Torch Song (1953)

Approved  |   |  Drama, Music, Romance  |  1 October 1953 (USA)
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Reviews: 36 user | 11 critic

Jenny Stewart is a tough Broadway musical star who doesn't take criticism from anyone. Yet there is one individual, Tye Graham, a blind pianist who may be able to break through her tough ... See full summary »


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Title: Torch Song (1953)

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Nominated for 1 Oscar. Another 1 win. See more awards »
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Cast overview:
Tye Graham
Cliff Willard
Marjorie Rambeau ...
Mrs. Stewart
Joe Denner (as Henry Morgan)
Dorothy Patrick ...
James Todd ...
Philip Norton
Eugene Loring ...
Gene, the Dance Director
Paul Guilfoyle ...
Monty Rolfe
Benny Rubin ...
Charles Maylor
Peter Chong ...
Celia Stewart
Chris Warfield ...
Chuck Peters
Rudy Render ...
Singer at Party


Jenny Stewart is a tough Broadway musical star who doesn't take criticism from anyone. Yet there is one individual, Tye Graham, a blind pianist who may be able to break through her tough exterior. Written by Kelly

Plot Summary | Plot Synopsis


Tough Baby - a wonderful love story with the star of "Sudden Fear" and for the FIRST TIME you'll see her in TECHNICOLOR!


Drama | Music | Romance


Approved | See all certifications »




Release Date:

1 October 1953 (USA)  »

Also Known As:

Herzen im Fieber  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)



Aspect Ratio:

1.75 : 1
See  »

Did You Know?


This film marked Joan Crawford's return to MGM after a ten year absence. She was previously under contract to MGM from 1925-1943. See more »


Jenny closes her eyes to find out what it's like for a blind person to light a cigarette. Meanwhile, the cigarette and cigarette lighter switch hands. See more »


[first lines]
Jenny Stewart: Hold the record.
See more »


Spoofed in The Carol Burnett Show: Episode #10.16 (1977) See more »


You're All the World to Me
Music by Burton Lane
Lyrics by Alan Jay Lerner
Danced by Joan Crawford and Charles Walters
See more »

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User Reviews

"Cuz I'm FIFTY......and I can KICK!"
5 October 2005 | by (Cincinnati, OH) – See all my reviews

It's hard to believe that, except for a couple of very brief sequences in earlier films, audiences had to wait until 1953 to see Miss Crawford in Technicolor. She gave them enough here to last a lifetime! With inferno red hair, scarlet lips and an assortment of garish costume pieces, she served up a retina-scorching musical that is as fascinating as it is preposterous. Crawford plays the most hard-nosed, ball-busting theatre diva imaginable. (Things veer into science-fiction rather early when it's shown that Crawford has a loyal following of devoted TEEN fans.) During rehearsals for her latest revue, she berates everyone in sight as she strives to have everything her way. She trips her dance partner with her ever-extended right leg, rewrites the dialogue, redesigns the costumes (hilariously swooping the design board in the air to see how the swatch of chiffon will behave once it's attached to her!) and just generally steamrolls over everyone. She meets her match, however, when meek pianist Wilding shows up and softly, but firmly challenges her taste when it comes to her interpretations of the show's songs. To top it off, he's blind, though this detail only slightly curbs Miss Crawford's vicious tongue. Eventually, the two begin to work together, tenuously, but Wilding's effect on her starts to become a romantic one. Despite her slight softening, he remains strangely reticent. Crawford, used to getting what she wants, strives to make him her own. In the midst of all this romantic tension are several musical numbers (with a throaty India Adams providing the highly melodramatic vocals) which range from pitiful to screamingly ridiculous. One has Crawford emerging hilariously from behind a wall and rolling in circles across the stage where she finally disappears behind another wall. In the most famous scene, she descends a cheap-looking staircase dressed in a scary turquoise chiffon and beaded gown with a slit up to her loin while wearing black-face!!! Exceedingly uncoordinated female dancers stiffly turn about as Crawford wanders through the male chorus (with all of them in black-face as well!) Afterwards, in a fit of fury, she rips off her black wig and the viewer is faced with her chocolate skin, crimson lips, ice blue eyes and a tangled mess of tangerine orange hair sprouting heavenward! The film is bent on displaying the most putrescent colors imaginable. Her bedroom walls are a nauseating sea foam green and she wears a hysterical electric lemon yellow robe that is about 10 sizes too big. (In a symbolic touch, she shuts out the world from her bedroom with THREE layers of draperies at the window.) Oddly, though Joan isn't the blind one, her home is virtually devoid of any pictures or artwork. Only one small painting can be seen in the place. The film is chock full of deliciously rotten dialogue and snippy comments and is a must see for any fan of the star. It's also brimming over with unintentional humor as Joan overdoes every line, look and gesture. Clocking in with some intentional humor is the splendorous Rambeau as Crawford's money-grubbing mother. Her reaction (both verbal and non-verbal) to Crawford's announcement that she's fallen for a blind man is one of the all-time uproarious bits of acting and dialogue. For her trouble, she was granted an Oscar nomination, which couldn't have thrilled Crawford, who was busily gnawing on all of the scenery in an attempt to gain another one herself! As for Wilding, he plays blindness as if the loss of one's sight equals the complete and utter loss of one's facial expression. Still, it's nice to see his underacting hold up against Crawford's fire-breathing. Norman appears as Crawford's trusted assistant and indentured servant. She would turn up years later as Crawford's maid in "What Ever Happened to Baby Jane?" receiving even worse treatment from Bette Davis. Check out Joan's cocktail party at which no other female is present! The one lady that rivals her for Wilding's affections is dealt with out of frame, but one can imagine the showdown that was had. The persona Joan presented here (and in "Queen Bee") would come back to haunt her. It was apparently what the producers of "Mommie Dearest" used as a launching pad when concocting that film and it was the subject of one of Carol Burnett's most cutting parodies during her long-running variety series. Crawford, who adored Burnett, was usually open to a joke on herself, but in this instance was quite hurt. Crawford followed this gem with the even more lurid, garish and bizarre "Johnny Guitar". Incidentally, the music used in Joan's first dance rehearsal number is "Minstrel Man" (!), which ties in bizarrely with the fact that she's later seen in blackface (or as Debbie Reynolds put it in "That's Entertainment III", "tropical makeup"!)

42 of 49 people found this review helpful.  Was this review helpful to you?

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