That sentiment sums up the frustration and disappointment of Joan Crawford about her love for and obsession with violin virtuoso John Garfield in an excellent film blessed with great acting and beautiful music. Crawford and Garfield are well-matched in this movie, as Crawford becomes Garfield's patron and gives his career a financial boost but becomes hopelessly drawn to her protégé as his concert career takes off. The two principals circle each other warily, sizing up the other and lashing out verbally with accusations of ingratitude and selfishness with Garfield holding fast to his dedication to his music while Crawford begins a slow but steady decline into drinking and depression. Garfield's tunnel vision concerning his instrument does not allow him to appreciate the love a young woman has for him, nor can he grasp his mother's sage counsel and warning about his involvement with a married woman. The film has generous servings of music by Sarasate, Dvorak, Lalo and a brief but excellent recital of Franz Waxman's adaptation of "Carmen".
82 Reviews
Absorbing story with flawless acting by Garfield
viswanat-123 January 2007
I was astounded by the virtuoso performance on the violin by John Garfield. I truly believed he was a multi talented man. I looked up IMDb and found out that they were using two doubles to actually play the violin. I am even more amazed that the two actual violinists by his side each played the bow and the strings separately. The effect was perfect to the viewers. The pieces selected were also of the type that could easily appeal to those whose knowledge and experience with western classical music is limited. Bravo Isaac Stern for this music. I am reminded of Fiddler on the Roof which also had this great violinist give us the pleasure of his performance. Oscar Levant is of course a pianist also and it is he who turned out to be multi talented.
Perhaps Joan's Finest Hour
nickandrew7 November 1999
The film is over 2 hours long, but Crawford only has about 1 hour of film time in it, and it is surely one of her finest performances and finest films in her lengthy career. She plays a married socialite who takes particular interest in a rising concert violinst (played by Garfield). This is one of my favorite movies of all time and yes the ending is one of the greatest of all times. ***1/2 out of ****.
A young virtuoso violinist and his patron fall in love.
ltlacey12 February 2009
Warning: Spoilers
First, and foremost, if you are a classical music fan you will love this movie. The score was perfect for the somewhat lame story going on between Crawford and Garfield. Neither, in my opinion, quite pulled it off as to who they were supposed to be. He, a moody and temperamental musician and she a lonely and desperate wife. The movie is worth the time for every single scene where Oscar Levant was in, especially when he was playing the piano. And yes, that was him. And yes, those were Isaac Stern's fingers playing away. We never know who was doing the bowing, other than some other "famous" violinist, and those who play can tell when there were a few misses, but we ignore them. It's all worth it just to see Oscar and hear all that beautiful music and see real musicians playing (the orchestra). Anyway, Boray, played by Garfield, is a natural prodigy and he somehow gets the attention of Helen (Crawford) at a party. She likes to support the arts, and we're supposed to believe that she falls in love with him from the very beginning. Hard to tell really. He claims he loves her, but we all know what he loves is his music, and even the young lady, also a musician, who happens to love him too, realizes this. Now, that could be seen in her face. She knew that Boray could never belong to anyone. Then we have the ending scene, where, with the beautiful music of Wagner's classic Tristan and Isolde, Helen makes her final sacrifice so that Boray can go on doing what he is meant to do. The tagline said this was like a soap opera, a real tear-jerker, but the only time I shed a tear was remembering Isaac Stern. There was nothing in the movie to make one feel oh so awful and sorry for Helen, nor Boray.
A Startling WB Melodrama
carlostallman20 January 2007
It opens with a close up of John Garfield and that, already, gets you going. The intensity and power of the man. A from rags to riches tale with an extra something. The extra something here is Clifford Odetts, the language is as pungent as its pace. The truth in John Garfield's face rises everything several notches but, perhaps, the biggest surprise from a 2007's standpoint, is Joan Crawford's performance. She's never been one of my favorites, I always thought impossible to warm up to her and her tough lady from the wrong side of the tracks left me cold but here, she's rounded and brilliant, torn between who she is and who she would like to be. Great lines, fantastic close ups - wearing eye glasses, removing the glasses and squinting - At moments you feel the camera devours her. The director, Jean Negulesco - Three Coins In The Fountain, How To Marry a Millionaire - never flown this high. This 1946 Warners melodrama has the stuff that great works of art are made of. Thrilling
"This isn't a two-hour trip to Chinatown. It's your life!"
Handlinghandel29 June 2006
So violin prodigy John Garfield's mother scolds him. And indeed, he has taken up with a married woman. And a pretty neurotic one, at that.
The woman is chic and wears glasses. And she is Joan Crawford. This is one of Crawford's best roles. And Garfield is extremely good in it, too. The play well off each other.
This was made in the days when being Jewish was still pretty much unacceptable in big-budget movies. Garfield's father, a shopkeeper, says "Saturday is always my busiest day" -- just in case anybody was getting suspicious. It's too bad, because that would be fine today and would have added to the story of ill-fated lovers.
Warner Brothers did more movies about and including classical music than any of the other studios. Or so I feel. Garfield's playing is well known as having been provided, very beautifully, by the great Isaac Stern.
Just off the top of my head, two other movies about classical music from Warner are the extremely charming "My Love Came Back" and the fabulous "Deception." To me, that is, along with "All About Eve," one of Bette Davis's absolute best movies. And within more recent times, the "Hollenius" Cello Concerto by Korngold is being played by symphony orchestras as part of their regular fare.
This movie is a must for anyone with an interest in Joan Crawford, John Garfield, or music in the movies. Not to mention anyone who likes Oscar Levant! (And who possibly could not?) He is delightful in it and plays piano beautifully.)
The woman is chic and wears glasses. And she is Joan Crawford. This is one of Crawford's best roles. And Garfield is extremely good in it, too. The play well off each other.
This was made in the days when being Jewish was still pretty much unacceptable in big-budget movies. Garfield's father, a shopkeeper, says "Saturday is always my busiest day" -- just in case anybody was getting suspicious. It's too bad, because that would be fine today and would have added to the story of ill-fated lovers.
