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
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.