Carnegie Hall

This is like a glimpse at an alternate universe where Edgar Ulmer had access to A-list budgets. Perhaps it's for the best that he was held in the purgatory of Poverty Row - his story gets away from him within ten minutes here. The musical segments, shot with grace, are the film's unequivocal highlight. It's nice to see Ulmer get a chance to stretch his legs - this film is by far his longest, over twice as long as Detour! - but the size of this project didn't bring out the best in my man.

Much better than it has any right to be, due to the vision of a fine "B" movie director gifted with a big budget for a change. The instrumentals filmed at Carnegie--particularly the Rubinstein sequence--are expertly lit and edited, and Marsha Hunt lends her gentle beauty to a lead role which might have been infuriating if acted by someone of less charm. It shows us an immigrant experience united to a passion for music, and, without the phony, sentimental ending, it might have been a fine film.

For classical music lovers, valuable as a record of some legendary artists. The post-synchronization, alas, leaves something to be desired, and the singers are clearly not actually singing. The instrumentalists, however, ARE playing, and it's marvelous to watch. Unless one is a fan of sodden yet stilted melodrama, skip to around minute 40 where the performances begin. Ezio Pinza's scene is marvelous--it's clear why he was such a huge star that transcended opera.

Director Edgar G. Ulmer's attempt at high-culture, telling the story of Carnegie Hall (1947) with a underwhelming narrative, but musical performances of exceptional quality.