is very strong.
00:07:59We understand music here in Trano.
00:08:02I conduct the band.
00:08:04And I sing, don't I, Carlotta?
00:08:06He sings loud, like church bells.
00:08:08Beautiful, eh, Guido?
00:08:10What have you, Mac?
00:08:11Come and help me with these dishes.
00:08:12What do you like, my boy?
00:08:13Oh, anything loud, signore.
00:08:15Signore?
00:08:16Do you hear that, Guido Enrico?
00:08:18Signore?
00:08:18Because he's got good manners.
00:08:20Not like the signora Pondini with her.
00:08:22You, Carlo, you, my man.
00:08:25All right.
00:08:27Here's something loud for you.
00:08:32Moonlight in Portofino
00:08:35Silver above the blue
00:08:38Magical Portofino
00:08:42Where I am waiting for you
00:08:46Tell me that you believe me
00:08:51True hearts can never lie
00:08:54And I am yours until I die
00:08:59Until I die
00:09:02Come back and do not leave me
00:09:07Lonely beside the dark lagoon
00:09:11Beneath our Portofino
00:09:14How do you like that?
00:09:21Not for him.
00:09:22Not for my son, Guido.
00:09:23He has as much music as a goat.
00:09:26Leave the boy alone, Carlo.
00:09:27He understands every instrument
00:09:29in your great noisy band.
00:09:30He knows more of what they can do
00:09:32than poor Enrico.
00:09:32What's the use of that
00:09:33if you don't play one?
00:09:35The sisters at the convent
00:09:36gave him lessons for...
00:09:37They said he was very quick and clever.
00:09:38Yes, I know.
00:09:39But music doesn't come from the head.
00:09:41It comes from the heart.
00:09:43Don't you really like music, Guido?
00:09:46I thought your father's singing was super.
00:09:49It doesn't mean anything.
00:09:50Do you hear that?
00:09:51Even a simple song like that
00:09:53he can't understand.
00:09:54No more music in him than a goat.
00:09:56Ha, ha, ha, ha.
00:09:57Look out, bandits.
00:10:12We'll sneak up on them, Guido.
00:10:16Hey, Guido, come here.
00:10:18Now they'll see us first.
00:10:20Hello.
00:10:23What is that?
00:10:24What is it?
00:10:25It's the Oberon Overture.
00:10:26By Faber.
00:10:27You spoiled the game.
00:10:29Guido, come on.
00:10:30Go away.
00:10:31You like that, Guido?
00:10:33Yes.
00:10:34Oh, yes.
00:10:35What did you like about it?
00:10:37The bit that went like this.
00:10:38The way the violins took over the scene
00:10:46from the clarinet
00:10:47and the big violins there
00:10:49playing the same
00:10:50only different
00:10:51like
00:10:52like an argument making sense.
00:10:55Yes, but you asked me what it was.
00:10:56I thought you hadn't heard it before.
00:10:58I hadn't.
00:10:59It's a new kind of music.
00:11:01It's the right kind of music.
00:11:03You can understand that kind.
00:11:04Oh, come off it, Guido.
00:11:06He's showing off.
00:11:07His father said
00:11:08he's got no more music in him
00:11:09than a goat.
00:11:10Shut up, Nick.
00:11:11Guido, where did you learn
00:11:12about instruments?
00:11:14Violins and cellos
00:11:15and clarinets.
00:11:16Oh, many people here
00:11:17play things
00:11:17and I listen to what
00:11:18the different things can do.
00:11:20It's what they play
00:11:20I don't like.
00:11:22I didn't know
00:11:22there was this kind of music.
00:11:24What is there about
00:11:25this kind, Guido?
00:11:26It's like
00:11:26it's like what you can hear
00:11:28in your own head.
00:11:29He talks this sort of rot to me.
00:11:31He's balmy.
00:11:33Goat.
00:11:33No more music
00:11:34than a goat.
00:11:35Liar.
00:11:38I'll come back some more
00:11:39when I've killed him.
00:11:41Extraordinary child.
00:11:43Nick might be right.
00:11:44Just showing off.
00:11:45No, it really meant
00:11:46something to him.
00:11:48That analysis,
00:11:48picking out the counter melody
00:11:49in the cellos,
00:11:50that wasn't just showing off.
00:11:52He really knew
00:11:52what he was talking about.
00:11:53What?
00:12:03Hello, Guido.
00:12:11Oh.
00:12:12Where's Nick?
00:12:13Well, Senor Catherine.
00:12:15Please,
00:12:15are you working?
00:12:16You know perfectly well
00:12:17I'm working.
00:12:18Go on, play it.
00:12:21Now, wait a minute.
00:12:21Don't play that.
00:12:23Play this.
00:12:25Listen hard
00:12:25and then tell me
00:12:26what you think of it.
00:12:26and then tell me
00:12:29what you think of it.
00:12:30grazie
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