1h 53min | Biography, Drama, Music | 18 January 1945 | Color
Director: Charles Vidor
Stars: Paul Muni, Merle Oberon, Cornel Wilde, Nina Foch
I'd previously rated this 7, without benefit of +/-. I concur now, with a +.
Fascinating to look at this in the context of the war, and all the films I've seen about sacrifice.
Here we see Chopin being political in his youth, due to problems in his homeland of Poland.
When he goes to Paris to promote/develop his Art, George Sand builds on his music teacher's reasoning that his artistic gifts can help Poland. Sand insists he must isolate himself from the mundane world to truly focus on his Art. And she has the resources and the desire to take him away.
But when things get worse in Poland, he's prodded to contribute at least cash to the cause. Having little money of his own, he instructs his manager to arrange a concert tour at maximum prices.
The catch is: he's sick, and a concert tour will make him worse, perhaps kill him. Sand argues that forcefully, sounding a lot like Ayn Rand's philosophy against self-sacrifice. But he insists, and goes on the tour. Sure enough, he collapses. Here's a relevant quote from the film:
[Chopin is dying and wants to see Sand. Elsner visits her to relay the message.]
Sand: Are you satisfied, monsieur? Do you know anything that could replace a life as great as his?
Elsner: Yes. The spirit that he leaves behind in a million hearts, madam.
This is the idea I've heard over and over in the war propaganda films, whether encouraging people to enlist in the service, or work in the defense industry, or take on extra jobs, or make sacrifices in daily life. We're doing this for Freedom, for the spirit of mankind.
(I also liked when June Allison, in Music for Millions ('44), having not heard from her husband (at war) for months, broke down and exclaimed that she didn't understand any of those abstractions, including "the future".)
I really like the insights that movies can provide.
So far as the film itself: Paul Muni, as Chopin's teacher, is much too prominent. The script is really focused on him, not Chopin. But CW was not yet a star (I think this was his highest billing so far. In his prior release, Wintertime ('43), he was the romantic lead, and was billed 6th.) This is his 10th of 52 credits.
The makeup department (and CW's acting) deserve a lot of kudos for making him look and seem ill. CW was an athlete, and still quite virile 20 years later in The Naked Prey ('65).
Plus we get a lot of classical music, mostly Chopin. The Soundtracks page doesn't list individual works, but does credit Jose Iturbi for the piano playing. He's appeared in a lot of films in this quest, and I haven't mentioned him. But I am grateful for his choice to contribute to film as he did.
Columbia, dir. Vidor; 7+