Warner Brothers did more movies about and including classical music than any of the other studios. Or so I feel. Garfield's playing is well known as having been provided, very beautifully, by the great Isaac Stern.
Just off the top of my head, two other movies about classical music from Warner are the extremely charming "My Love Came Back" and the fabulous "Deception." To me, that is, along with "All About Eve," one of Bette Davis's absolute best movies. And within more recent times, the "Hollenius" Cello Concerto by Korngold is being played by symphony orchestras as part of their regular fare.
This movie is a must for anyone with an interest in Joan Crawford, John Garfield, or music in the movies. Not to mention anyone who likes Oscar Levant! (And who possibly could not?) He is delightful in it and plays piano beautifully.)
The best Joan Crawford performance ever.
Charles Herrin28 March 2002
As Helen Joan Crawford gives her greatest performance and she should have been nominated for Best Actress that year. She certainly gave a better performance than Olivia De havilland gave in "To each His Own". John Garfield is also at top of his form and he certainly is a good match for Miss Crawford. What a shame that in a few short years he would be backlisted. Oscar Levant gives a typical Oscar Levant snide performance but he is a bit more serious in this role as the best friend of Mr. Garfield. the use of the "Liebestod" from "Tritan und Isolde" coupled with the waves rushing in might appear to some as camp but Miss crawford's handling of the scene is nothing short of magnificent. One usually overlooked performance is that of then billed Bobby Blake who has been much in the news lately. He portrayed Mr. Garfield's as a boy and did a good job of it without the ususal winey voice and mannerisms that made him so easy to hate in the "Our Gang" comedies. I have always thought that the adult robert Blake would have been an excellent choice to portray John Garfield in a biopic of his life. By all means see "Mildred Pearce" which won Miss Crawford the Oscar but don't miss "Humoresque".
Great Classic Film
whpratt126 March 2008
Joan Crawford, (Helen Wright) plays the role of a very rich woman who is married and loves to entertain all kinds of actors, and musicians and she happens to meet a violin player named Paul Boray,(John Garfield). Paul came from a medium income family and his father, Rudy Boray, (J.Carrol Naish) is a Deli owner in New York City and finds that his son wants to play the violin. Helen Wright decides to introduce Paul into a world of famous musicians and agents who are very impressed by Paul's outstanding talent and he begins to climb up the ladder of success in the world of concert music. Helen is a rather wild woman who loves to drink and is involved with quite a few men, however, she falls madly in love with Paul and finally gets a divorce in order to marry Paul. This story has a very strange ending and you will never guess just how it really ends.
Love never dies
TheLittleSongbird9 March 2020
There were two primary reasons for wanting to see 'Humoresque'. One was the cast, am especially an admirer of Joan Crawford. Considered a screen legend for good reason. The other was the music, absolutely adore classical music and love it when a film has a healthy dose of it. The involvement of Franz Waxman, one of the best film composers at that time and fine arranger of music, and that it was performed by violinist Isaac Stern made me more excited.
'Humoresque' has plenty to get excited about. Not only is it a great film in its own right, but it is a fine example of how to do melodrama well and what it's all about. To me, 'Humoresque' is so well made, directed, written and acted, while also having some of the best use of classical music on film. Not quite masterpiece level but close, and quintessential Crawford in both films and performances. Fans of Jean Negolesco will love it too, it's towards one of his best, same goes for male lead John Garfield. Almost everything works.
My only criticism is the length, with the film being for my tastes a little overlong. A little trimming towards the end would have helped.
Crawford however is just astounding. An intensely powerful performance and one of her best, vintage prime-Crawford really. Garfield seldom gave a finer performance than here in 'Humoresque', don't think he ever was this intensely passionate and electric. They are magnetic together. Oscar Levant was ckearly having fun with some of the film's best lines in a tailor-made role that had elements of himself in, his wisecracking is hilarious and never felt out of place. Instead it stopped it from being too heavy-going. Robert Blake never resorts to trying to be too cute or being whiney. Ruth Nelson, J Carroll Naish and Joan Chandler (although Gina is too much of a plot device and a not explored enough one) are rock solid support, especially Nelson.
Negulesco brings his usual tautness and edge, but also sophistication and he doesn't let the film get too overwrought or cold. 'Humoresque' is a wonder visually, with some world class cinematography. The story seldom felt dull, despite lagging a bit towards the end, and doesn't get campy or overwrought. The very end is very powerful and moving. The script never stops being hugely entertaining, Levant has most of the best lines with his wisecracks and witticisms but another favourite was Crawford's line when reacting to being asked as to whether she liked classical music and her references to Ravel and Beethoven are very witty.
As well as the cast, the music is a huge part of 'Humoresque's' appeal. Waxman's scoring is unmistakably lush and swells with emotion, but even better is the classical music which is incredible. The pieces originally written for the violin are some of the finest written for the instrument, and the arrangements work so well one would think that they were originally intended for the violin namely the Carmen fantasie (which became a popular concert piece and still is). Stern plays the music brilliantly, making very virtuosic music (i.e. Sarasate) sound easy, but he is not the only musician here. Levant, an immensely talented pianist (well you'd have to be if you play Gershwin well), and Peg La Centra also heavily contribute and they are effective. Particularly coming off well are one of the to this day best versions of the Carmen fantasie and an immensely powerful version of "Liebestod".
Summing up, great film and a must for fans of Crawford, Garfield, Levant, Waxman, Stern, classical music and Negulesco. 9/10
'Humoresque' has plenty to get excited about. Not only is it a great film in its own right, but it is a fine example of how to do melodrama well and what it's all about. To me, 'Humoresque' is so well made, directed, written and acted, while also having some of the best use of classical music on film. Not quite masterpiece level but close, and quintessential Crawford in both films and performances. Fans of Jean Negolesco will love it too, it's towards one of his best, same goes for male lead John Garfield. Almost everything works.
