A Song to Remember is a 1945 Columbia Pictures biographical film which tells a ficitonalised life story of pianist and composer Frédéric Chopin.
The film starred Paul Muni, Merle Oberon, Cornel Wilde, Stephen Bekassy and Nina Foch.
Review from IMDb:
“A Song to Remember” is supposed to be the life of Chopin but in fact, very little in it is historically accurate. It’s still a beautiful, emotional, and sumptuous movie, filled with the heavenly music of Chopin played by Jose Iturbi.
“A Song to Remember” helped to popularize Chopin’s romantic, passionate music and launched Cornel Wilde’s star into the heavens. Though he’s never done much for me personally, he cuts a dashing figure as Chopin. Continue reading Charles Vidor – A Song to Remember (1945)
Daisy Kenyon stars Joan Crawford as the eponymous heroine, a Manhattan commercial artist. Daisy is torn between two men: a handsome, married attorney (Dana Andrews) and an unmarried Henry Fonda. Deciding to do the “right thing”, Daisy marries Fonda, but carries a torch for the dashing Andrews. When the lawyer divorces his wife, he calls upon Daisy and tries to win her back. She is very nearly won over, but her husband isn’t about to give up so easily. Both men argue over Daisy, who is so distraught by the experience that she nearly has a fatal automobile accident. In the end, Daisy realizes that she truly loves Fonda, and gives Andrews his walking papers. Daisy Kenyon is given a contemporary slant with a subplot about child abuse (in a Joan Crawford film!); and, in one scene set at New York’s Stork Club, several celebrities (Walter Winchell, Leonard Lyons, John Garfield) make unbilled cameo appearances. Continue reading Otto Preminger – Daisy Kenyon (1947)
Dana Andrews is brutal metropolitan police detective Dixon, who despises all criminals because his father had been one. When the cops pick up two-bit gambler Ken Paine (Craig Stevens) as a murder suspect, Dixon subjects Paine to the third degree—and accidentally kills him.
In disposing of the body, Dixon inadvertently places the blame for the killing on cab driver Jiggs Taylor (Tom Tully). Having fallen in love with Jigg’s daughter (Gene Tierney), Dixon tries to clear the cabbie without implicating himself, but ultimately he becomes trapped in a web of his own making; luckily Tierney promises to stand by him.
Where the Sidewalk Ends was adapted from a novel by William A. Stuart; its director was Otto Preminger, who’d previously put Andrews and Tierney through their paces in Laur (1944). Continue reading Otto Preminger – Where the Sidewalk Ends (1950)
In Akira Kurosawa’s first film after the end of World War II, future beloved Ozu regular Setsuko Hara gives an astonishing performance as Yukie, the only female protagonist in Kurosawa’s body of work and one of his strongest heroes. Transforming herself from genteel bourgeois daughter to independent social activist, Yukie traverses a tumultuous decade in Japanese history. Continue reading Akira Kurosawa – Waga seishun ni kuinashi AKA No Regrets For Our Youth (1946)
Two U.S. Treasury (“T-men”) agents go undercover in Detroit, and then Los Angeles, in an attempt to break a U.S. currency counterfeiting ring. Continue reading Anthony Mann – T-Men (1947)
This is based on a short story by neo-romanticist writer Johannes Linnankoski, and is a remake of Tulio’s now-lost debut film Taistelu Heikkilä Talosta (Battle for the House of Heikkilä). I don’t know how faithful this is to the story, which involves an abusive, alcoholic master of a country house and his wife, who struggles for the upkeep of the property against his destructive tendencies. The movie started Tulio’s downfall, with contemporary critics consistently calling it half-baked, and accusing Tulio of repeating himself. Continue reading Teuvo Tulio – Intohimon vallassa AKA In the Grip of Passion (1947)