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
'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