Copyright 1956 by Columbia Pictures Corp. New York opening at the Radio City Music Hall: 21 June 1956 (ran seven weeks). U.S. release: 28 May 1956. U.K. release: 13 August 1956. Australian release: 14 February 1957. Sydney opening at the State. 11,104 feet. 123 minutes.
SYNOPSIS: The time is the late 1920s. Eddy Duchin, a recently graduated pharmacist from Boston, comes to New York to try his hand at becoming a professional musician, and with the help of Marjorie Oelrichs (Kim Novak), a pretty socialite he has met at a party, he secures a job at the celebrated Central Park Casino as pianist with the orchestra of Leo Reisman (Larry Keating). Duchin's distinctive playing wins him rapid fame and his new found stature in society circles makes it convenient for him to romance the girl who got him his first break. Their love affair culminates in marriage, but their bliss is short-lived as Marjorie dies in child birth on Christmas Eve. Heartbroken, Duchin blames his baby son, Peter, for Marjorie's death and refuses to have anything to do with him.
NOTES: Harry Stradling was nominated for an Oscar for his Color Cinematography, losing in this category to Lionel Lindon's "Around the World in 80 Days". Also receiving Academy Award nominations: Leo Katcher for his story ("The Brave One"), John Livadary for sound recording ("The King and I"), Morris Stoloff and George Duning for Scoring of a Musical Picture ("The King and I").
With a domestic rentals gross of $5.3 million, number 6 at U.S./Canadian ticket windows for 1956. The movie was not nearly so successful in Great Britain, but proved a resounding hit in Australia, coming in at fourth position for 1957, beaten only by "Around the World in 80 Days", "The King and I", and "Anastasia". Hollywood debut of Australian film actress, Jeanette Elphick.
COMMENT: Carmen Cavallaro makes a brave attempt to emulate the Duchin distinctive style with moderate success (one mustn't be too hard on the film, otherwise I would probably never have heard of Duchin, let alone play his records with such pleasure), and the acting is all very earnest throughout, but it is Kim Novak that keeps the film alive. Once she goes, it becomes a very boring, very tedious, unbelievably soap opera affair. Lush production values and very capable direction cannot make up for corny, padded dialogue and plot developments that are telegraphed miles ahead. Drastic trimming (young Peter, Shepperd Strudwick and a lot of James Whitmore should go) would help tremendously.
SYNOPSIS: The time is the late 1920s. Eddy Duchin, a recently graduated pharmacist from Boston, comes to New York to try his hand at becoming a professional musician, and with the help of Marjorie Oelrichs (Kim Novak), a pretty socialite he has met at a party, he secures a job at the celebrated Central Park Casino as pianist with the orchestra of Leo Reisman (Larry Keating). Duchin's distinctive playing wins him rapid fame and his new found stature in society circles makes it convenient for him to romance the girl who got him his first break. Their love affair culminates in marriage, but their bliss is short-lived as Marjorie dies in child birth on Christmas Eve. Heartbroken, Duchin blames his baby son, Peter, for Marjorie's death and refuses to have anything to do with him.
NOTES: Harry Stradling was nominated for an Oscar for his Color Cinematography, losing in this category to Lionel Lindon's "Around the World in 80 Days". Also receiving Academy Award nominations: Leo Katcher for his story ("The Brave One"), John Livadary for sound recording ("The King and I"), Morris Stoloff and George Duning for Scoring of a Musical Picture ("The King and I").
With a domestic rentals gross of $5.3 million, number 6 at U.S./Canadian ticket windows for 1956. The movie was not nearly so successful in Great Britain, but proved a resounding hit in Australia, coming in at fourth position for 1957, beaten only by "Around the World in 80 Days", "The King and I", and "Anastasia". Hollywood debut of Australian film actress, Jeanette Elphick.
COMMENT: Carmen Cavallaro makes a brave attempt to emulate the Duchin distinctive style with moderate success (one mustn't be too hard on the film, otherwise I would probably never have heard of Duchin, let alone play his records with such pleasure), and the acting is all very earnest throughout, but it is Kim Novak that keeps the film alive. Once she goes, it becomes a very boring, very tedious, unbelievably soap opera affair. Lush production values and very capable direction cannot make up for corny, padded dialogue and plot developments that are telegraphed miles ahead. Drastic trimming (young Peter, Shepperd Strudwick and a lot of James Whitmore should go) would help tremendously.