Humoresque Page #6

Synopsis: Paul Boray comes from a working class background. He has been interested in the violin since he was a child, which his father disliked since he felt it a waste of money, but which his mother supported. Into his adult life, Paul wants to become a concert violinist, and although he shows talent, he does not have the right connections to make it into the concert performance world, much like his longtime friend, virtuoso pianist Sid Jeffers, and cellist Gina Romney, both who, like Paul, train with the National Institute Orchestra. Gina and Paul have a connection with each other, Gina who confesses her love for him. While performing at a party with Sid, Paul meets Helen and Victor Wright, their hosts. Victor is a perceptive but self-admittedly weak man, while his wife Helen is strong minded but insecure which manifests itself as neurosis. She constantly tries to forget about her unhappy life by excessive alcohol consumption. Helen becomes Paul's benefactress, which ultimately results in a s
Genre: Drama, Music, Romance
Director(s): Jean Negulesco
Production: Warner Home Video
 
IMDB:
7.6
Rotten Tomatoes:
60%
APPROVED
Year:
1946
125 min
366 Views


- I see what's happening.

- Nothing's happening.

You should know.

What do you think, Mom?

She's a married woman.

What do you think?

- I don't know.

- When will you know?

- They'll publish the scandal in the papers.

- Nobody's publishing anything.

Oh, they did it to better men.

You're a clean boy with a clean

career, why get involved?

- I tell you, I'm not involved.

- You'll have to get up early to fool me.

I don't wanna talk about it.

Paul.

My opinion of Mrs. Wright

doesn't matter...

...but I know you.

Inside, Paul, you want

a wife, home, children.

- Let me live my life. I know what I want.

- Don't let your life get twisted.

It's not the same for you.

Your life is different.

You're not someone who can put work

in one drawer, his life in another.

Everything you do, everything

you think is a part of it.

Wind me up and I play. Concerts on

request. Is that all I'm supposed to be?

I want more. I'm not a machine.

I've got feelings too.

You have to pay for what you get.

Special people got

special things to pay for.

- What's left for me?

- Music.

Be careful.

The stakes are big. This isn't a two-hour

trip to Chinatown. This is for life.

Think of the future. Think of what

it'll be next year and the year after.

Think of your work.

So long, Fitzie.

Gina.

- It's good to see you. How are you, Gina?

- Hello, Paul.

I hear the tour went well.

Bauer thinks so.

Is he doing anything for you?

It's slow. I'm with

the Block String Quartet.

Leopold Stokowski

organized a youth orchestra.

I thought Mr. Bauer

might arrange an audition for me.

- It's arranged. Let's have lunch together.

- I really must wait...

Sid's going to be there.

The Block String Quartet.

Why hasn't anyone told me?

Gee, it's nice to see you.

- Why is Sid always late?

- You know Sid. He has no sense of time.

It's a modern invention.

Sid has no use for modern inventions.

Maybe he's right. No one

seems to have time anymore.

I've been up to my ears, the tour,

recordings, Bauer. You know.

- No, I don't.

- You're not angry with me, are you?

You're a blank check in my emotions.

Any amount you want you can write in.

- Gina, what's the matter with you?

- You've changed.

Me? Maybe you've changed.

You're successful. You're in the limelight.

That makes you different.

Maybe I'm a little jealous.

We ought to be able to forget old friends,

pack them away in some dim corner.

- That would be the kindest way.

- What do you expect me to say?

Roses are red,

violets are blue and so am I?

I'm blue.

Gina! This is like old home week.

You look lovely. Has anyone

told you? Let me be the first.

Helen, I...

Do you know Mrs. Wright?

This is Miss Rommeney.

- Hello.

- Hello.

Every day and every way.

Here, let me give you a kiss.

- Well, won't you join us?

- Sorry. I can't stay.

I just came to add my congratulations

to the general acclaim.

Excuse me, please.

Hey, wait a minute.

Thanks for the lift downtown.

