Domineering Harriet Craig holds more regard for her home and its possessions than she does for any person in her life. Among those she treats like household objects are her kind husband ... See full summary »
Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As ... See full summary »
Oxford Professor Richard Myles and new bride Frances are off on a European honeymoon. It isn't your typical honeymoon though, for they are on a spying mission for British intelligence on ... See full summary »
Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent ... See full summary »
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
For the scene where Helen falls off the horse, Joan Crawford claims that she performed the stunt herself, and, relieved that it had gone well, she nevertheless was forced to do the stunt again when it was decided that Paul (John Garfield)'s rushing over and laying on top of her was too racy. It was reshot, and instead, Helen lies on top of Paul. Crawford later remarked: "I couldn't really understand what was the difference, him on top of me or me on top of him. Well, the difference was I had to fall off the horse again. I did, and I lived to tell the tale." An HD freeze frame tells the truth: it was a stunt double who falls off the horse. See more »
In the scene where Paul Boray is practicing on stage in his shirt sleeves, you can see the top of the head of a man crouched down behind him. This has to be one of the violinists who did the playing for John Garfield by reaching around him. See more »
You'll do all right. You have all the characteristics of a successful virtuoso. You're self-indulgent, self-dedicated, and a hero of all your dreams.
You ought to try a few dreams yourself. It might make you less cynical. When I look at you, I know what I want to avoid.
One of us is offensive. Why don't you blow?
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The opening credits are presented on the turning pages of the sheet music for the composition "Humoresque". See more »
Don't Say Good-Night
From the Warner Bros. picture Wonder Bar (1934)
Lyrics by Al Dubin
Music by Harry Warren
Copyright 1934 M. Witmark & Sons
Performed by orchestra in background during scene at the restaurant at Rockefeller Center See more »
...was what Borzage's silent version terribly lacked .When the musician plays "humoresque" this music piece which shows that you can laugh at life ,but with a tear behind it ,we would like to hear the sound of his violin !
With Jean Negulesco's movie,there's not such a problem;music is everywhere and is throughly enjoyable:my favorite moment is the artist's sensational rendition of Georges Bizet's "Carmen" . John Garfield -who never made,to my knowledge ,a single mediocre movie - and his violin make the film a winner.For the story is ,all things considered ,rather conventional.Joan Crawford's character ,the average viewer has already seen it a hundred times or more and it takes all the actress's talent to make it endearing.
Like Borzage's more obscure version (1920) ,it's based on a Fannie Hurst novel.But the screenplays are so different Negulesco's work is hardly a remake;whereas Borzage devoted almost half of his movie to the hero's childhood in the ghetto ,where he meets the love of his life (Gina who is almost reduced to a walk on in the talkie),only five minutes are given over (as a flashback) to the boy's birthday present.Gone are the mother's prayers -here the mother is a lucid person,not so nice,ready for everything to save her boy's career- which made everything possible.But the biggest difference is the presence of Helen Wright,totally absent in the first version.In a way,she stands in for WW1:after all,this is a war the hero is waging ,not only to gain critical acclaim but also to fight against a doomed passion.
Try to see the two films one after the other.
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