User reviews

Based on a Fannie Hurst book ,"Humoresque " tells the story of Jewish family .Mama had always thought that one of her sons (the other one is an imbecile)would become a great musician .Her faith was so strong she did believe that her prayers could do anything.

The version I saw -which oddly was partly in color- is totally silent and it's the main drawback: we need to hear Leon's violin when he "weeps his very blood" ,when he plays "Humoresque" this piece which laughs at life with a tear behind it,and in the final scenes when love brings Leon around.If you have had the chance to see "I will always you" (1946) you've probably noticed Borzage's wonderful use of music and the way the two heroes communicate through it.

The best scene is Leon's farewell before leaving for WW2.Borzage makes it last longer than the usual tear-jerker .These brief hours ,the characters have got to make the best of them,savor them .Borzage would take this kind of scene to its absolute peak with his sensational "street angel" (1927)when Janet Gaynor,about to be arrested ,spends an hour -which seems to last a thousand ones- with her husband Charles Farrell .

The beginning deals with childhood love which would inspire Henry Hathaway for " Peter Ibbetson " (1936).

No other director overwhelmed his characters with tenderness as Borzage did.Even if you are not a believer,even if you are down in the dumps ,after watching one of his works (there are plenty of them crying to be seen ;someone who has never seen a film by this great man might choose "the mortal storm" (1940)),you will smile,weren't it only for a little while.

Remade (but with a completely different screenplay) by Jean Negulesco.(1947)

In the Jewish ghetto of New York City, young Leon Kantor takes up the violin, much to his father's disapproval. Mama Kantor, however, encourages their son. Leon grows up to become a famous violinist, and falls in love with his childhood friend Gina Ginsberg. Just as Leon is offered a lucrative contract, he announces he has enlisted to fight in World War I. Mama Kantor is heartbroken. The family awaits his safe return from the front.

This movie was a pleasant surprise. I certainly expected some sentimentality and some tear-jerking (and the ending is a bit corny), but this film kept my interest, mainly because of the performances. However, it wasn't Gaston Glass and Alma Rubens who impressed me (although they give adequate performances). The standouts were Vera Gordon as Mama Kantor and Bobby Connelly as the young Leon. Their scenes together are filled with genuine warmth, and they are both so likable. Good performances are also turned in by Dore Davidson as the father, and Miriam Battista as the young Gina. In fact, Battista's portrayal of Gina is more interesting than Reubens' adult interpretation. It is odd that Reubens is given sole acting credit in the opening titles, since she doesn't have as much screen time as many of the others.

The direction is also first-rate. Most scenes are succinct, and not drawn out. This keeps the film moving at a good pace.

Contemporaneous reports mention that in the original ending to the film, Leon was to return from the war with an artificial hand. But this was changed to make the ending happier.

It has been some time since I've seen the 1946 version with John Garfield and Joan Crawford. Though that version is excellent, it has little in common with this version. I was unable to find the short story by Fannie Hurst on which both films are supposedly based. However, I would hazard a guess that the 1920 version is probably closer to the Hurst story than the later version.

While the story is sentimental and a bit flat, the atmosphere of this 1920 drama is phenomenal. The first half is set in the New York Jewish ghetto of the 1900s, and the film does not shy away from the grubbiness and claustrophia of the setting, while also emphasizing the strong sense of community and intimacy between the characters. I find many films from the 1910s and early 1920s excelled at showing this side of life, which became scrubbed down during the height of the glamorous studio era between the late 1920s and 1950s.

As for the rest, HUMORESQUE is alright. The performances are sensitive and the story is a sweet tale of the power of familial love. The ending is rushed, though I suspect there's missing footage from the 70-minute print I watched on YouTube.

Based on a story by Fannie Hurst, 'Humoresque' paved the way to later, far better films by director Frank Borzage.

To audiences fated to be forever trapped in the squalid tenements so vividly evoked by cameraman Gilbert Warrenton in the film's first third, while nursing family members with life-changing injuries suffered in the Great War, the release from such temporary set-backs experienced by the Kantor family would have provided much-needed - if temporary - solace, and 'Humoresque' in 1920 was a big hit.