My only criticism is the length, with the film being for my tastes a little overlong. A little trimming towards the end would have helped.
Crawford however is just astounding. An intensely powerful performance and one of her best, vintage prime-Crawford really. Garfield seldom gave a finer performance than here in 'Humoresque', don't think he ever was this intensely passionate and electric. They are magnetic together. Oscar Levant was ckearly having fun with some of the film's best lines in a tailor-made role that had elements of himself in, his wisecracking is hilarious and never felt out of place. Instead it stopped it from being too heavy-going. Robert Blake never resorts to trying to be too cute or being whiney. Ruth Nelson, J Carroll Naish and Joan Chandler (although Gina is too much of a plot device and a not explored enough one) are rock solid support, especially Nelson.
Negulesco brings his usual tautness and edge, but also sophistication and he doesn't let the film get too overwrought or cold. 'Humoresque' is a wonder visually, with some world class cinematography. The story seldom felt dull, despite lagging a bit towards the end, and doesn't get campy or overwrought. The very end is very powerful and moving. The script never stops being hugely entertaining, Levant has most of the best lines with his wisecracks and witticisms but another favourite was Crawford's line when reacting to being asked as to whether she liked classical music and her references to Ravel and Beethoven are very witty.
As well as the cast, the music is a huge part of 'Humoresque's' appeal. Waxman's scoring is unmistakably lush and swells with emotion, but even better is the classical music which is incredible. The pieces originally written for the violin are some of the finest written for the instrument, and the arrangements work so well one would think that they were originally intended for the violin namely the Carmen fantasie (which became a popular concert piece and still is). Stern plays the music brilliantly, making very virtuosic music (i.e. Sarasate) sound easy, but he is not the only musician here. Levant, an immensely talented pianist (well you'd have to be if you play Gershwin well), and Peg La Centra also heavily contribute and they are effective. Particularly coming off well are one of the to this day best versions of the Carmen fantasie and an immensely powerful version of "Liebestod".
Summing up, great film and a must for fans of Crawford, Garfield, Levant, Waxman, Stern, classical music and Negulesco. 9/10
Joan is, no doubt, the ultimate Diva.
Incalculacable22 June 2006
Humoresque contains what is said to be one of Joan Crawford's finest performances, if not the best. I cannot help but agree with them. She made a lot of fine films in the '40s Above Suspicion (1943), Mildred Pierce - which won Joan Crawford a very much deserved Oscar - (1945), Possessed (1947) and Humoresque. She's incredibly beautiful in this.
Humoresque is about a little boy, Paul Boray (played by usual tough-guy John Garfield), who grows up in the slums. For his birthday, his father takes him to a shop and he sets his eyes on the violin and he is consumed by it. As he grows older, he becomes a very accomplished violinist but has no connections, that is, until he meets unhappily married, unsatisfied socialite Helen Wright (Joan Crawford, magnificent at playing a woman without morals!) who is his ticket to the recognition he deserves. Helen says she is purely interested in his work and only his work, but of course sparks fly and they begin a rocky, dangerous affair.
I have to admit that Humoresque is certainly not for those who dislike classical music, as there are very long scenes of simply Paul Boray playing the violin, and they seem almost claustrophobic one long shot, hardly any movement from the camera (however, this is because they needed a certain angle for John Garfield to look like he is playing. Very cleverly done! I found these scenes drag on a bit too long, but I was fascinated looking at John Garfield's face for expressions. No doubt the music is beautiful, just perhaps a little too much of it and not enough John/Joan.
The acting is top notch with very believable performances with both. I believe this is one of Joan Crawford's best performances, but not her best (I still love Mildred Pierce). They are both wonderful at capturing the sadness, loneliness and restlessness of the characters. Then there is the wonderful Oscar Levant, who delivers the fabulous one liners with complete ease.
The climax, of course, is the ending which is wonderful. Dramatic music adds to the tone of the finale.
All in all, an incredibly dramatic, satisfying and beautiful tale of love, obsession and most of all: music. Some shots drag long I would have preferred more scenes between Joan and John, as they did sizzle up the scene. Essential '40s film contains two of the biggest Hollywood stars.
Humoresque is about a little boy, Paul Boray (played by usual tough-guy John Garfield), who grows up in the slums. For his birthday, his father takes him to a shop and he sets his eyes on the violin and he is consumed by it. As he grows older, he becomes a very accomplished violinist but has no connections, that is, until he meets unhappily married, unsatisfied socialite Helen Wright (Joan Crawford, magnificent at playing a woman without morals!) who is his ticket to the recognition he deserves. Helen says she is purely interested in his work and only his work, but of course sparks fly and they begin a rocky, dangerous affair.
I have to admit that Humoresque is certainly not for those who dislike classical music, as there are very long scenes of simply Paul Boray playing the violin, and they seem almost claustrophobic one long shot, hardly any movement from the camera (however, this is because they needed a certain angle for John Garfield to look like he is playing. Very cleverly done! I found these scenes drag on a bit too long, but I was fascinated looking at John Garfield's face for expressions. No doubt the music is beautiful, just perhaps a little too much of it and not enough John/Joan.
The acting is top notch with very believable performances with both. I believe this is one of Joan Crawford's best performances, but not her best (I still love Mildred Pierce). They are both wonderful at capturing the sadness, loneliness and restlessness of the characters. Then there is the wonderful Oscar Levant, who delivers the fabulous one liners with complete ease.
The climax, of course, is the ending which is wonderful. Dramatic music adds to the tone of the finale.
All in all, an incredibly dramatic, satisfying and beautiful tale of love, obsession and most of all: music. Some shots drag long I would have preferred more scenes between Joan and John, as they did sizzle up the scene. Essential '40s film contains two of the biggest Hollywood stars.
