Customer Reviews

Intermezzo

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2 star:		(1)
1 star:		(1)

 

 

Ingrid Bergman and Leslie Howard have made their careers playing exactly the kind of star-crossed lovers who find each other as in INTERMEZZO. Howard had just finished filming GONE WITH THE WIND when director Gregory Ratoff tapped him to play Holger Brandt, a concert violinist who seems to have it all: a loving wife (well played by Edna Best), two happy children, and a successful career touring the opera circuit. Yet, behind the surface happiness, Holger sends out subtle signals that all is not well both in his life and in his marriage. His touring takes him away from home for long stretches. His wife and daughter miss him, and his growing absences begin to nettle all concerned. He seems to be a man ready for a too-soon mid life crisis. Enter Anita (Ingrid Bergman) as a piano teacher for his daughter. Anita is far more than just a child's tutor; she is a gifted concert pianist in her own right. It does not take long for sparks to fly between them, as each soon has to face the unavoidable question that all adulterers cannot avoid: how can they build happiness on the unhappiness of others?

Ingrid Bergman had earlier played the same role in a Swedish version of the same film with an identical title. Since she did not know English, she had to learn her lines with the help of language tutors who wisely decided to leave untouched her lilting Swedish accent that had since become her trademark. Both Bergman and Howard bounce off each other in all the right ways and at just the right moments as their characters are basically deeply sensitive to the realization that their new-found love must collide painfully with the near-extinguished love of Howard and Best. Miss Best, who as Holger's infinitely understanding wife, is not pushed into the background by her far better known actor leads. In fact, she steals more than a few scenes with an acting style that emits a wealth of emotion with the merest of glances. Early in the affair between Holger and Anita, Mrs. Brandt sees Anita casually fondling Holger's violin case, and her stifled gasp tells the audience all it needs to know that she knows of the affair but chooses to give Holger a chance to sort out his feelings. INTERMEZZO is the rarest of soaps. You learn to care for the characters even as they tread down a path that a legion of other less able films headed. Good acting will usually do that.

Intermezzo is the brilliant American adaptation of the Swedish film by the same name. Enamored by her on screen presence in that film, producer David O. Selznick imported Ingrid Bergman to Hollywood; a rare an ever-lasting find that audiences the world over should be eternally grateful for. As in the Swedish version, Bergman plays Anita Hoffman, a gifted piano teacher who comes in contact with violin virtuoso, Holger Brandt (Leslie Howard). Though Selznick wanted Howard in the film, Howard only agreed after Selznick acquiesced to giving him co-producer screen credit for his efforts. Brandt's world tours keep in away from his committed wife, Margit (Edna Best) and children. The realization that his own life is passing him by is spurred on when Brandt discovers that he is falling in love with Anita. A bittersweet Riviera tryst reforms the illicit lovers to their separate destinies. Selznick's impenetrable commitment to top of the line production values and his way of concocting dreamy gloss from human stories, make "Intermezzo" a viscerally moving poignant experience. Bring Kleenex.

MGM's DVD is rather impressive. The B&W picture exhibits a very nicely balanced gray scale with smooth, solid blacks and very clean whites. Age related artifacts are present throughout but do not distract. Some minor edge enhancement crops up but pixelization is kept to a minimum. Overall the picture will surely not disappoint. The audio is mono but more than adequate for a film of this vintage. There are no extras.

I normally don't gravitate toward melodramas or 'soaps' nor would I approve, frankly, of a film that centers around adultery. However, this film has such much going for it that I wound up loving this movie the first time I saw it, and still do six viewings later.
Off the cuff, here are seven reasons why:

1) There IS a good message here: that a married person having a fling with a pretty young woman might be an exciting prospect but in the end, "you reap what you sow" and if either of the two parties has a conscience, the illicit romance will be doomed, especially if there are kids involved.

2 ) For male viewers, Ingrid Bergman, making her English-speaking debut, is a real feast for the eyes. She was one of the more naturally gorgeous women to grace the silver screen, I think.

3) Gregg Toland's photography. To fully appreciate his work, get the DVD for this film. Toland was one of the best cinematograthers ever, and this is a beautifully shot piece of work.

4) At 70 minutes, the film flies by, which also makes it easier to watch and enjoy multiple times.

5) Leslie Howard and John Halliday also were excellent in here as the two male leads. I thought Halliday, in particular, had some great words of wisdom.

6) For those who appreciate how difficult it is to forgive people, this ending contained another nice message.

7) Classical music lovers will very much appreciate the soundtrack to this film.

This movie is a perfect example of Ingrid in her pre-hollywood innocent days. I love her Swedish movies because she's always the innocent little girl that everyone loves. She is a young piano podigy who supports herself by teaching piano lessons. She falls in love with her student's father who is a famous violin player. She runs away with him, but being sweet, moral Ingrid, leaves because she can't have an affair with a married man. She actually plays the piano in this movie, and quite beautifully. I've seen the English version as well and I prefer the Swedish one. A must-see for any Bergman fan.

