Song o' My Heart (1930) User Reviews (9)

A melodrama worth watching for the concert segment alone.

[mfinnerty6 · 6/10 · 3 August 2002]

The plot is melodramatic - created just for the purpose of capturing the singing of John McCormack on film.

McCormack was the most successful concert performer of the early twentieth century and the archetype for what we now call the "Irish Tenor".

The film is unique for an uninterrupted concert sequence that essentially replicates the sort of performance McCormack gave thousands of times all over the world to packed houses.

The story includes some brief "bits" of Irish humour and features the film debut of Maureen O'Sullivan.

The story of a middle-aged teacher living in a small Irish village who just happens have a world-class singing voice and is willing to give it all up to care for the children of his recently childhood sweetheart is too much to be taken seriously even for the very early 1930s.

There was a problem with the quality of the sound track on the videotape I saw. The fact that the only remaining copy of this film (once believed lost due to fire) was found after decades in a movie theatre basement may explain this loss of quality.

All that being said, as a lover of great singing I found the musical segments made it well worth the time spent watching the film.

Tenor Mercies

[lugonian · 6/10 · 8 September 2009]

SONG O MY HEART (Fox, 1930), directed by Frank Borzage, introduces Irish tenor John McCormack (1884-1945) to the motion picture screen. A legendary performer in his day, best known for his concert singing of opera and traditional Irish songs, the film also marked the debut of Maureen O'Sullivan (in her Janet Gaynor type head-dress) and farewell appearance of former silent screen star, Alice Joyce.

Set in a small Irish village, Sean O'Carolan (John McCormack), who gave up his singing career after losing Mary (Alice Joyce) to another but wealthier man some years ago, witnesses her return, along with her two children, Eileen (Maureen O'Sullivan) and Tad (Tommy Clifford). Mary, whose husband has deserted her, leaving the family penniless, is forced to take up residence in the home of her spinster Aunt Elizabeth Kennedy (Emily Fitzroy), the one responsible for her forced, loveless marriage. Eileen finds herself falling through the same situation through Aunt Elizabeth's interference with her romance to Fergus O'Donnell (John Garrick). As for Sean, he finally accepts an offer concert singing in New York from impresario Dennis Fullerton (Edward Martindel). Performing to a full house accompanied by his friend, Vincent Glennon (Edward Schneider) at the piano, Sean's success leads to a world tour. After receiving notice via telegram of Mary's death, Sean is now left with the decision whether to go on with his singing career or return home to obligate Mary's request by going against the strong-willed Elizabeth and caring for her children.

Unlike most movie musicals of the early sound era, SONG O MY HEART contains no dancing, no smiling chorines or any vocalizing from its supporting principal players. All the songs are recited by its star attraction, John McCormack. The selected songs include: "Then You'll Remember Me," "A Fairy Story by the Fire," "Just for Today," "I Feel You Near Me," "Will You Marry Me, Kitty My Love," "Rose of Tralee," "Rose of Tralee" (reprize); "Luoghi Sereny E Cari," "The Little Blue Boy," "Plaisir D'Amor," "All Mein Ged Anlen," "Mother Ireland" and "A Pair of Blue Eyes." Of the 13 or so presented, "A Fairy Story" stands out as one where McCormack sings to the gathering of happy children. For the concert sequence, lasting close to 20 minutes, there's only one breakaway during McCormack's singing, that with "The Little Blue Boy" as this sequence fades to visual of a little boy (Wally Albright) playing with his stuffed dog and toy soldiers, then heading for bed where the "Angels take him to heaven," concluding with the vision of these abandoned toys covered hauntingly by cobwebs. "A Pair of Blue Eyes," one of its finest tunes, is carried over through the exit music fadeout.

