Humoresque

It opens with a close up of John Garfield and that, already, gets you going. The intensity and power of the man. A from rags to riches tale with an extra something. The extra something here is Clifford Odetts, the language is as pungent as its pace. The truth in John Garfield's face rises everything several notches but, perhaps, the biggest surprise from a 2007's standpoint, is Joan Crawford's performance. She's never been one of my favorites, I always thought impossible to warm up to her and her tough lady from the wrong side of the tracks left me cold but here, she's rounded and brilliant, torn between who she is and who she would like to be. Great lines, fantastic close ups - wearing eye glasses, removing the glasses and squinting - At moments you feel the camera devours her. The director, Jean Negulesco - Three Coins In The Fountain, How To Marry a Millionaire - never flown this high. This 1946 Warners melodrama has the stuff that great works of art are made of. Thrilling

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".

I was astounded by the virtuoso performance on the violin by John Garfield. I truly believed he was a multi talented man. I looked up IMDb and found out that they were using two doubles to actually play the violin. I am even more amazed that the two actual violinists by his side each played the bow and the strings separately. The effect was perfect to the viewers. The pieces selected were also of the type that could easily appeal to those whose knowledge and experience with western classical music is limited. Bravo Isaac Stern for this music. I am reminded of Fiddler on the Roof which also had this great violinist give us the pleasure of his performance. Oscar Levant is of course a pianist also and it is he who turned out to be multi talented.

Joan Crawford, (Helen Wright) plays the role of a very rich woman who is married and loves to entertain all kinds of actors, and musicians and she happens to meet a violin player named Paul Boray,(John Garfield). Paul came from a medium income family and his father, Rudy Boray, (J.Carrol Naish) is a Deli owner in New York City and finds that his son wants to play the violin. Helen Wright decides to introduce Paul into a world of famous musicians and agents who are very impressed by Paul's outstanding talent and he begins to climb up the ladder of success in the world of concert music. Helen is a rather wild woman who loves to drink and is involved with quite a few men, however, she falls madly in love with Paul and finally gets a divorce in order to marry Paul. This story has a very strange ending and you will never guess just how it really ends.

There were two primary reasons for wanting to see 'Humoresque'. One was the cast, am especially an admirer of Joan Crawford. Considered a screen legend for good reason. The other was the music, absolutely adore classical music and love it when a film has a healthy dose of it. The involvement of Franz Waxman, one of the best film composers at that time and fine arranger of music, and that it was performed by violinist Isaac Stern made me more excited.

'Humoresque' has plenty to get excited about. Not only is it a great film in its own right, but it is a fine example of how to do melodrama well and what it's all about. To me, 'Humoresque' is so well made, directed, written and acted, while also having some of the best use of classical music on film. Not quite masterpiece level but close, and quintessential Crawford in both films and performances. Fans of Jean Negolesco will love it too, it's towards one of his best, same goes for male lead John Garfield. Almost everything works.

My only criticism is the length, with the film being for my tastes a little overlong. A little trimming towards the end would have helped.

Crawford however is just astounding. An intensely powerful performance and one of her best, vintage prime-Crawford really. Garfield seldom gave a finer performance than here in 'Humoresque', don't think he ever was this intensely passionate and electric. They are magnetic together. Oscar Levant was ckearly having fun with some of the film's best lines in a tailor-made role that had elements of himself in, his wisecracking is hilarious and never felt out of place. Instead it stopped it from being too heavy-going. Robert Blake never resorts to trying to be too cute or being whiney. Ruth Nelson, J Carroll Naish and Joan Chandler (although Gina is too much of a plot device and a not explored enough one) are rock solid support, especially Nelson.

Negulesco brings his usual tautness and edge, but also sophistication and he doesn't let the film get too overwrought or cold. 'Humoresque' is a wonder visually, with some world class cinematography. The story seldom felt dull, despite lagging a bit towards the end, and doesn't get campy or overwrought. The very end is very powerful and moving. The script never stops being hugely entertaining, Levant has most of the best lines with his wisecracks and witticisms but another favourite was Crawford's line when reacting to being asked as to whether she liked classical music and her references to Ravel and Beethoven are very witty.

As well as the cast, the music is a huge part of 'Humoresque's' appeal. Waxman's scoring is unmistakably lush and swells with emotion, but even better is the classical music which is incredible. The pieces originally written for the violin are some of the finest written for the instrument, and the arrangements work so well one would think that they were originally intended for the violin namely the Carmen fantasie (which became a popular concert piece and still is). Stern plays the music brilliantly, making very virtuosic music (i.e. Sarasate) sound easy, but he is not the only musician here. Levant, an immensely talented pianist (well you'd have to be if you play Gershwin well), and Peg La Centra also heavily contribute and they are effective. Particularly coming off well are one of the to this day best versions of the Carmen fantasie and an immensely powerful version of "Liebestod".

Summing up, great film and a must for fans of Crawford, Garfield, Levant, Waxman, Stern, classical music and Negulesco. 9/10