Apenas um Coração Solitário

I found this movie to be very painful to watch. It is not your typical Hollywood, let's glamorise everything, everyone has money, let's make it look pretty. These people are grindingly poor, the mother is dying of cancer, and our boy is trying to be his own man, without money or position. Tuning pianos seems like a difficult way to earn a living, but makes use of the only talent he really has, which is perfect pitch. For those who don't know, it is the ability to name any tone or note that you hear. This movie has a great supporting cast, Barry Fitzgerald and Jane Wyatt, just to mention two. Grant's mother is one of my favorite actresses, Ethel Barrymore. She really has too much class for the part she plays. And the sets make you glad you don't have to live there. Still memorable, though, in spite of being so depressing.

This 1944 movie is a masterpiece of black and white photography by Director Clifford Odets. The subtilty of background lighting and the shadow effects in the street scenes are magic. There are moments of sheer brilliance with Cary Grant as the independent unorthodox Cockney son Ernie Mott, who comes home and decides to run the secondhand furniture shop and care for his sick mother, Ethel Barrymore. Jane Wyman, makes money playing the cello and patiently loves Ernie from across the street. Mott has 'perfect pitch' and can tune pianos and does odd jobs. Grant brings this quirky character to life and makes us love him. Ernie is a combination of dark brooding and sanguine pathos. All the actors are excellent and bring the poetic language of the script to life. June Duprez as Ernie's girlfriend Ada is riveting. Barry Fitzgerald as genial family friend Henry Twite is special. Even the Dog called Nipper stole every scene. As you can see I loved this movie, hope you do too....

Cary Grant reinvented himself as a Hollywood film star with an American accent, but before he did that, his real name was Archie Leach, from Bristol, and as English as they come. In this film, he returns to his roots and very successfully plays an Englishman. The film is a very moving and effective story about a young man reluctantly coming to terms with what it means to be responsible and sensible, and giving up a rather wild and unconstrained existence which was leading nowhere. It is superbly directed by the playwright Clifford Odets, who also wrote the screenplay, which is based upon a novel by the Welshman Richard Llewellyn, who is more famous for his novel HOW GREEN WAS MY VALLEY (filmed in 1941). This was one of only two films directed by Odets, the other being fifteen years later, THE STORY ON PAGE ONE (1959, which is such a bad film I did not bother to review it). However, this earlier directorial achievement by Odets was really one to be proud of, and totally works. The film takes its title from the famous song by Pyotr Tchaikovsky, a tune played by the character Aggie Hunter in the film, who is sensitively played by Jane Wyatt. Wyatt plays the cello herself on screen. The same theme tune is also played on the piano by Cary Grant, also really playing the instrument himself. Another excellent pianist/actor appears in the film, Dan Duryea, but he only has a small part and does not play any music. This film is remarkable for the stunning performance by Helen Duprez as a steamy and passionate gal who falls for Cary Grant. Helen Duprez is so amazing in this film that she equals Gloria Grahame for effortlessly conveying intense sensuality on the screen, just by the way she talks, looks, and moves. It is one of the great tragedies of the cinema that Helen Duprez's career misfired (see the account in her bio on IMDb), for she was truly in a class of her own. Anyone interested in the history of screen passion without bedroom scenes needs to study this performance, and see how it is done. Clifford Odets obviously knew how to get Duprez's magic out of her, by gaining her confidence and giving her the necessary encouragement. Although it was Ethel Barrymore, who played Cary Grant's mother, who got the Oscar for her performance in this film, that Oscar should really have gone to Helen Duprez. That is not to say that Ethel Barrymore's performance is not marvellous, for it is. She shows extreme subtlety in a part which a lesser actress would have played with broad strokes and would have hammed it up. This is a wonderfully successful film which deserves to be more widely known.

Ernie Mott (Cary Grant) is an irresponsible vagrant roaming the streets of London. His father had died in the Great War. His mother (Ethel Barrymore) runs a small shop by herself. He plays the piano, fools around with a gangster's ex Ada Brantline (June Duprez), and has a friendship with nice neighborhood girl Aggie Hunter (Jane Wyatt). After learning about her mother's cancer, he stays to run the shop despite their combative past.

Ernie is not really an appealing character and that's tough to do for Cary Grant. I'm also annoyed by his relationship with Ada. I want more time with Aggie and have more love triangle action. The character would be appealing as an exuberant youth struggling to find his way in the world. Cary Grant was 40 by then. I can see this as a lower class melodrama like a Mike Leigh movie but Cary Grant doesn't really fit the role. It's interesting nevertheless.

This ernest turn at portraying Cockney life quickly becomes a fascinating story with strong characterisation. The initial narration, a touch overdone, gives a tantalising glance at future events that never appear in the film. At first, Grant seems to be playing his part with a strange over-zealous streak but we rapidly understand that this is the nature of his Ernie Mott (like Nic Cage in Wild at Heart, this is a man with clothes that represent his sense of independence), a happy-go-lucky character with a brooding sense of social injustice. Everything bad comes with a dose of sugar, a kiss if you like, to sweeten the experience and make life seem better than it really is. This is one of those pictures that plays out like a languishing soap opera - insightful and compassionate with moments of excitement - just enough to keep 'Ma' happy. This would probably work today as a remake but I suspect the directors would play up the sex and violence to such a level that the real essence of 'want and need' would be lost. Worth watching.