Under Borzage's direction, SONG O MY HEART gives the impression of a John Ford movie, especially the Irish village scenes with Ford stock players, J. Farrell MacDonald and J.M. Kerrigan as Dan Rafferty and Peter Conlon, playing friendly rivals doing their comic-style exchanges. Tommy Collins, the youngest member, about 11 or so, offers some childish pranks tricking his friend, Aloysius McGonigan (Raymond Borzage) to some fun and games leaving him with some bruises and exposed bandage marks. Also in the cast are Effie Ellsler (Mona); Andres De Segurla (Guido) and Mary Gordon in a brief bit as one of the villagers.

Regardless of McCormack's physical burly appearance, his singing (sounding close to the style of John Boles) with elegance and grace, is easy to see why he was so successful, he never starred in another motion picture again. In spite of his popularity, Hollywood never attempted a biographical musical based on his life in the tradition of THE JOLSON STORY (1946) to carry McCormack name to future generations, though in some ways, SONG O MY HEART comes close to it. McCormack did, however, appear on screen again, in WINGS IN THE MORNING (20th-Fox, 1937) starring Annabella and Henry Fonda. Contributing to a small role, McCormack, playing himself, sings four beautiful songs, including "Those Endearing Young Charms." 

Unseen since its initial release, SONG O MY HEART began circulating again in revival theaters after its rediscovery in the 1970s. Availability on video cassette became a reality in the 1990s, and DVD through 20th Century-Fox Home Entertainment in 2008 as part of its Frank Borzage collection. The DVD contains an added bonus, a synchronized version with original underscoring and singing sequences. The part-talkie is not only three minutes longer (90 minutes) to the all-talking feature (87 minutes), but is, in many ways, better. The legend of McCormack, captured on film, may be of little or no interest today due to the passing of time and new celebrity interests, but is overall a worthy offering and a very rare find indeed, especially for a St. Patrick's Day film festival. (***)

McCormack's many fans

[bkoganbing · 6/10 · 13 August 2013]

In John McCormack's feature film debut a rather sentimental story was chosen for him and quite frankly his character is something of a romantic fool. A promising concert singer, McCormack gives it up to be near his lost love Alice Joyce. Years ago her maiden witch of an aunt broke up Joyce and McCormack and forced to marry a rich man. Now that rich man has deserted her and their children Maureen O'Sullivan and Tommy Clifford. And now the aunt played by Emily Fitzroy is interfering with O'Sullivan's romance with young, poor, but earnest John Garrick.

McCormack has the most undemanding role of a concert singer and while he's no great actor the public was paying to see the singer to which he obliged them with fourteen numbers. Together with Enrico Caruso, John McCormack made the phonograph record industry a success. You could not find an Irish-American family which did not have a phonograph and a few McCormack records to play.

Also in Song o' My Heart McCormack was not cast as a youthful person, that would have been ludicrous. He plays a bit younger than his actual age which was in his Fifties, but he's believable.

The story itself was wistful, romantic, tragic and above all Irish. A couple of Hollywood's best character players from the Auld Sod, J.M. Kerrigan and J. Farrell MacDonald are a couple of village rustics who are entertaining in their blarney.

John McCormack still has many fans and this film is for them.

A victim of the time period in which it was made...

[planktonrules · 4/10 · 11 June 2010]

1929-1930 were not great years for musicals, though Hollywood made a ton of them around that time. I think most of the reason was because sound was such a novel thing, the film producers thought the best way to show off this medium was to make musical after musical. Unfortunately, but today's standards most of them are pretty poor and stiff. Part of this is because sound technology has improved. In 1929-1930, orchestras literally sat next to the actors just off camera to provide the music as the film was being made--producing less than satisfactory results. In addition, sound technicians often ordered actors to stay in one place so they could adequately record what they were saying. Additionally, the film makers hadn't yet learned that there is more to a musical than playing music and having people sing. Many of these films didn't integrate the songs into the film well at all and the film lacked style. "Song O' My Heart" is a prime example, as it makes many mistakes that you'd never see in musicals just a year or two later.

--There is no incidental music. Films of 1929-30 were strangely quiet and devoid of background music and songs were only used when people were singing.

