| 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. |
