Anybody fascinated by Robert and Clara Schumann's story, who loves Schumann's songs and who loves Katharine Hepburn will find good reason to see and at least moderately like Song of Love. Song of Love is not a great film but it is a decent one. It is hurt by some pedestrian pacing, stilted dialogue and that Robert Schumann's gradual descent into insanity could have been explored in much more depth(it did feel rather shallow, maybe a little less on Brahms, whose subplot takes too much time to develop and evolve, might have helped a little). Song of Love looks very beautiful however, and is directed with great class and taste. The music is just glorious as well, a healthy dose of Schumann, Brahms and Liszt and performed beautifully. While the insanity angle could have been explored much more, the story is still quite interesting and moving if somewhat shallow at times. And the performances were fine, Katharine Hepburn fared best in the acting department, charming and sympathetic as well as with a commanding and arch side too. Paul Henreid's role as Robert was the most difficult, and he carries it with dignity and later on austerity. Robert Walker looks eerily like Brahms and he is nuanced, good-natured and sympathetic as him. Henry Daniell is very neurotic and virtuosic as Liszt, Elsa Jensson is amusing and Leo G. Carroll is very effective at being an over-bearing and disapproving father figure. In conclusion, not great but interesting and worth watching. For a history lesson look elsewhere, for a decent way to spend 2 hours judging Song of Love as a film stick with it. 6/10 Bethany Cox

Clarence Brown's production, as much classical, traditional and typical as for its period, appears to symbolize a modern approach to the sort of storytelling it evokes. Opening and closing at the Dresden Royal Opera along with its ostentatious set designs (full credit to art direction by Cedric Gibbons), it is Schumann's MUSIC that sets the tone for the entire movie and evokes its mood clearly. Yes, the fact this movie is about a musician or rather musicianS proves this assumption right – music as the major though implicit hero of the film. But with this comes something more vibrant, more vital and engrossing – passions.The unprincipled, passionate protagonists (the musicians) differ considerably as we get to know them and, speaking in far more modern sense, try to analyze them. SONG OF LOVE foremost delivers something that viewers may cherish to great extent: the fantastic combination of certain sweetness, little subtlety and desirable musicality of characters. Many IMDb reviewers have rightly observed that. Actually, what surprises us in this movie and what has not dated is an insight into driving forces within artists rather than their life stories. Seemingly, the lead belongs to Robert Schumann (1810-1856) played by the romantic hero of the movies of the period...PAUL HENREID instills an understanding of what a musical and passionate character is really like... If you remember his role in DECEPTION by Irving Rapper, he echoes that approach here. There could be no better choice for the role of Schumann who is the movie's implicit lead and explicit inspiration of Clara Schumann, his wife (Katherine Hepburn) than this actor. Henreid, capable of capturing the essence of a musician's neurotic vs. calm personality, helps the movie flee the unnecessary burden of a biopic, the haunting temptation for linear, logical type of storytelling. The musical characters are changeable, share, in a way, passions in music and passions in life but differ considerably in temper and style. Henreid handles the role with desirable effect combining inspiration. In his unforgettable scene of conducting the orchestra and choir, passion enters the screen. Now something about his female co-star, who seemingly would end up in failure when we think of combining these two.KATHERINE HEPBURN, known for a variety of roles from tomboy in ADAM'S RIB to gentle Beth in Cukor's LITTLE WOMEN, would indeed occur not a very good choice for Henreid's co-star. Yet, she crafts the role of Clara Wieck Schumann, the composer's wife and his lifelong companion and admirer with ease and slight distance. She is humorous and yet perfectly serious in moments that require these twists of emotions. Opening and closing the movie with a pompous and magnificent display of skills, she proves that the source of inspiration is music, is art – in that case, the so much cherished "Traumerai" through which she wants Schumann's genius live forever. Yet, in between the grandeur of the opening and closing, there is this ever present moral clash so typical of Code Hollywood – career vs. motherhood. She is a mother of 7 children who does not give up the duties of a mother and a wife who makes right decisions. In one scene, after the smashing musical performance, she rushes to breast feed her little baby. No one would have depicted this hurry as funnily as Ms Hepburn. Quite a vivid character. But all would be conventions within marriage, even artistic marriage if it were not for the character that supplies the movie with true mixture of spice and sweetness.ROBERT WALKER is, perhaps, the most intriguing character as Johannes Brahms – another milestone musical character of the film, sometimes placed in an inferior position to Schumann (his tutor) and sometimes in a predictable aspect of rivalry. The actor who is probably best remembered for his homo-erotic and psychologically captivating role in Hitchcock's STRANGERS ON A TRAIN, does a terrific job as a great musician and yet constantly a guest, someone coming from the background, from the mist of backdrop presence. In one terrific scene, he plays his "Wiegenlied" lullaby to Schumann's little daughter – a milestone classical piece, Walker highlights memorably the delicacy and vividness of his character. His passion, however, does not only lie in music...Among the SUPPORTING CAST, it is worth mentioning Else Janssen as Bertha the cook who holds some humorous reliefs of the movie and Henry Daniell as Franz Liszt, the last composer character of the film who delivers a bravura performance and portrays a neurotic essence and talent blending with a bit of madness. It's a pity that there is no single mention of Frederic Chopin.The artistry of the movie beautifully delivers Clarence Brown's direction style. Garbo's favorite director, he displays certain features that echo CAMILLE or ANNA KARENINA. But full credit for cinematographer Harry Strandling who handles everything with flair for details, beauty and accurate aesthetics.SONG OF LOVE is an artfully and musically inspired movie that stands as a modern approach and a passionate product of its time. A gem highly worth seeing which brings the music and the passions of artists and within artists vividly to life. 8/10