--People are amazingly stiff and dancing simply wasn't done. A lot of this was due to poor sound equipment but also because I really don't think they thought to do this.

--Song after song after song after song are sung without regard to the pacing of the film or plot. Simply put, at times this film overwhelmed the audience with singing. In one case, at a concert, it goes on and on and on. And, when the leading man is supposedly at home in the village, people keep stopping him again and again to ask him to sing--and it looks more like a vaudeville review than real life or a film!

--There is no variety--just lots and lots and lots of Irish ballades...which is great if you love this type of music. If you don't, it's a chore despite John McCormack's lovely voice.

So, as a musical, this movie really stinks. However, there are other things to admire. The look of the Irish village is terrific and the film, when there is no singing, is very sentimental and sweet. The director, Frank Borzage, showed his skills in every way except when it came to the singing. And, as a curio, it's nice to see Maureen O'Sullivan in her first film. It's interesting to see how much she changed in subsequent films--here she is far from glamorous and it's hard to recognize her at first.

I would say by today's standards this film earns a 3 (at best). And, compared to other films of the day, it earns a 5--perhaps a 6. My score of 4 is in line with how much true film nuts would like the film--particularly those who are fans of classic Hollywood.

By the way, the DVD from Fox includes both the full sound version and the version that is mostly silent along with singing portions (which was much like the original "Jazz Singer"). I must admit that while I am a real film nut myself, I just couldn't bring myself to see both versions--it just wasn't that good a film.

For McCormack fans only

[richard-1787 · 4/10 · 28 April 2011]

This is not a great movie. It isn't really a very good one, frankly. I can't imagine any reason to watch it other than to see John McCormack. If you like McCormack, however, it is not to be missed and, while he's on screen, very enjoyable. Unlike so many other opera singers who have taken a turn on the silver screen, McCormack is very natural and relaxed. He's fun to watch and, when he sings something good - which is too often not the case, alas - a joy to hear.

Much of what he sings is, in fact, forgettable. But there are two numbers that make time stand still. The first is the Rose of Tralee. It's not great music, perhaps, but McCormack makes each note a perfectly polished gem in one perfectly arranged necklace. It is nice music elevated by great art to a very moving moment.

And then there is I hear you calling me, the most successful of all McCormack's many successes. This is beautiful music set to a perfect text. And then performed as no song has ever been performed before or since. Yes, perhaps one of his 78 rpm versions is even better, but the version in this film is already great enough to make time, and breath, stop. The song tells a story, and you follow it as it unfolds. In the last verses, when he goes up to the suspended high note on "I hear you CALLING me," you would think that you in fact heard his beloved calling him from beyond the grave. It makes you understand why Caruso envied McCormack his pianissimos.

The rest of the movie is a forgettable hodge-podge. There is a love story between O'Sullivan and a handsome young man. You don't care, because O'Sullivan, who speaks with perfect English diction that makes you wonder what she's doing in Ireland, keeps looking at the camera instead of the people whom she is, in principle, addressing. There is also a pair of Irish comedians - who aren't at all funny. And there's a nasty old spinster aunt making life difficult for orphans. The only thing other than McCormack worth any notice is the actress who plays Mona, generally pleasant and extremely enjoyable when she tells off Aunt Elizabeth - in a speech that will come back 9 years later when Auntie Em tells off Elvira Gultch in the Wizard of Oz.

So, if you like McCormack, make sure to catch this. If you have no idea who he is but want to see the original "Irish tenor," you might enjoy it as well. Otherwise, it's just another forgettable piece of celluloid.

The real drawing card here is John McCormack's singing

[AlsExGal · 6/10 · 15 November 2009]

As of December 2008 this film is available on DVD fully restored via the Murnau Borzage Fox Box Set. The restoration is indeed wonderful. There is both a full sound version and a sound effects/music version available. The full sound version is just that - a talking picture. The sound effects version has what was available before synchronized speech could be completely accomplished. There are inter-titles for the dialog and John McCormack's wonderful Irish tenor voice is wonderfully reproduced. There are synchronized sound effects for such things as the church bells.

