Cathardincu Surprisingly incoherent and boring

Exoticalot People are voting emotionally.

Steineded How sad is this?

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

JohnHowardReid Copyright 12 July 1947 by Loew's Inc. An MGM picture. New York opening at the Radio City Music Hall: 9 October 1947. U.S. release: October 1947. U.K. release: 27 October 1947. Australian release: 28 August 1947. 10,788 feet. 120 minutes. SYNOPSIS: Robert Schumann's success as a composer seems assured when he marries the celebrated pianist Clara Wieck, despite her father's strenuous objections. COMMENT: Great music, marvelously performed (even by the normally lackluster MGM Symphony Orchestra), studding a story which although sometimes banal and always over-romanticized (and rather indifferently acted by Henreid and particularly Walker) maintains the interest. As usual, our complaint is that the scriptwriters would have made a more colorful and enthralling film out of the real facts instead of the half-truths here presented. For instance Professor Wieck opposed Schumann's marriage to Clara not only on the grounds of his lack of prospects but because of his mental instability and drunkenness. He had already attempted suicide in 1833. As for the acting, I think the producer should have switched the lead roles and cast Walker as Schumann, Henreid as Brahms. However, we have no complaints with the other players. Hepburn is perfect and her piano-playing looks so skillful, we can readily believe that she (instead of Rubinstein) is actually supplying the music. The movie's other stand-out performance is provided by Henry Daniell, who not only looks like Liszt, but conveys the vigor, the enthusiasm, the calculating passion that the great composer undoubtedly possessed. Although confined to a few early scenes, Leo G. Carroll makes a forceful impression as Clara's father. We like the way he sits behind her at the opening concert, whispering directions. Brown has directed the musical sequences with an agreeably fluid camera style that reinforces the baroque vastness of the concert hall sets, packed with costumed extras. Photography and other credits are likewise smoothly stylish in these musical recitals. By contrast, the domestic scenes are handled in a surprisingly pedestrian fashion. A few attempts to leaven them with slapstick comic relief seem both clumsy and inappropriate.A pity we don't see a lot more of Daniell, a lot less of Henreid and Walker. Never mind, the music and Hepburn's radiant acting and skillful miming, make up for a lot.OTHER VIEWS: Exquisite music in this talky but ingratiatingly acted (particularly by Hepburn and Daniell), superbly photographed and set, period comedy-drama. Hepburn gives a luminous performance. Even Walker is sincere and convincing, the costumes are A-1, the sets splendid with Brown and photographer Stradling making great use of them, the sound recording, while it has some unfortunately tinny moments, particularly during Liszt's recital, is of a higher standard than we might expect of MGM and a fine array of character players including Byron Foulger's court attendant, and Francis Pierlot's congratulating musician are on are on hand. Brown makes splendid use of Hans Peters' magnificent sets and the milling crowds of extras, even indulging in a few bravura effects like the dazzling dolly back through the miniature of the concert hall set (marvelous special effects by Warren Newcombe) right at the conclusion. Superbly atmospheric photography by Harry Stradling makes the sequences with dreary old Paul Henreid almost attractive to look at. Henreid is actually well cast as the lackluster Schumann who after his vigorous opening scenes in which he stands up to Leo G. Carroll's awesome martinet, spends the rest of the film being dominated by Miss Hepburn and feeling sorry for himself, through into effectiveness again in his concluding scene at the asylum (Clinton Sundberg as the doctor). This movie provides a feast for music lovers, and it's certainly good to get away from Metro-Goldwyn-Mayer's usual escapist fare.

