When concert pianist Anthony Warrin (Liberace, making 29 costume changes) loses his hearing, he becomes embittered, sequestering himself in his plush Manhattan penthouse, from which he spies on the people below with a telescope, learning to read lips. Discovering that others have troubles worse than his own, he becomes involved with Mrs. McGinley (Lurene Tuttle), an elderly woman whose upwardly mobile daughter has grown ashamed of her. Anthony arranges for Mrs. McGinley to attend a high-class ball where she's an absolute hit, and since no schmaltzy film is complete without a crippled child, he also helps a sickly young boy who dreams of becoming a football player. However, the pianist's new lip-reading skills lead him to discover that his fiancee (Dorothy Malone) loves another, though all ends well as Anthony regains his hearing and winds up with a new love. To say that Liberace's style doesn't translate well to film is a gross understatement, and this unintentional self-parody, a horrendous remake of George Arliss' THE MAN WHO PLAYED GOD, was a box-office disaster for Warner Bros. Today, however, it plays as great camp. Liberace tickled the ivories on a host of musical numbers, including "Minuet in G" (Ignacy Paderewski), "Sonata No. 9" (Wolfgang Amadeus Mozart), "Traumerei," "Liebestraum" (Franz Liszt), "Rhapsody in Blue," "Embraceable You," "The Man I Love," "I Got Rhythm," "Liza" (George Gershwin), "Cornish Rhapsody" (Hubert Bath), "Tea for Two" (Vincent Youmans, Irving Caesar), "Sincerely Yours" (Paul Francis Webster, Liberace), "The Notre Dame Fight Song," "Chopsticks," "The Beer Barrel Polka," and "When Irish Eyes Are Smiling."