The plot is very thin. McCormack plays a man who has never married because he was denied the love of his life - Mary - when she married a man for his money at her aunt's insistence twenty years before. Now that man has run off and left her and her two children penniless. Ironically Mary and her children must now move back in with Mary's aunt, a rather bloodless creature who refuses to let Mary's oldest daughter see her true love, Fergus, because he is poor. McCormack gets an offer to sing in concert in America, and he finally decides to leave the Irish village he was born in and in which he has always lived. This sets up the best part of the film, the long concert performance of McCormack that is a pretty good reproduction of the kind of performance he actually gave to live audiences. This film is also notable for being the second role for Maureen O'Sullivan in a motion picture. Her debut was in "So This is London", but that film is lost. Highly recommended to fans of the early talkies and of McCormack's wonderful voice.

You Get Your Money's Worth from This Film

[loza-1 · 6/10 · 1 May 2015]

Irish tenor Count John McCormack stars in a simple tale tinged with sadness.

Apart from McCormack and a young Maureen O'Sullivan, the cast is largely unknown. But the character actors produce some humorous Irish village types. I thought that Edwin Schneider put in an excellent performance as McCormack's close friend, accompanist and repertorist.

Most of the film is shot in a quiet Irish village - only the village is not so quiet, with that tenor singing all day. He even sings stories to the little children of the village.

Although you can never fault McCormack's singing, some of his acting is deficient. When his sweetheart dies and he has to postpone the part of a US concert tour so that he can return to his village to sort out what happens to her children, he acts as though nothing in particular is happening. In reality, you are in a turmoil, because thousands of people have bought tickets to see you. There are employees in all the theatres who get paid because of your show. If you don't turn up and perform, you are letting everybody down. This was not handled well in this film at all.

On the plus side, you are treated to loads of songs, including part of McCormack's recital on his opening night of his US tour. So there is plenty to enjoy. Most of the songs I had never heard before, so this film really does give you your money's worth.

There are two versions of this film

[JoniMac · 8/10 · 3 May 2006]

I would just mention that there are actually *two* versions of this film: the sound ("talkie")version and a part sound / part silent (with titles) version (this was at the dawn of the "talkie" era when people such as Laurel & Hardy had sound and silent versions of their films).

The difference here is not only dialogue vs. title cards, but the two versions are edited a bit differently (true of the Laurel & Hardy hybrids, too).

In the part sound / part silent version, there is no dialogue but you do get all the John McCormack singing.

This movie is a real creaker and it badly needs restoring, but I give it 8 points for: 1) Irish location filming. 2) It's Maureen O'Sullivan's film debut. 3) The John McCormack concert sequence. 4) In the talkie version there's a Irish "vaudeville" bit at the beginning.

An Absolutely Wonderful Film (note "singular")

[JohnHowardReid · 10/10 · 5 April 2009]

There are two versions of this movie, both available on the same DVD disc. One version is superb, the other lousy. Oddly enough, it's the USA/English full sound version you should avoid like the plague -- unless of course you're a rabid fan of J.M. Kerrigan and/or that even more irritating ham, J. Farrell MacDonald. In the European version, admirably edited by Jack Murray under the inspired supervision of John Stone, the Kerrigan/MacDonald longueurs are cut to the bone. Not only that, but much shorter, sharper takes of other dialogue scenes (such as the McCormack-Fitzroy slant on hedge rabbits versus hedge dogs) are utilized. And in addition, the European version's sound track features a really splendid orchestra, brilliantly conducted by George Lipschultz. A different conductor undertook the same chores for the USA version. The orchestra was no doubt the same. They certainly play the same music. But what a difference! Despite all the cuts -- and they are considerable -- the European version actually runs 6 minutes longer. McCormack sings more songs. What wonderful songs they are! An added treat is that McCormack is accompanied by his real-life pianist, Edwin Schneider (in his only movie appearance)!