Joan & John Spark Musical Melodrama ‘Humoresque’ 1946

In 'Humoresque,' John Garfield doesn't play to Joan Crawford's tune!

Humoresque, WB’s 1946 classical musical drama, recalls somewhat A Star is Born. Joan Crawford’s Helen Wright is a socialite on the skids and patroness of the arts; Paul Boray, played by John Garfield, is a brilliant young violinist on his way up. Helen is disillusioned and on the wane—and the sauce. Paul is just as consumed by his music. Despite their sparring ways, Helen and Paul connect, but his soaring career comes between them, and she staggers off into the sunset, much like the falling stars of previous remakes.

Joan Crawford & John Garfield make a strong romantic teaming in 'Humoresque.'

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Though fans and critics loved her more authentic self as the scrappy girl from the wrong side of the tracks, Joan Crawford loved to play the great lady, and MGM occasionally obliged her. But MGM’s “classy” romantic dramas were typically so posturing and plastic, that there’s no grit or urgency. I watched The Shining Hour recently, with Crawford and an all-star Metro cast drowning in high-class soap suds, and I nearly got a brain freeze from my eye-rolling. I feel that Joan’s performance as Helen in Humoresque was overshadowed by her career-changing Mildred Pierce comeback. Crawford gives one of her most restrained performances in one of her most fully-dimensional film roles.

Though Crawford's Helen Wright is one of her most subtle performances, Joan works
the props, i.e. the eyeglasses and brandy snifter.

One reason Crawford’s Humoresque may have played second fiddle to Mildred is that hers is really a supporting role. Though Joan has top billing, she doesn’t make her first appearance until 30 minutes in. But Joan makes the most of her screen time, much like her second lead role as Crystal Allen in 1939’s The Women. The story is really Paul’s, and it’s a tribute to Joan that she holds her own and makes her character memorable without over the top performing of some of her later, lesser vehicles. Joan’s Helen Wright runs the gamut from brittle and bitchy to remote and depressed to love struck to heart sick, and Crawford plays all the characters colors as beautifully as Paul Boray plays his violin.

Joan never looked more stellar post-MGM than she did in 'Humoresque.'

Joan Crawford never looked more superb in her post-Mildred years than she did in Humoresque. Bette Davis’ favorite cinematographer, Ernest Haller, lights Joan brilliantly, filling that famed bone structure with beautiful shadows and soft light. The Crawford makeup is there, but subtle compared to latter day JC cosmetic overkill. Joan’s hair was subject to some later curious coiffures, but looks lush and lovely here. Post-comeback Crawford was feeling her oats and insisted that her favorite MGM designer, Adrian, be borrowed for her costumes. The gowns, while shoulder padded to the hilt, are otherwise simple and chic, and in surprisingly modest supply. In a word, despite the character’s tippling, Joan Crawford looks like a million in Humoresque.

Dreamy John Garfield as Paul Boray, the passionate violinist whose bow comes first.

John Garfield, as passionate Paul Boray, gives one of his best performances. The rebellious star has gained more recognition over the years, but for me, Garfield is right up there with Bogart. In fact, he’s the link between Bogart and Cagney and the later Brando and Dean. I think one reason Garfield is not canonized like Bogie is because Humphrey died a valiant death fighting cancer, whereas five years earlier, Garfield died branded with the scarlet letter of being “Red.” And while Bogie had a few more classics under his belt, Garfield had a pretty strong career, considering he was constantly fighting Jack Warner’s typecasting. An instant star with Four Daughters, John Garfield appeared in hits like Tortilla Flat, The Sea Wolf, Destination Tokyo, Pride of the Marines, Gentleman’s Agreement, Body and Soul, and of course, The Postman Always Rings Twice. Garfield’s style is remarkably fresh and modern: he’s intelligent and street smart, the bad boy who is ultimately a decent man, and handsome, plus sexy as hell. As a bonus, Johnny had those cute jug ears framing his ruggedly romantic face!

Aside from being an intense, charismatic actor, John Garfield was sexy as hell, too!

This movie could have been an overwrought soap and still succeeded. However, director Jean Negulesco gives this movie some great visual touches, stylish segues, and vivid asides about the era depicted. The script by Clifford Odets is smart and adult, especially for the studio system era, based on a Fannie Hurst story (Imitation of Life and Back Street). Zingy repartee from the sharp tongued characters aside, there is intelligent dialogue about an artist’s career taking over their personal lives.

Joanie loves Johnny: Garfield's second romp on the beach in '46 with an MGM diva.
The first was Lana Turner in 'The Postman Always Rings Twice.'