CRAWFORDS BEST PERFORMANCE!!!a great film!!
olddiscs4 August 2003
Crawford was great but not my favorite actress..Bette Davis was.. but this performance in Humoresque can only be portrayed by Crawford! She was absloutely perfect for the role of Helen Wright.. and yes was brilliant..To me this is her best role: not sudsy or sappy... beautiful,sophisticated, society bitch who sexually longed for a man & did everything in her power to control & possess him..I feel the chemistry between she & co star John Garfield was ELECTRIC!! He portrayed the violinist,Paul Boyar so well.. the man she lusted for and wanted to possess for herself... The score, the photography the direction Brilliant..Ive seeen this film many times & each time it gets better... Im very critical of Miss Crawfords work but 5 or 6 of her films are outstanding.. This is a notch above Mildred Pierce for me because the character she is portraying is so similar to herself (according to bios etc)..& her beauty & class are unquestioned..the closeup of her ,as she observes Garfield in the rehearsal hall..is comparable to Garbo's closeup ,final scene , of Queen Christina!!! This is a film that never ever bores me..I rate it a 10 !!! Watch It....
Too Long
andyco-708754 March 2022
Warning: Spoilers
The reason Joan Crawford commits suicide has nothing to do with lost love. She couldn't stand to hear another long violin solo. There was just too much of this in the movie, probably a good 20 minutes or more of long, loud violin solos. Also, the movie was way too long to tell the story it needed to tell. John Crawford is great as always but this one is not one of my favorites.
Plese put us out of our misery!
vincentlynch-moonoi1 April 2017
Warning: Spoilers
SPOILER ALERT:
The first problem with this film is that none of the major characters are likable. Joan Crawford plays a self-obsessed, half-drunk socialite who ruins the lives of every husband she has had, and while wallowing in self-pity intends to ruin the life of our other main character -- John Garfield. Garfield plays a violinist who is rude to just about everyone -- because he's an artist -- including his mother and the woman who really loves him. About an hour into the film you're wishing the father had gotten his way and the young Garfield had been forced to take the fire engine (you'll understand if you choose to suffer through this film). The third major character is Oscar Levant, a pianist whose sole purpose in the film seems to be to make wisecracks which often seem out of place. I know, he was the accompanist, but that role could have been played by a bit player. The only acting I enjoyed in the film was by supporting characters -- J. Carrol Naish as Garfield's father, Ruth Nelson as Garfield's mother, and Paul Cavanagh as Crawford's husband.
I will give Garfield credit for making his violin playing quite convincing, although closeups of the hands playing the violin were actually the hands of Issac Stern. Nevertheless, Garfield did a nice job here. Also, there's some great music here! By the time we reach the movie's climax, I began wishing that Crawford's character would commit suicide and put us all out of our misery. Take pills with all that alcohol. Slit your wrists on that broken glass. Walk into the waves. I didn't see it coming...but she did! If only she had done it 2 hours earlier.
I know some people think this was a wonderful film, but I think it was a dog. The best thing about the film -- Crawford in the movie poster. Early in the film when his brother was complaining about Garfield making no money for the family, I was afraid Garfield was going to become a gangster. Two hours later I wished he had.
The first problem with this film is that none of the major characters are likable. Joan Crawford plays a self-obsessed, half-drunk socialite who ruins the lives of every husband she has had, and while wallowing in self-pity intends to ruin the life of our other main character -- John Garfield. Garfield plays a violinist who is rude to just about everyone -- because he's an artist -- including his mother and the woman who really loves him. About an hour into the film you're wishing the father had gotten his way and the young Garfield had been forced to take the fire engine (you'll understand if you choose to suffer through this film). The third major character is Oscar Levant, a pianist whose sole purpose in the film seems to be to make wisecracks which often seem out of place. I know, he was the accompanist, but that role could have been played by a bit player. The only acting I enjoyed in the film was by supporting characters -- J. Carrol Naish as Garfield's father, Ruth Nelson as Garfield's mother, and Paul Cavanagh as Crawford's husband.
I will give Garfield credit for making his violin playing quite convincing, although closeups of the hands playing the violin were actually the hands of Issac Stern. Nevertheless, Garfield did a nice job here. Also, there's some great music here! By the time we reach the movie's climax, I began wishing that Crawford's character would commit suicide and put us all out of our misery. Take pills with all that alcohol. Slit your wrists on that broken glass. Walk into the waves. I didn't see it coming...but she did! If only she had done it 2 hours earlier.
I know some people think this was a wonderful film, but I think it was a dog. The best thing about the film -- Crawford in the movie poster. Early in the film when his brother was complaining about Garfield making no money for the family, I was afraid Garfield was going to become a gangster. Two hours later I wished he had.
The ultimate diva in love with a violinst...
Doylenf13 May 2001
Joan Crawford was midway through filming 'Humoresque' when she won her Oscar for 'Mildred Pierce'. Along with 'Possessed', I think these three are her finest performances--and the films themselves aren't bad either!
Here she is a sophisticated patron of the arts who falls hard for John Garfield, as a high-strung violinist. Her neurotic, possessive nature is hellbent on self-destruction--leading to the inevitable ending which, though a bit overly dramatic, is a stunning conclusion to an interesting romantic drama. Garfield and Crawford make a good team--though personally I liked his teaming with Lana Turner better in 'The Postman Always Rings Twice'.
Oscar Levant supplies some cynical comedy relief with dry humor. Franz Waxman's score permits use of other classical composers--Bizet, Rossini and Wagner--giving distinction to a well crafted, if overlong melodrama that showcases the star's glamourous image. Crawford never looked better with Bette Davis' favorite photographer, Ernie Haller, at the camera. Makes you wonder why they couldn't find stories like this for Crawford while she was at MGM.
Here she is a sophisticated patron of the arts who falls hard for John Garfield, as a high-strung violinist. Her neurotic, possessive nature is hellbent on self-destruction--leading to the inevitable ending which, though a bit overly dramatic, is a stunning conclusion to an interesting romantic drama. Garfield and Crawford make a good team--though personally I liked his teaming with Lana Turner better in 'The Postman Always Rings Twice'.