The story of of a romantic affair between a pianist and a married violinist. David O. Selznick had second thoughts about casting Bergman in this film; at one point he was considering replacing her with Loretta Young (!). However, as filming proceeded, Bergman's proficientcy improved dramatically, as did her stock with Selznick. The producer was pleased and impressed by her total and unselfish commitment to the success of the picture and her willingness to invest many long, hard days to achieve that goal. Under the tutelage of Ruth Roberts, MGM's language coach - who had trained Hedy Lamarr - she learned English quickly and fluently, proving herself to have a natural flair for languages. As sweet and lilting as the violins which permeate the film, INTERMEZZO premiered in October of 1939, and it was a resounding success; Ingrid Bergman became an international star overnight. David O. Selznick rewarded her with a 7 year contract and she enjoyed a flourishing career as one of Hollywood's leading actresses until 1948, when she bore an illegitimate child by Italian director Roberto Rossellini. It wasn't until 1956 that Hollywood welcomed her back; that year she won her AA for ANASTASIA.

This is yet another masterpiece from that magical movie year of l939. And it was produced by none other than David Selznick, who just happened to be involved in another little film that very year. Let's see, what was the name? Oh, yes. Gone with the Wind. Intermezzo is mesmerizing because of the thick gloss of glamor, the shimmering photography, costumes and of course the musical score which is threaded throughout with classical motifs. The score, in fact, was supposedly composed by the overworked Max Steiner although his name doesn't appear in the credits. Although a short movie, just barely over an hour, the dreamy, ravishing lighting, shadowing, glowing photography makes this such a super-production you'll want to see it repeatedly. Oh, yes, it does star the radiant Ingrid Bergman making her American movie debut. Leslie Howard, believe it or not, does come alive in this one, a lot more than his wooden Ashely Wilkes of GWTW. For lovers of all ages, and movie buffs of every nationality, Intermezzo, should definitely be on your movie shelf.

Intermezzo (1939)is the brilliant American adaptation of the Swedish film by the same name. Enamored by her on screen presence in that film, producer David O. Selznick imported Ingrid Bergman to Hollywood; a rare an ever-lasting find that audiences the world over should be eternally grateful for. As in the Swedish version, Bergman plays Anita Hoffman, a gifted piano teacher who comes in contact with violin virtuoso, Holger Brandt (Leslie Howard). Though Selznick wanted Howard in the film, Howard only agreed after Selznick acquiesced to giving him co-producer screen credit for his efforts. Brandt's world tours keep in away from his committed wife, Margit (Edna Best) and children. The realization that his own life is passing him by is spurred on when Brandt discovers that he is falling in love with Anita. A bittersweet Riviera tryst reforms the illicit lovers to their separate destinies. Selznick's impenetrable commitment to top of the line production values and his way of concocting dreamy gloss from human stories, make "Intermezzo" a viscerally moving poignant experience. Bring Kleenex.

MGM's DVD is rather impressive. The B&W picture exhibits a very nicely balanced gray scale with smooth, solid blacks and very clean whites. Age related artifacts are present throughout but do not distract. Some minor edge enhancement crops up but pixelization is kept to a minimum. Overall the picture will surely not disappoint. The audio is mono but more than adequate for a film of this vintage. There are no extras.

This short (just 70 minutes), tender romance retains a special purity. Bergman, who played the same role in a Swedish version, is breathtaking, while Howard exudes the old world charm of a classic British gentleman. Their subtly intense interactions are punctuated by some very lovely music. All in all, romance with a capital "R."

The film that introduced Ingrid Bergman to American audiences is a beautiful re-make of the Swedish version (also starring Ingrid). Some viewers might find it too "over the top" dramatically in some places and dated in style but if you can put this aside - it's a real tearjerker. Leslie Howard (who I always found a bit 'weak' as an actor - or maybe it was the characters he played!) fits this role like a glove as the famous husband who falls hopelessly in love with his daughters piano teacher (played by Ingrid). I've seen the film countless times and it still moves me especially in the closing stages. It's very similar in theme to "Brief Encounter", so if you liked that, you should definitely give this a look especially as it's only relatively short (just a bit over 60 minutes).

The familiar David O. Selznick gloss is all over this minor 1939 soap opera, most noteworthy as the American film debut of 24-year old Ingrid Bergman. She was brought over from Sweden by Selznick for this melodramatic remake of the 1936 film which brought her great acclaim in her homeland. Her fresh-faced beauty and natural manner are intoxicating as she plays Anita Hoffman, first a piano teacher to the young daughter of renowned violinist Holger Brandt and then his accompanist on a world tour. It's a brief movie, only seventy minutes long, directed by Gregory Ratoff (more famous as the ulcer-ridden producer Max in "All About Eve") focusing on the illicit affair that develops between Anita and Holger.

Much of the story has to do with the guilt they both experience in terms of the familial repercussions, and the ending reflects as much. A role away from his Ashley Wilkes in "Gone With the Wind", obviously the more important Selznick movie in production a the time, Leslie Howard plays Holger in his familiar erudite manner. Veteran character actor Cecil Kellaway (later the monsignor in "Guess Who's Coming to Dinner") plays the sage maestro who acts as the film's conscience. Scenes often seem strangely truncated to move the story briskly along. Beyond Bergman, the most accomplished aspects of the film are Gregg Toland's lush cinematography, Lyle Wheeler's art direction (making Monterey, California look very much like the Italian Riviera) and Max Steiner's romantic music (oddly uncredited). But the impossibly striking Bergman is the primary reason to see this predictably developed film. The 2004 DVD offers no extras.