See? When I'm courteous, I'm ignored.

- Maybe I'll never see him again.

- You'll see him again.

Temporarily, he's on his way

to placate a jealous woman.

- You hear about the tour? We stunned them.

- Sid, what is she like?

Helen?

She's as complex as a Bach fugue,

born with a silver flask in her mouth.

Helen has a big alumnus

association behind her.

- She's quite a gal.

- So it seems.

- You're quite a gal yourself.

- You're nice, Sid.

Say I'm wonderful or unbearable,

but don't ever say I'm nice.

I was in love once. It took me

two weeks to get over her.

I played all the 32 Beethoven sonatas.

It took exactly two weeks.

So it ain't funny. Why don't we get drunk.

Drink to laurel wreaths and curtain calls.

- To fame, fortune and success.

- I wanna get out of here.

Sure.

There's an old Irish saying. "Light your pipe.

There's only wind and smoke in the world."

Translation:
Easy does it.

Easy does it every time, baby.

Want piano lessons? Twenty-five

cents a lesson, you'll be my only pupil.

You think you're better

than I am, don't you?

- For you, sir?

- Sure, why not.

- How many years did you study the whistle?

- It's a secondary instrument with me.

- The violin is my dish.

- Where did you meet her? Philadelphia?

- Is she one of your ardent admirers?

- Gina is an old friend.

Obviously.

Did you play hopscotch with her

on the sidewalks in your youth?

She was at the Institute.

She's a musician.

That must give you

a great deal in common.

- Invite me the next time you play a duet.

- I will.

Why didn't you call me?

Philadelphia isn't the end of the world.

I didn't want to.

Thanks. That's nice of you.

- I wanted time to think.

- How convenient.

Men want the convenience

and none of the difficulties.

- What did you think about, Tchaikovsky?

- I thought about us.

- You don't expect me to believe that.

- I don't care.

- I'd like to slap your face.

- Why don't you try it.

I'm sorry I did that.

The glass is wet.

It makes circles on the table.

Let's get out of here.

- I'm tired of quarrels.

- It's not my doing. I didn't want it.

Did you think you could go away

for weeks, never call or write...

...and come find me hanging in a closet

like a suit you might put on someday?

Paul, what good is a woman

if she's no use to anyone?

I...

- I owe you a great deal.

- Oh, give it to charity.

Let me help you.

Let me help in the small ways that I can.

You have talent, something solid

to hang onto no matter what happens.

I envy you that.

I'll live without the grand opera

love is supposed to be, only...

...don't close me out of your life.

Please don't.

Take me into your life.

You're married, Helen.

We're both old enough to vote.

It makes me laugh,

how much alike we are.

This sparring around like

two wrestlers looking for a hold.

At times, a sense of humor's welcome.

We don't laugh enough. That's our trouble.

It's your fault.

I think you were born angry.

- I don't like angry people.

- Evidently, you don't think much of me.

I love you, so I don't care

what I think of you.

Mr. Jeffers, is Mr. Boray your protg?

Our relationship is like

George Sand to Chopin.

Could you induce Mr. Boray

to come to a small party tonight?

- I'll have to see the guest list first.

- Mr. Jeffers!

I'll have to call off our date.

I'm sorry. It's okay, let him in.

- I'm his cousin.

- They don't even believe I'm his father!

- I hope that hasn't troubled you before?

- Wait, Sid. Esther. I forgot.

Esther and the whole family

are in there. Let's go in.

- Imagine. I'm his father.

- You're brilliant, Mr. Boray.

Paul, you were wonderful.

- My boy.

- Terrific, Paul.

I hope I can play as well as you.

Bravo! Bravo! Encore! Encore!

I'm the second greatest pianist.

I won't mention the first.

Too many guys would get sore.

- You're the most conceited.

- I like to be the best.

- Many objectionable people have talent.

- Is that so?

I know a lot of talented people

who are objectionable.

- Is that so?

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Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

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Submitted on August 05, 2018

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