Comwayon A Disappointing Continuation

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

mark.waltz A love-starved musician who has an unrelenting crush on a temperamental orchestra leader (Charles Boyer), Katharine Hepburn manages to warm her way into his life just by seeming to be at the right place at the right time. They marry but his lavish lifestyle leads him to infidelity. Of course, Hepburn, proving what every woman knows, stands by him as he falls into alcoholic despair, only to save the day when he realizes what she has known all along, that he needs her more than he ever previously cared to admit.This handsome looking romantic drama features the two stars in a predictable story that is filled with some great classical music and believable performances by the two stars. Boyer, obviously, doesn't deserve Hepburn's love, but she perseveres, and the results never make you doubt what will happen. Jean Hersholt gives a wise performance as Hepburn's mentor, providing the heart behind the breakage.

songinmy_heart Alright, so it is clichéd, sappy, and, compared to today's standards, overacted and self-important...but so is Love. Two lost souls find their other half, and foolishly loose all. Max Steiner's theme given to Constance as her "song of love" is gorgeous. Hepburn is youthful enthusiasm and radiance, and manages a pretty strong portrayal of weakness for such a strong lady. Boyer can speak centuries of emotion with those incredible eyes. For anyone who feels deeply about music, this movie isn't so far-fetched--and it's great with popcorn! (This from a lover of depression era costuming--try to ignore the clown-collars they put poor Kate in after she is married--she looked better poor!) So it's a 1930's chick-flick. Relax and step back to a time when love was worth sacrificing everything for.

Sara Hardin This love story was actually good. Philip Moeller did not make this movie what it could have been. A better director such as George Cukor (who was familiar with Hepburn) would have made the scenes much more enjoyable. Katharine Hepburn does a good job of the aspiring composer and Charlie Boyer as the Great Franz Roberti, conductor. The two both have too much pride instead of talking things over, which is relatable. It's also surprising how Hepburn and Boyer got away with slamming each other with insults of their promiscuity. All in all, it was a good movie for Hepburn to do in her early career, and fans of her will enjoy it.

Michael RKO step out on a prestige romantic drama and we step into something that we'd rather hadn't, unfortunately. As the title suggests, this is a soppy and now unintentionally humorous tale, in which Hepburn loves conductor Boyer (a disparate thespian pair if ever there was one), who loves hitting the bottle. Since this drama is post-code, she doesn't do the decent thing by joining him in a life of enlightened inebriation.Despite the adult subject matter the dialogue - Hays approved = unremittingly boring - is singularly unworthy of such exceptional leading talent, to the extent of which one gets the feeling that Hepburn was cast out of a hat and in order to meet studio quotas.In the end of course, it's Katy that commands the film a complete viewing today, as opposed to the other way round. Beyond this star pairing and the routine but elevator-tolerable scoring efforts of Max Steiner, in the middle of a particularly prolific period, the only other thing this film has going for it unfortunately is the frequent threatened slides into dramatic camp.