Regardless of what one thinks of the film itself, it's truly remarkable how Kate Hepburn worked at "fingersinking" the piano. It may be the best job of visual piano playing in all film and Artur Rubinstein, who supplied most of the piano soundtrack (uncredited), said that Hepburn looked as if she were a born pianist. However, sorry to disappoint all those Henry Daniell fans, but in the party scene, where Liszt plays the Miphisto Waltz and Widmung, the pianist was actually the legendary and mysterious Ervin Nyiregyhazi. Notice that in closeups, only Daniell's face and upper body are seen, head-on. But seen from afar in full body shots, and in closeups of Liszt's hands playing the keyboard, it's Nyiregyhazi, who was chosen because he looked much like Daniell and had long,slender fingers like Liszt. Nyiregyhazi's hands were also used for those of Chopin in Song to Remember, while Jose Iturbi played on the soundtrack.

Considering this screenplay was for a major film studio and geared for the general public, rather than professional musicians or scholars, the five writers who contributed to the script did a decent job.Centered in the enactment is that of Clara Wieck, played fervently by Katherine Hepburn, who enjoyed a full life of commitment to her composer husband Robert Schumann, large family and artistic ideals.Clara's strength held the household together, which included border composer Johannes Brahms, played earnestly by Robert Walker. Paul Henried has the difficult assignment of portraying Robert, a musical genius suffering from depression. Whereas today medication easily placates these symptoms, in the 19th century, people just had to suffer from the ailment, which affected all those around. Henried manages the role with sensitivity. Clara was known to eschew technical "brilliance" that was the earmark of Franz Liszt, and in one telling scene she conveys her embodiment of "loving simplicity" over Lisztian "show." It's a provoking moment that conjures relevance today, where "young piano whiz kids" often may play up a storm technically, while seldom penetrating the spiritual heart of the score. Clara apparently was one of the strongest women of the 19th century, in a male-dominated society, successfully surmounting a father's legal challenge of her marriage, the deaths of a number of her children, and a husband who constantly needed attention--all the while composing, arranging, and giving concerts. In a touching scene Walker's Jonannes admits to his love for Hepburn's Clara. It's not a far-fetched scene, according to musicologists, though there's hardly concrete proof for substantiation. The film is rich in the works of Brahms, Schumann and Liszt, and Hepburn and Henry Danielle (as Liszt) do commendable physical renderings of mock piano playing to sublime recordings of Artur Rubenstein. Clarence Brown directs with his usual sure hand.