Humoresque (1946)

A classical musician from the slums is sidetracked by his love for a wealthy, neurotic socialite.

Director:

Jean Negulesco

Writers:

Clifford Odets (screenplay), Zachary Gold (screenplay)

Stars:

Joan Crawford, John Garfield, Oscar Levant

Nominated for 1 Oscar.

Cast

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

Storyline

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 ...

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Plot Keywords:

manipulative mother | manipulative woman | bare chested male | possessive mother | possessive girlfriend | 

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Taglines:

"Love me now, " she said, "hate me later"...and then all the warmth of their nearness engulfed these two who met and kissed and shouldn't have met again!

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Genres:

Drama | Music | Romance

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

25 January 1947 (USA)

Also Known As:

De amor también se muere

Filming Locations:

Malibu, California, USA

Box Office

Budget:

$2,164,000 (estimated)

Gross USA:

$2,281,000

Cumulative Worldwide Gross:

$1,118,000

Company Credits

Production Co:

Warner Bros.

Technical Specs

Runtime:

125 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

John Garfield, a method actor, tried to get an emotional bond with the character Joan Crawford played by looking deeply in her eyes. This deeply unnerved Crawford, who told the director: "Tell him to stop looking at me!"

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Goofs

Don McGuire plays Teddy, the proprietor of Teddy's Bar, although his character is listed in the closing credits as Eddie.

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Quotes

Helen Wright: Oh, here we go again. Only a man who doesn't drink thinks black coffee sobers you up.

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Crazy Credits

The opening credits are presented on the turning pages of the sheet music for the composition "Humoresque".

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Connections

Featured in Joan Crawford: The Ultimate Movie Star (2002)

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Soundtracks

Flight of the Bumblebee
(uncredited)
Written by Nikolai Rimsky-Korsakov
Performed by Isaac Stern dubbing for John Garfield

User Reviews

Playing second fiddle to Beethoven

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".