Oscar Levant supplies some cynical comedy relief with dry humor. Franz Waxman's score permits use of other classical composers--Bizet, Rossini and Wagner--giving distinction to a well crafted, if overlong melodrama that showcases the star's glamourous image. Crawford never looked better with Bette Davis' favorite photographer, Ernie Haller, at the camera. Makes you wonder why they couldn't find stories like this for Crawford while she was at MGM.
An uneven but, at its best, a very remarkable movie
richard-17874 December 2019
This movie is remarkably good in certain respects, disappointing in others, which may explain the wide range of scores and comments posted by previous reviewers on here.
To the positive:
1. The cinematography and lighting are often astounding. All those great closeups of Crawford, reminding you of silent movie camerawork. Perhaps the most interesting is at the start of Lalo's Rhapsodie espagnole, where it looks as if Paul Boray's playing is causing her to have an orgasm. Crawford and Garfield outlined against a setting sun is also wonderful. The list of the beautifully shot scenes is endless.
2. Crawford and Garfield's very fine, if very different, acting. She delivers her lines with breathless emotion, beautifully enunciated. He sticks to speaking like someone who grew up in a working-class New York neighborhood. (Some above found him unconvincing as a concert violinist because of his appearances as a tough guy in his previous movies. I found him very convincing. You shouldn't imagine that all classical musicians are fragile flowers. They aren't.) Both do a great deal with their faces in the endless closeups. Garfield really makes you believe not only that he is actually playing the violin in all those violin sequences. He makes you believe he is feeling every note and phrase. They are both a pleasure to watch.
3. The amount of well-performed classical music. We get large chunks, and sometimes even complete performances, of a lot of works. (For those who don't care for classical music, they can always watch the faces.)
4. The staging of the final beach scene. It's really remarkably put together. Though there are a few moments I could live without, such as the view of the seaweed under the ocean surface after a certain character walks into the sea.
To the negative:
1. The movie is too long for the story it tells. I still sit through the whole thing on a repeat viewing, but I wish it were shorter.
2. Oscar Levant's wisecracks, which delighted some previous viewers, get annoying after a while to me. They aren't all funny. Some of them could have been cut.
3. Both of the leads are, alternately, sympathetic and annoying. Crawford's Helen Wright can't understand why a professional musician wouldn't leave a rehearsal to see her. Garfield's Boray can't feel grateful to Helen for her help with his career. Etc. They are constantly getting on each other's nerves, sometimes for no good reason. Helen is an alcoholic, so that's probably realistic. Boray doesn't want to be beholden to anyone. But why?
This is not a movie I would watch frequently. But it is certainly a fine work of art, where the positives outweigh the negatives. If you haven't seen it and can focus on the cinematography and/or music, you will definitely enjoy it, despite its flaws.
To the positive:
1. The cinematography and lighting are often astounding. All those great closeups of Crawford, reminding you of silent movie camerawork. Perhaps the most interesting is at the start of Lalo's Rhapsodie espagnole, where it looks as if Paul Boray's playing is causing her to have an orgasm. Crawford and Garfield outlined against a setting sun is also wonderful. The list of the beautifully shot scenes is endless.
2. Crawford and Garfield's very fine, if very different, acting. She delivers her lines with breathless emotion, beautifully enunciated. He sticks to speaking like someone who grew up in a working-class New York neighborhood. (Some above found him unconvincing as a concert violinist because of his appearances as a tough guy in his previous movies. I found him very convincing. You shouldn't imagine that all classical musicians are fragile flowers. They aren't.) Both do a great deal with their faces in the endless closeups. Garfield really makes you believe not only that he is actually playing the violin in all those violin sequences. He makes you believe he is feeling every note and phrase. They are both a pleasure to watch.
3. The amount of well-performed classical music. We get large chunks, and sometimes even complete performances, of a lot of works. (For those who don't care for classical music, they can always watch the faces.)
4. The staging of the final beach scene. It's really remarkably put together. Though there are a few moments I could live without, such as the view of the seaweed under the ocean surface after a certain character walks into the sea.
To the negative:
1. The movie is too long for the story it tells. I still sit through the whole thing on a repeat viewing, but I wish it were shorter.
2. Oscar Levant's wisecracks, which delighted some previous viewers, get annoying after a while to me. They aren't all funny. Some of them could have been cut.
3. Both of the leads are, alternately, sympathetic and annoying. Crawford's Helen Wright can't understand why a professional musician wouldn't leave a rehearsal to see her. Garfield's Boray can't feel grateful to Helen for her help with his career. Etc. They are constantly getting on each other's nerves, sometimes for no good reason. Helen is an alcoholic, so that's probably realistic. Boray doesn't want to be beholden to anyone. But why?
This is not a movie I would watch frequently. But it is certainly a fine work of art, where the positives outweigh the negatives. If you haven't seen it and can focus on the cinematography and/or music, you will definitely enjoy it, despite its flaws.
Splendid performances and music
caa82113 August 2006
It's fun sometimes to watch a movie, and mentally juxtapose it in your mind with another you've seen. In "Humoresque," for example, watch the part where Paul (John Garfield) is delivering his major violin performance, while his wealthy, possessive patron, Helen (Joan Crawford), sits in her expensive box (his mother and "girlfriend" are in the cheaper seats) in a sensuous, almost orgasmic state as she watches him. This scene is depicted as graphically as the constrictions imposed on films in the mid-40's would allow - narrow boundaries compared with even daytime television today. Now visualize Michael Douglas and Sharon Stone from "Basic Instinct." Instead of being a detective and author/murder suspect, respectively, Michael is on-stage like Paul, playing his heart out, and Sharon is the wealthy patron in the audience. Now imagine what Sharon might do, and the camera show, in "her" sensuous reaction to his performance: not a bad vision, eh?
