writers_reign In 1939 Leslie Howard made a meal out of noble suffering and he did it equally well when the budget was a stick of gum as here or when it ran into the young millions as in Gone With The Wind. This is a movie you Want to like not least because it marked the English-speaking debut of Ingrid Bergman who was just as gorgeous at 24 as she remained until her death - trivia buffs may like to know that she played a classical pianist both in this, her first English-speaking film and Autumn Sonata her last film on the big screen which was, of course, shot in Swedish, her native language. With only seventy minutes to play with Gregory Ratoff is prodigal with time; the film opens with violin maestro Howard playing a farewell gig at Carnegie Hall; he then TELLS his audience that he is returning home to Sweden; he is then SHOWN on board ship to Sweden in a scene that adds little to the story and then he Arrives in Sweden. Today, in fact for the last forty years or so, a director would cut from Carnegie Hall directly to Howard at home in Sweden but that's really a minor beef. What we have here is our old friend the 'woman's picture' or 'weepie' and it's strangely disjointed; Ratoff at times seems to be anticipating the New Wave in his abrupt cuts. It's ironic that Bergman made her to all intents and purposes film debut as an adulteress who would play the part for real a decade later when she co-starred with Roberto Rossellini in Life Imitating Art. Perhaps in an effort to sugar the pill the adulterers are depicted as cultured, cultivated people, classical musicians in fact as if that somehow lessens the pain of those left behind and almost adding insult to injury they throw in a scene where Howard's young daughter (Ann E Todd) is so happy to see him when he makes a fleeting visit home that she dashes in front of a car and is badly injured. But relax, folks, this is 1939; we don't do infant mortality and lo and behold if in the final scene long-suffering and saintly wife Edna Best takes him back into the fold no questions asked. A few years ago 20th Century Fox reissued some of their classic films (Laura comes to mind) in truncated versions, a gimmick that failed to catch on and Intermezzo is reminiscent of one of these, its actual seventy minutes feeling more like forty and investing it with an air of Adultery-lite.

blanche-2 "Intermezzo" is a beautifully photographed, bittersweet story about a the love affair between a concert violinist (Leslie Howard) and a pianist (Ingrid Bergman). This was Bergman's second time at the role, the first time being in her native Sweden. This film catapulted her to fame. Her natural beauty and freshness is shown to wonderful advantage here, as is her sensitive acting in the role of Anita Hoffman.Howard plays Holger Brandt, a married man with two children who leaves his wife and family when his affair with Bergman becomes too intense. Hoffman becomes his accompanist on tour, sublimating her own career plans because she wants to be with him. While vacationing, he becomes attached to a little girl who obviously reminds him of his daughter (Ann Todd), whom he adores, and Anita wonders if their illicit affair can ever bring them happiness.The film is rich in subtext and metaphors. "Aren't you giving it too much importance?" Anita's piano teacher asks as she rips into a concerto. "We were all impressed with you the night you played here ... with my husband," Holger's wife says, asking Anita about her studies. "I really had no choice," Anita almost whispers. Even the title of his daughter's favorite piece that he plays, "Intermezzo" takes on a special meaning.Few actors have cut the romantic, ethereal figure that Leslie Howard did during his film career. Tall, blond, with that soft voice and faraway look in his eyes, he makes a perfect musician who is always listening to a melody in his head. Though some people feel his phoned-in Ashley Wilkes doesn't hold up today, in fact, he was the embodiment of Ashley without making much effort, a soft dreamer with impractical values from another time. And so he is here, not thinking ahead and lost in a romantic fog.A touching and dramatic film with very effective performances.

ccthemovieman-1 I normally don't gravitate toward melodramas 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 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.

Neil Doyle Over the years we have all seen this kind of story before--where a man goes astray from his long-suffering wife to embark on an affair with a younger woman--while the soundtrack washes all of the soap-opera elements with a full dose of symphonic music. Here, at least, the story is told in a simple and brief style, the production itself is a handsome one, and although the performances are competent enough only one performer really stands out as "the new star"--and that, of course, is INGRID BERGMAN making her film debut under David O. Selznick's careful grooming and tutoring.LESLIE HOWARD makes no particular impression as the concert violinist who falls under her spell, except that he really does appear to be playing the instrument, helped no doubt by whatever technical tricks were necessary to give this illusion. Edna Best does nicely as his understanding wife and all of the supporting roles are played in a competent manner.But except for this being a star vehicle to present Bergman to American audiences, there is nothing special about INTERMEZZO. It's worth watching only to see Bergman in her debut and at her most radiant. Mercifully, it has a short running time and might have become really tedious if the story were given more footage.