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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.

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

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".

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.

So violin prodigy John Garfield's mother scolds him. And indeed, he has taken up with a married woman. And a pretty neurotic one, at that.

The woman is chic and wears glasses. And she is Joan Crawford. This is one of Crawford's best roles. And Garfield is extremely good in it, too. The play well off each other.

This was made in the days when being Jewish was still pretty much unacceptable in big-budget movies. Garfield's father, a shopkeeper, says "Saturday is always my busiest day" -- just in case anybody was getting suspicious. It's too bad, because that would be fine today and would have added to the story of ill-fated lovers.

Warner Brothers did more movies about and including classical music than any of the other studios. Or so I feel. Garfield's playing is well known as having been provided, very beautifully, by the great Isaac Stern.

Just off the top of my head, two other movies about classical music from Warner are the extremely charming "My Love Came Back" and the fabulous "Deception." To me, that is, along with "All About Eve," one of Bette Davis's absolute best movies. And within more recent times, the "Hollenius" Cello Concerto by Korngold is being played by symphony orchestras as part of their regular fare.

This movie is a must for anyone with an interest in Joan Crawford, John Garfield, or music in the movies. Not to mention anyone who likes Oscar Levant! (And who possibly could not?) He is delightful in it and plays piano beautifully.)