This film IS an outstanding example of the "noir" qualities which were a hallmark of the 30's to the early 50's - from the earlier stages of talking pictures, through the depression and post-WW II years. Joan Crawford was one of the two best (along with Bette Davis) at portraying this type of cold, possessive, and thoroughly selfish, powerful female presence. From later revelations about her real life, it was probably due less to her acting prowess than one imagined at that time. And Garfield played the tough, yet easily-manipulated, handsome male "pawn" to perfection - as the fore-mentioned Michael Douglas has done in the present.
Watch this movie for the outstanding performances of two icons of the film's era. It also represents, in my opinion, one of the three best films for the lead characters' music, presented within 10 years after WW II - each with characters meeting unhappy ends. There is, of course, the great Isaac Stern's music here. Ten years later, another matinée idol, Tyrone Power, starred as the title character in "The Eddy Duchin Story," with the gorgeous Kim Novak, and Carmen Cavallero's talented piano offerings. In about the mid-point between these two movies, in 1950, Kirk Douglas was Rick Martin in "Young Man With a Horn," based largely of the meteoric, talented career of the great trumpet player, Bix Biederbecke, whose life ended at age 28 - but who was so talented he is well-remembered nearly 75 years later; Harry James' playing in this film is comparable to Stern's and Cavallero's in the other two, and Lauren Bacall and Doris Day are there as Kirk's love interests, the naughty girl and good girl, respectively. Watch these three movies in the order made; you'll be exposed to great music, and three all-time great performers providing music via their respective instruments - as well as some of the great stars in cinema history. And the musical finale from the Duchin movie will bring a tear to virtually anyone's eyes.
This film IS an outstanding example of the "noir" qualities which were a hallmark of the 30's to the early 50's - from the earlier stages of talking pictures, through the depression and post-WW II years. Joan Crawford was one of the two best (along with Bette Davis) at portraying this type of cold, possessive, and thoroughly selfish, powerful female presence. From later revelations about her real life, it was probably due less to her acting prowess than one imagined at that time. And Garfield played the tough, yet easily-manipulated, handsome male "pawn" to perfection - as the fore-mentioned Michael Douglas has done in the present.
Watch this movie for the outstanding performances of two icons of the film's era. It also represents, in my opinion, one of the three best films for the lead characters' music, presented within 10 years after WW II - each with characters meeting unhappy ends. There is, of course, the great Isaac Stern's music here. Ten years later, another matinée idol, Tyrone Power, starred as the title character in "The Eddy Duchin Story," with the gorgeous Kim Novak, and Carmen Cavallero's talented piano offerings. In about the mid-point between these two movies, in 1950, Kirk Douglas was Rick Martin in "Young Man With a Horn," based largely of the meteoric, talented career of the great trumpet player, Bix Biederbecke, whose life ended at age 28 - but who was so talented he is well-remembered nearly 75 years later; Harry James' playing in this film is comparable to Stern's and Cavallero's in the other two, and Lauren Bacall and Doris Day are there as Kirk's love interests, the naughty girl and good girl, respectively. Watch these three movies in the order made; you'll be exposed to great music, and three all-time great performers providing music via their respective instruments - as well as some of the great stars in cinema history. And the musical finale from the Duchin movie will bring a tear to virtually anyone's eyes.
Fannie Hurst novel becomes somewhat overheated star-vehicle
moonspinner5528 May 2006
John Garfield is sensational as a low-class, hot-tempered violinist who enters the wealthy upper class via relationship with society shark Joan Crawford. Melodrama is intriguing and engrossing, if a bit ham-handed, with humorous asides from Oscar Levant as Garfield's wry pianist. For classical music buffs, the soundtrack is a dream (with Garfield's playing dubbed by Isaac Stern). Production is handsome, and the screenplay is entertaining despite the soap opera trimmings. As for Crawford: she doesn't stretch at all, but her innate predictability turns a lot of people on. This is really John Garfield's picture (he reminds one now of a young Robert De Niro); Robert Blake plays Garfield as a child and he's terrific, too. **1/2 from ****
"I didn't make the world, I barely live in it."
IlyaMauter2 May 2003
Jean Negulescu, a director of Rumanian origin based in Hollywood since 1930s was responsible for several good films and "Humoresque" is one of them.
It's a good drama starring Joan Crawford who gives here one of her finest performances as Helen Wright, a cynical and selfish society woman who set her sight at a young talented violinist Paul Boray (John Garfield), offers help in making his carrier and later becomes concerned with his love, almost an obsession with his work - music, that comes to the point of neglecting (as she thinks) their relationship and herself personally - "I'm tired of playing the second fiddle!"
Significant part of the film has to do with New York, that is "all full with all kinds of animals, and not all of them are born here" as says the most cynical character in the film Sid Jeffers played by Oscar Levant. It's there that we witness several tribulations in Helen - Paul's relationship resulting in a tragic ending.
Wittiness of the script is probably the most important ingredient of "Humoresque" (besides Joan Crawford's performance) which turns it into a good classic film that stands repeated viewing. 8/10
It's a good drama starring Joan Crawford who gives here one of her finest performances as Helen Wright, a cynical and selfish society woman who set her sight at a young talented violinist Paul Boray (John Garfield), offers help in making his carrier and later becomes concerned with his love, almost an obsession with his work - music, that comes to the point of neglecting (as she thinks) their relationship and herself personally - "I'm tired of playing the second fiddle!"
Significant part of the film has to do with New York, that is "all full with all kinds of animals, and not all of them are born here" as says the most cynical character in the film Sid Jeffers played by Oscar Levant. It's there that we witness several tribulations in Helen - Paul's relationship resulting in a tragic ending.
Wittiness of the script is probably the most important ingredient of "Humoresque" (besides Joan Crawford's performance) which turns it into a good classic film that stands repeated viewing. 8/10
A very good film but not in the same league as "Mildred Pierce"
nomoons1128 June 2012
Warning: Spoilers
This film will get a lot of comparison's to the aforementioned film because of the time it was released. Crawford was coming off a triumph with Pierce and they thought...why not throw another Melodrama with Crawford in it out there and see how well it does.