Marcin Kukuczka Clarence Brown's production, as much classical, traditional and typical as for its period, appears to symbolize a modern approach to the sort of storytelling it evokes. Opening and closing at the Dresden Royal Opera along with its ostentatious set designs (full credit to art direction by Cedric Gibbons), it is Schumann's MUSIC that sets the tone for the entire movie and evokes its mood clearly. Yes, the fact this movie is about a musician or rather musicianS proves this assumption right – music as the major though implicit hero of the film. But with this comes something more vibrant, more vital and engrossing – passions.The unprincipled, passionate protagonists (the musicians) differ considerably as we get to know them and, speaking in far more modern sense, try to analyze them. SONG OF LOVE foremost delivers something that viewers may cherish to great extent: the fantastic combination of certain sweetness, little subtlety and desirable musicality of characters. Many IMDb reviewers have rightly observed that. Actually, what surprises us in this movie and what has not dated is an insight into driving forces within artists rather than their life stories. Seemingly, the lead belongs to Robert Schumann (1810-1856) played by the romantic hero of the movies of the period...PAUL HENREID instills an understanding of what a musical and passionate character is really like... If you remember his role in DECEPTION by Irving Rapper, he echoes that approach here. There could be no better choice for the role of Schumann who is the movie's implicit lead and explicit inspiration of Clara Schumann, his wife (Katherine Hepburn) than this actor. Henreid, capable of capturing the essence of a musician's neurotic vs. calm personality, helps the movie flee the unnecessary burden of a biopic, the haunting temptation for linear, logical type of storytelling. The musical characters are changeable, share, in a way, passions in music and passions in life but differ considerably in temper and style. Henreid handles the role with desirable effect combining inspiration. In his unforgettable scene of conducting the orchestra and choir, passion enters the screen. Now something about his female co-star, who seemingly would end up in failure when we think of combining these two.KATHERINE HEPBURN, known for a variety of roles from tomboy in ADAM'S RIB to gentle Beth in Cukor's LITTLE WOMEN, would indeed occur not a very good choice for Henreid's co-star. Yet, she crafts the role of Clara Wieck Schumann, the composer's wife and his lifelong companion and admirer with ease and slight distance. She is humorous and yet perfectly serious in moments that require these twists of emotions. Opening and closing the movie with a pompous and magnificent display of skills, she proves that the source of inspiration is music, is art – in that case, the so much cherished "Traumerai" through which she wants Schumann's genius live forever. Yet, in between the grandeur of the opening and closing, there is this ever present moral clash so typical of Code Hollywood – career vs. motherhood. She is a mother of 7 children who does not give up the duties of a mother and a wife who makes right decisions. In one scene, after the smashing musical performance, she rushes to breast feed her little baby. No one would have depicted this hurry as funnily as Ms Hepburn. Quite a vivid character. But all would be conventions within marriage, even artistic marriage if it were not for the character that supplies the movie with true mixture of spice and sweetness.ROBERT WALKER is, perhaps, the most intriguing character as Johannes Brahms – another milestone musical character of the film, sometimes placed in an inferior position to Schumann (his tutor) and sometimes in a predictable aspect of rivalry. The actor who is probably best remembered for his homo-erotic and psychologically captivating role in Hitchcock's STRANGERS ON A TRAIN, does a terrific job as a great musician and yet constantly a guest, someone coming from the background, from the mist of backdrop presence. In one terrific scene, he plays his "Wiegenlied" lullaby to Schumann's little daughter – a milestone classical piece, Walker highlights memorably the delicacy and vividness of his character. His passion, however, does not only lie in music...Among the SUPPORTING CAST, it is worth mentioning Else Janssen as Bertha the cook who holds some humorous reliefs of the movie and Henry Daniell as Franz Liszt, the last composer character of the film who delivers a bravura performance and portrays a neurotic essence and talent blending with a bit of madness. It's a pity that there is no single mention of Frederic Chopin.The artistry of the movie beautifully delivers Clarence Brown's direction style. Garbo's favorite director, he displays certain features that echo CAMILLE or ANNA KARENINA. But full credit for cinematographer Harry Strandling who handles everything with flair for details, beauty and accurate aesthetics.SONG OF LOVE is an artfully and musically inspired movie that stands as a modern approach and a passionate product of its time. A gem highly worth seeing which brings the music and the passions of artists and within artists vividly to life. 8/10

JBall75487 Yes,we can ignore the opinions of the pedantic musical historians who belittle this film, because this is one for anyone with a love of music ! In essence, historically accurate - Brahms was a friend of the Schumanns, Robert did suffer from a brain disorder which drove him to attempt suicide and caused his early death, Brahms undoubtedly loved Clara, but she remained faithful to Robert for the rest of her life, whilst she pursued the career of a piano virtuoso (which she was).All of this adds up to a romantic story with all the necessary ingredients plus the music of Schumann and Brahms,(played with customary brilliance by Artur Rubinstein) surely a guarantee of success. The three principal characters are played with a reasonable degree of authenticity, indeed, Robert Walker bears such an uncanny resemblance to Brahms as a young man that one suspects he may be a descendent ! And what a tour-de -force is Miss Hepburns characterisation of Clara Schumann, a woman, by all accounts, possessed of steely resolve and immense courage. The only relatively weak link is Paul Henried, who bears not the slightest resemblance to Schumann, and fails to convey Schumann's determination and musical genius - perhaps a little pedestrian and lacking conviction. The performance of Henry Daniell as Franz Liszt is superb, projecting the personality of 'the Master' to perfection, and particularly worthy of note is his 'performance' of Schumann's 'Widmung', where his simulated pianistic technique is incredibly accurate, indeed, one suspects that he may well be a competent pianist in his own right. The whole essence of this drama is conveyed with a flair and a grasp of the subtle nuances of the various relationships which generates an astonishing degree of authenticity, almost as if we are seeing the events as they actually happened. Add to this the music, the pianism of the incomparable Rubinstein, and a classic has been born to stand the test of time ! As a matter of interest, Schumann composed the song 'Widmung' (Devotion) at the time of his marriage to Clara - the music 'played' by Henry Daniell is,in fact, not the original song, but an arrangement by Franz Liszt.

David Atfield Why this film is not better regarded by critics I cannot fathom. It features truly sublime direction by Clarence Brown (Orson Welles would be proud of some of those tracking shots), and four brilliant performances by Katharine Hepburn, Robert Walker, Paul Henreid and Henry Daniell. The plot is simple, even slight, but the film is really about music, and is soaked in the exquisite sounds of Schumann and Brahms (played I believe by Arthur Rubinstein). Hepburn and Daniell play piano with utter conviction - surely both actors had some knowledge of the instrument. Excellent art direction and superb cinematography make the film glow visually as well as aurally.It's all about love - between people and for music. This is a unique film for its time - a true mood piece, in which the divine music allows you to experience the love felt by the characters. Don't sit back and think - allow the images and the sounds to take you away. Clarence Brown was a brilliant director - one of the best Hollywood ever produced. He knows exactly how to move an audience with the sheer beauty of his images and the power of music. Never has this ability been more evident than in SONG OF LOVE, which I venture to describe as a masterpiece.