Crawford and Garfield make sparks fly, with her first mocking him while he plays for his supper. He responds by playing “Flight of the Bumble Bee” for movie’s Queen Bee! Unlike typical movie romances, this one is love at first sight—more like first fight. Garfield is one of Crawford’s last leading men who is her equal. Aside from Joan and John at their career highpoints, are these actors:

Bobby Blake (later Robert) is remarkable as young Paul Boray.

Bobby Blake, who later became Robert and starred In Cold Blood, then came belated stardom as Baretta, and even later, infamous for murder, is wonderful here as young Paul Boray. Unlike most phony child star acting of the era, Blake is genuine and soulful as the boy who wants a violin more than anything for his birthday. These scenes could have been pure corn, but with Blake, acting with Ruth Nelson as his mother, their moments are magical. Nelson is a tower of strength as Paul’s fiercely loving, but later disapproving mother, Esther. Her dark, emotional eyes practically burn holes in the screen, as she worries about Paul’s path in life. There’s no sentiment or handwringing here, she reminds me much of Anne Revere, who played the no-nonsense mother of Elizabeth Taylor, seeking her dream as National Velvet. Nelson holds her own with Joan Crawford in their showdown, where the mother disapproves most articulately about why her son should not be involved with a thrice-married alcoholic. Interestingly, Joan and Ruth were both the same age! I remember 1990’s Awakenings, starring Robert DeNiro as a man who comes out of lifelong coma, and his mother is played by… Ruth Nelson! I was knocked out by the fact that Nelson was playing the mother of yet another brilliant actor, nearly 45 years later.

Ruth Nelson is a rock as Paul Boray's loving, but plain-spoken mother.
Nelson played Robert DeNiro's mother 45 years later in 'Awakenings!'

Joan Chandler plays Gina, the nice girl Paul grows up with, who doesn’t stand a chance when the other Joan comes into his life. It’s one of Crawford’s first movies where her female competition is at least 15 years younger than her. Chandler’s sadness in the role seeps into the melancholy tone of the movie. I was sad to read that Chandler’s career didn’t go the way she hoped, and she died at age 57 in 1979, just two years after Crawford passed away.

Joan Chandler and John Garfield have some genuinely sweet scenes in the opening scenes of 'Humoresque.'

J. Carrol Naish is the one throwback to old-style acting in this rather modern post-war movie. He plays Paul’s grocer father in full EYE-talian style. Still, it’s a warm-hearted performance and when he gives in to young Paul’s wishes for a violin, he’s genuine.

Oscar Levant plays a wise-cracking (what else?) pianist who befriends Paul Boray.

I’m usually allergic to the charms of Oscar Levant. The famed Hollywood wit’s delivery of his choice one-liners often seemed flat and charmless. Here, Oscar fares better, as he gets some of Odets best lines. Still, his performance seems like a series of zingers, with him waiting for either laughs or a rimshot. Yet, Levant fits into to the general melancholy tone of the movie, so he didn’t bother me as much as usual.

Paul Cavanagh plays Joan’s wealthy, older, self-described “weak” husband, which reads more like “gay.” Craig Stevens plays a small part as one of Helen’s light weight boy toys, named Monte. A hangover from Mildred Pierce, perhaps?

The bug-eyed John Abbott is an irritated conductor during one of Paul’s early paying gigs. Funny, since he plays a weasel musician in Bette Davis’ Deception, that OTHER musical melodrama WB rolled out the same year. Another milestone in the Bette vs. Joan competition, and Joan’s the winner in this round.

Joan's Helen finally faces herself in 'Humoresque' and hurls another liquor glass!

Humoresque is stylish, smart, romantic, adult, and wonderfully watchable. My one criticism of the movie is that it goes on a tad too long, specifically at the finale, when Joan’s Helen is at the end of her rope, and bids adieu. After an endless phone call with Paul, Helen gets drunk as she listens to his performance on the radio. Then she decides to end it all, with Joan getting one of her most famous film farewells. It could have finished beautifully, with her drowning, and Paul fading back in the scene, playing the violin. But no, then comes Garfield post-mortem, to mourn and spout some absurd lines. Then he argues with Oscar some more, then ultimately goes back to his roots, the old neighborhood. I’m surprised they didn’t have Gina patiently waiting for Paul. This all just goes on from here to eternity. It could have been twice as effective in half the time.

One of Joan Crawford's most memorable finales on film was in 'Humoresque.'

But overall, it’s a minor criticism for a major melodrama that’s been a bit overlooked over the years. Humoresque showcases two powerful stars at their best, with one of WB’ best studio productions to back them up.

This high drama was a career high point for Crawford and Garfield.