I think the main issue this film isn't on the scale of Mildred Pierce is the content. It's a bit dry. I mean if they could have put a different type of music into this film then it would have really had some heart. As it stands, putting a classical violinist who lives and breathes violin is just plain boring to me. Would have been nice to see maybe a jazz type of feel to it or even big band but it was almost like "Chamber Music" in the film. The story itself is fine it's just....I dunno....there's something missing.
The story goes, poor kid who grows up playing the Violin catches the eye of a "Benefactor" at a party and she gets his name out there in classical concert circles. All the while she falls in love with him...as he with her. The problem is nothing in his life is first except the Violin. In her life it's booze and an uncertainty in her own mind about herself. She's very insecure. With this we get a lot of posturing about who runs the relationship and such. Who's in charge...or...who comes first.
I personally really liked this film. Garfield and Crawford really do a great job in this one but the one who steals the show is Oscar Levant. Without his wisecracks and injections of reality to the characters in this film, it would just be another Melodrama with Joan Crawford in it. He's an absolute scene stealer. His piano playing is really quite stunning (he was actually a classical trained pianist before he was an actor).
A really good film with great performances all around but just a little dry. It doesn't have the kick that Mildred Pierce did but it really is worth seeing. Think along the lines of Daisy Kenyon (another fine film). Just to see how beautiful Joan Crawford was at 40 is worth the price of admission.
I think the main issue this film isn't on the scale of Mildred Pierce is the content. It's a bit dry. I mean if they could have put a different type of music into this film then it would have really had some heart. As it stands, putting a classical violinist who lives and breathes violin is just plain boring to me. Would have been nice to see maybe a jazz type of feel to it or even big band but it was almost like "Chamber Music" in the film. The story itself is fine it's just....I dunno....there's something missing.
The story goes, poor kid who grows up playing the Violin catches the eye of a "Benefactor" at a party and she gets his name out there in classical concert circles. All the while she falls in love with him...as he with her. The problem is nothing in his life is first except the Violin. In her life it's booze and an uncertainty in her own mind about herself. She's very insecure. With this we get a lot of posturing about who runs the relationship and such. Who's in charge...or...who comes first.
I personally really liked this film. Garfield and Crawford really do a great job in this one but the one who steals the show is Oscar Levant. Without his wisecracks and injections of reality to the characters in this film, it would just be another Melodrama with Joan Crawford in it. He's an absolute scene stealer. His piano playing is really quite stunning (he was actually a classical trained pianist before he was an actor).
A really good film with great performances all around but just a little dry. It doesn't have the kick that Mildred Pierce did but it really is worth seeing. Think along the lines of Daisy Kenyon (another fine film). Just to see how beautiful Joan Crawford was at 40 is worth the price of admission.
A Timeless Romance for Cinema and Music Lovers
claudio_carvalho30 October 2011
In New York, the performance of the virtuoso violinist Paul Boray (John Garfield) is cancelled. In his apartment, Paul recalls when he was a boy and chooses a violin as a birthday gift from his working class parents. Paul dedicates his youth playing violin studying in the National Institute Orchestra with Professor Rozner and dreams on becoming a concert violinist. During the Great Depression, Paul overhears a conversation of his father and his older brother about his dedication to the violin and seeks out his best friend Sidney Jeffers (Oscar Levant) asking for a job.
Sid introduces Paul to the wealthy Helen Wright (Joan Crawford) and her husband Victor Wright (Paul Cavanagh) in a party. Helen is an unhappy alcoholic woman that sees that Paul is a talented violinist and brings him to work with the influent agent Bauer (Richard Gaines). His career starts to take off and Paul becomes her protégée. Sooner they have a love affair and they fall in love with each other. But Helen is jealous of the love of Paul for his violin and her insecurity ends in a tragedy.
"Humoresque" is a timeless romance for cinema and music lovers. The screenplay has awesome dialogs with unforgettable lines. When Helen gives a note in the theater to Paul, he is playing Carmen of Bizet and she feels like Don José and learns that she would never have the exclusive love of Paul since he is in love with his violin (and music). In the end, he is playing the tragic Tristan and Iseult of Wagner. Therefore, the film has many layers associated to the classical music. My vote is nine.
Title (Brazil): "Acordes do Coração" ("Chords of the Heart")
Sid introduces Paul to the wealthy Helen Wright (Joan Crawford) and her husband Victor Wright (Paul Cavanagh) in a party. Helen is an unhappy alcoholic woman that sees that Paul is a talented violinist and brings him to work with the influent agent Bauer (Richard Gaines). His career starts to take off and Paul becomes her protégée. Sooner they have a love affair and they fall in love with each other. But Helen is jealous of the love of Paul for his violin and her insecurity ends in a tragedy.
"Humoresque" is a timeless romance for cinema and music lovers. The screenplay has awesome dialogs with unforgettable lines. When Helen gives a note in the theater to Paul, he is playing Carmen of Bizet and she feels like Don José and learns that she would never have the exclusive love of Paul since he is in love with his violin (and music). In the end, he is playing the tragic Tristan and Iseult of Wagner. Therefore, the film has many layers associated to the classical music. My vote is nine.
Title (Brazil): "Acordes do Coração" ("Chords of the Heart")
Isaac Stern Fiddles While John Garfield Performs
bkoganbing26 May 2007
For John Garfield's final Warner Brothers film, the brothers cast him in Humoresque in which he plays a violinist from the Lower East Side of New York. Now of course that sounds like Golden Boy and to make the irony all complete, the adaption of the Fanny Hurst novel for the screen was written by Clifford Odets, the author of Golden Boy.
There's not too much difference in Joe Napoleon the hero of Golden Boy with Paul Boray of Humoresque except that Boray does not have any interest in boxing. He's strictly interested in playing the violin to the exclusion of everything including any relationships. His one and only friend is pianist Oscar Levant.
