text: The Toast of New Orleans (1950)
  
   
  
  A typical Lanza flick that had limited audience appeal with a weak story line that was put together simply to justify Lanza's MGM contract at the time. 
  As reported by member Lastliberal (above) Grayson could not stand Lanza because of his obscene advances towards her off (and sometimes on) camera. In addition, his gutter mannerism and the continual smell of alcohol in her face during scenes they did together were intolerable. After doing their second (and last) film together, "Toast of New Orleans", the normally quiet Grayson stormed into Louie B. Mayer's office and told him in no uncertain words that she would never work with Lanza again  period. Mayer felt that Grayson was much more valuable to MGM then Lanza, so Grayson's statement stuck. Grayson went on to star in a number of widely received (and far more profitable) musicals with Howard Keel and others. Later in life when asked to compare Lanza and Keel her reply was that there was no comparison between them, and that Keel was great to work with and had much more appeal to the "real people" in the audiences. 
  
tokens: The Toast of New Orleans ( 1950 ) A typical Lanza flick that had limited audience appeal with a weak story line that was put together simply to justify Lanza 's MGM contract at the time . As reported by member Lastliberal ( above ) Grayson could not stand Lanza because of his obscene advances towards her off ( and sometimes on ) camera . In addition , his gutter mannerism and the continual smell of alcohol in her face during scenes they did together were intolerable . After doing their second ( and last ) film together , " Toast of New Orleans " , the normally quiet Grayson stormed into Louie B. Mayer 's office and told him in no uncertain words that she would never work with Lanza again period . Mayer felt that Grayson was much more valuable to MGM then Lanza , so Grayson 's statement stuck . Grayson went on to star in a number of widely received ( and far more profitable ) musicals with Howard Keel and others . Later in life when asked to compare Lanza and Keel her reply was that there was no comparison between them , and that Keel was great to work with and had much more appeal to the " real people " in the audiences .
nps.text: The Toast
nps.id: np0
nps.text: New Orleans
nps.id: np1
nps.text: A typical Lanza flick
nps.id: np2
nps.text: a weak story line
nps.id: np3
nps.text: Lanza's MGM contract
nps.id: np4
nps.text: the time
nps.id: np5
nps.text: member Lastliberal
nps.id: np6
nps.text: Grayson
nps.id: np7
nps.text: Lanza
nps.id: np8
nps.text: his obscene advances
nps.id: np9
nps.text: her
nps.id: np10
nps.text: camera
nps.id: np11
nps.text: addition
nps.id: np12
nps.text: his gutter mannerism
nps.id: np13
nps.text: the continual smell
nps.id: np14
nps.text: alcohol
nps.id: np15
nps.text: her face
nps.id: np16
nps.text: scenes
nps.id: np17
nps.text: they
nps.id: np18
nps.text: New Orleans
nps.id: np19
nps.text: the normally quiet Grayson
nps.id: np20
nps.text: Louie B. Mayer's office
nps.id: np21
nps.text: him
nps.id: np22
nps.text: no uncertain words
nps.id: np23
nps.text: that she
nps.id: np24
nps.text: Lanza
nps.id: np25
nps.text: Mayer
nps.id: np26
nps.text: Grayson
nps.id: np27
nps.text: MGM
nps.id: np28
nps.text: then Lanza
nps.id: np29
nps.text: Grayson's statement
nps.id: np30
nps.text: Grayson
nps.id: np31
nps.text: a number
nps.id: np32
nps.text: widely received (and far more profitable) musicals
nps.id: np33
nps.text: Howard Keel
nps.id: np34
nps.text: others
nps.id: np35
nps.text: life
nps.id: np36
nps.text: Lanza
nps.id: np37
nps.text: her reply
nps.id: np38
nps.text: no comparison
nps.id: np39
nps.text: them
nps.id: np40
nps.text: Keel
nps.id: np41
nps.text: much more appeal
nps.id: np42
nps.text: the "real people
nps.id: np43
nps.text: the audiences
nps.id: np44
nps.text: The Toast of New Orleans
nps.id: np45
metadata.url: http://www.imdb.com/title/tt0043053/reviews
metadata.source: train_neg_10160_4.txt_imdb.json