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Customer Reviews of Carnegie Hall

Classical Musicians and Singers only
The story is an embarrassment, unworthy to share time with the great singers and musicians contained within. Vaughn Monroe and Harry James do not belong in the film because they were given poor material to work with. The creators of this film did not know what they were doing in the popular music department, nor in the story department. I would never watch this entire film again. The non-James non-Monroe music is excellent, exciting and worth buying a DVD for, because then you can skip everything else and be happy.

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A Classical Music Cinderella Story
Carnegie Hall is a movie of its era, an era when men and women in evening dress attended concerts performed by the likes of Rubenstein, Heifetz and Stokowski; an era in which classical music was "music", and playing Carnegie Hall the dream of every aspiring musician. During this era young Nora arrives from Ireland; she grows up in the hall, then takes a job as a cleaning woman, polishing and dusting to the beat of the baton of Walter Damrosch. In this position she garners the attentions of a headstrong young pianist who dares to defy convention, both in his personal view of music and of the simple, hardworking Nora. In due course they are wed (there is a charming scene in which the pianist courts Nora at the home of the Carnegie Hall timpanist and his comrades), and have a son. When Nora's pianist dies under rather shady circumstances, she pours her energies into the training of her son. Nora's Tony will become a great pianist, he will play Carnegie Hall: in this manner he will honor his father's memory. But there will be one thing more. Tony will become the sort of musician who plays only the finest of works and in the most proper manner. Nora will not tolerate any of those unconventional notions that became, in the end, the undoing of his dad. Nora singlemindedly pursues her dreams for her son, and as she does, rises through the ranks of Carnegie Hall echelon...in effect becoming Carnegie Hall itself; she is called as much by those who know her best, the great artists and the unsung toilers (Mr. Donovan played by Frank McHugh is Nora's most dedicated supporter) who make Carnegie Hall their own. It's only natural that in the training of Tony Nora should take him to concerts, and this is indeed fortunate. For within the musical segments are we treated to splendid, rare performances by the greatest names of the time: Lily Pons, Ezio Pinza, Jan Peerce, Gregor Piatigorsky, Bruno Walter, Artur Rodzinski, and more. Truly, the plot is secondary to the concert segments, (the movie is based on a story written by silent actress Seena Owen) yet it manages to remain intact enough its premise that we're never so overwhelmed by the music we're tempted to abandon it altogether. When the camera again returns to Nora (played fabulously by Marsha Hunt) and her iron fist in a velvet glove approach to child rearing, we are more than willing to suffer, dream, and hope along with her. And suffer Nora will, as Tony (William Prince) is doomed to follow the bent of his father and abandon Nora and Carnegie Hall in order to follow his heart. Yet, never fear. In the end, hearts are mended tidily and satisfactorily--at least to this viewer's satisfaction. After all, this is a movie of its era.

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Classical Music Stars Of Another Era.
CARNEGIE HALL is a one of a kind film. It is a love letter to classical music in general and the historic landmark in particular. There have been many movies about classical music featuring well known artists before and after but never one that features as many top performers. Most of these performers were captured at the peak of their careers making it even more special. Director Edgar G. Ulmer has developed a cult reputation over the years as the man who could get the most with the least. With CARNEGIE HALL he probably had his largest budget to work with and he makes the most of it. His imaginative use of camera angles and editing make the performances come alive with an intensity that simply has to be seen to be believed. At a recent showing of this film that I attended the audience applauded after the Rubinstein and Heifetz segments. Most reviews criticize the plot of a pushy mother and her plans for her son as trivial and old fashioned which it is but that's missing the point. Tucked away within that conventional storyline are pertinent observations about ambition, musical snobbism, and the consequences of decisions that we make. Marsha Hunt gives an excellent performance as Nora who literally grows up inside of Carnegie Hall with solid support from veteran character actor Frank McHugh as Mr Donovan. William Prince who plays the grown up son would go on to a distinguished career on stage and in television with the occasional movie role thrown in. Among the many fine classical music sequences is the rare opportunity to see Artur Rodzinski conduct the New York Philharmonic of which he was then the music director. Rodzinski has become a largely forgotten figure partially due to the fact that he barely lived into the stereo era (he died in 1958). Some of his recordings are now being reissued (see my review of his NUTCRACKER) to great acclaim. His performance of Beethoven's Fifth illustrates his celebrated "passion with precision" style of conducting. This movie is a true classic the like of which will never be made again. If you love classical music it's an absolute must have. If you don't then it's worth a look just to see and hear the classical music stars of another era.