He does however come to the attention of spoiled society wife Joan Crawford. She's bored with husband Paul Cavanaugh who truth be told is a boring fellow anyway. She'll help Garfield in his career, but she finds out that Garfield is all about career and nothing else.
Humoresque was undoubtedly helped by the popularization of it in a modern version by Guy Lombardo in a hit instrumental record which came out around the time of this film. The piece is not played in any way in the style of Guy Lombardo in the film. In fact Garfield's fiddling is done by maestro Isaac Stern.
Crawford and Garfield both tend to the melodramatic in this film and it's not the best work out of either of them. But fans of both or either should be satisfied.
There's not too much difference in Joe Napoleon the hero of Golden Boy with Paul Boray of Humoresque except that Boray does not have any interest in boxing. He's strictly interested in playing the violin to the exclusion of everything including any relationships. His one and only friend is pianist Oscar Levant.
He does however come to the attention of spoiled society wife Joan Crawford. She's bored with husband Paul Cavanaugh who truth be told is a boring fellow anyway. She'll help Garfield in his career, but she finds out that Garfield is all about career and nothing else.
Humoresque was undoubtedly helped by the popularization of it in a modern version by Guy Lombardo in a hit instrumental record which came out around the time of this film. The piece is not played in any way in the style of Guy Lombardo in the film. In fact Garfield's fiddling is done by maestro Isaac Stern.
Crawford and Garfield both tend to the melodramatic in this film and it's not the best work out of either of them. But fans of both or either should be satisfied.
Perfectly realized, masterfully told, genuinely gripping - Humoresque has it all!
movieman-20012 June 2005
Warning: Spoilers
Jean Negulesco's "Humoresque" (1946) ranks as one of Joan Crawford's top three films; the other two probably being Mildred Pierce and Possessed. It stars the unerringly determined Ms. Crawford as neurotic socialite, Helen Wright. Helen's marriage of convenience to wealthy, Victor (Paul Cavanagh) affords her the luxury of dalliances with many men. The one she eventually settles on as her lover is Paul Boray (John Garfield), a gifted, but impoverished violinist. After a chance meeting at a party where Paul and his close friend, Sid Jeffers (Oscar Levant) are the entertainment, and, where Paul's pride is tested by Helen's vexing insults, Sid instructs Paul to forget her. He is, after all, engaged to the lovely Gina (Joan Chandler); more his equal in temperament and texture. However, as is the usual for tragic melodrama, a destructive romance continues to build between Paul and Helen. She introduces him to high society and the prospects of achieving fame beyond his wildest dreams. All that she asks in return is that Paul shares her bed while her husband's away
at least, at first. But as Paul's reputation grows, so does Helen's jealousy. And, although it appears as though this arrangement will be Paul's undoing as both an artist and a man, it is Helen who ultimately meets with an untimely end.
The absence of this brilliant film on DVD has been rectified with Warner's beautiful new transfer. Though there are several scenes in which fine details slightly shimmer, the overall quality of the picture will surely please. The gray scale has deep, solid blacks, very clean whites and a remarkable amount of fine details realized throughout. The audio is mono but has been very nicely cleaned up. An all too brief featurette 'The Music of Humoresque' is all we get in the way of extras. It is a genuine shame that no audio commentary has been included.
The absence of this brilliant film on DVD has been rectified with Warner's beautiful new transfer. Though there are several scenes in which fine details slightly shimmer, the overall quality of the picture will surely please. The gray scale has deep, solid blacks, very clean whites and a remarkable amount of fine details realized throughout. The audio is mono but has been very nicely cleaned up. An all too brief featurette 'The Music of Humoresque' is all we get in the way of extras. It is a genuine shame that no audio commentary has been included.
Good - but not great
davidholmesfr27 June 2011
Given the somewhat clichéd and thin storyline (from a short story rather than a novel), the film just about hold up. This seems to be due to Negulesco's balancing act between some of the overwrought passions and the basic telling of the story.
Joan Crawford came to this following on from her Oscar-winning success in "Mildred Pierce". No doubt she, and the studio, thought that this would be "her" film. But John Garfield's performance actually overshadows Crawford; may this be a testament to method acting? I found it difficult to muscle up much sympathy for either of the main characters and this probably accounts for my comparatively Luke-warm conclusion. Both characters seemed devoid of any humour but fortunately we have Oscar Levant's one-liners to relieve some of the emotional tension. The extensive music performed in the film will be a plus for many, especially as much of it is from the Romantic era of classical music.
It's certainly worth watching if you're interested in film history; if you're not then I suggest you wait for a wet Sunday afternoon when it's on TV.
Joan Crawford came to this following on from her Oscar-winning success in "Mildred Pierce". No doubt she, and the studio, thought that this would be "her" film. But John Garfield's performance actually overshadows Crawford; may this be a testament to method acting? I found it difficult to muscle up much sympathy for either of the main characters and this probably accounts for my comparatively Luke-warm conclusion. Both characters seemed devoid of any humour but fortunately we have Oscar Levant's one-liners to relieve some of the emotional tension. The extensive music performed in the film will be a plus for many, especially as much of it is from the Romantic era of classical music.
It's certainly worth watching if you're interested in film history; if you're not then I suggest you wait for a wet Sunday afternoon when it's on TV.
Humor me...I feel suicidal, and you can't blame me.
michaelmain-628849 October 2020
I love John Garfield and Joan Crawford, but for the love of all that is holy, avoid this!
Go watch any of the 19 million depressing new dystopian tv shows or movies, you'll be happier.
This movie will make you want to slit your wrists, take barbiturates, put a plastic bag over your head, weights on your ankles and jump into a deep abyss of molten lava .
Albeit with a nice violin soundtrack.
This movie will make you want to slit your wrists, take barbiturates, put a plastic bag over your head, weights on your ankles and jump into a deep abyss of molten lava .
Albeit with a nice violin soundtrack.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
