Cast overview, first billed only: | |||
Joan Crawford | ... | Helen Wright | |
John Garfield | ... | Paul Boray | |
Oscar Levant | ... | Sid Jeffers | |
J. Carrol Naish | ... | Rudy Boray | |
Joan Chandler | ... | Gina | |
Tom D'Andrea | ... | Phil Boray | |
Peggy Knudsen | ... | Florence Boray | |
Ruth Nelson | ... | Esther Boray | |
Craig Stevens | ... | Monte Loeffler | |
Paul Cavanagh | ... | Victor Wright | |
Richard Gaines | ... | Frederick Bauer | |
John Abbott | ... | Rozner | |
Robert Blake | ... | Paul Boray as a Child (as Bobby Blake) | |
Tommy Cook | ... | Phil Boray as a Child | |
Don McGuire | ... | Eddie |
Paul Boray comes from a working class background. He has been interested in the violin since he was a child, which his father disliked since he felt it a waste of money, but which his mother supported. Into his adult life, Paul wants to become a concert violinist, and although he shows talent, he does not have the right connections to make it into the concert performance world, much like his longtime friend, virtuoso pianist Sid Jeffers, and cellist Gina, both who, like Paul, train with the National Institute Orchestra. Gina and Paul have a connection with each other, Gina who confesses her love for him. While performing at a party with Sid, Paul meets Helen and Victor Wright, their hosts. Victor is a perceptive but self-admittedly weak man, while his wife Helen is strong minded but insecure which manifests itself as neurosis. She constantly tries to forget about her unhappy life by excessive alcohol consumption. Helen becomes Paul's benefactress, which ultimately results in a ... Written by Huggo
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".