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Load of rubbish!!

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The film never slows down or bores, plunging from one harrowing sequence to the next.

Bearing more than a distant resemblance with "magnificent obsession" ,Stahl's tear jerker of the thirties (remade by Douglas Sirk in the fifties )"Night Song " is less melodramatic ,but ,mainly in its second part ,drags on a little bit;the movie features two real life musicians :Arthur Rubinstein in the flesh ,and Hoagy Carmichael whose songs were covered even by Beatle George Harrison ("Baltimore Oriole"," Hong Hong Blues) and his influence shows in McCartney's song "baby's request" .Dana Andrews is reliable as ever ,and Madame Barrymore provides good support (dig the line when she tells her niece that all she wants is peace);Merle Oberon's playing is a bit emotionally remote ;the music is omnipresent ,classical stuff or Carmichael's "monkey song" .But the story itself is a bit derivative.

Thanks to a lovely cast and good direction by John Cromwell, "Night Song," pure hokum from 1947, manages to hold one's interest and be an entertaining film. It's the story of Dan (Dana Andrews), a composer who was blinded after the war and has now given up on life. He plays with his friend's (Hoagy Carmichael) group, and one night, a socialite (Merle Oberon) hears Dan play one of his own compositions and wants to talk with him. She discovers that he's a bitter, unhappy man. She wants to help, so she, too, pretends she's blind and meets him on the beach. She asks him to help her with her piano-playing and urges him to write.There is some wonderful music in this film, played by Artur Rubinstein, and Eugene Ormandy conducts the orchestra. The "Piano Concerto in C Minor" is actually composed by Leith Stevens, and it's quite good. Carmichael shines, singing "Who Killed 'Er" and "One for My Baby." Ethel Barrymore provides fine support as the sarcastic Miss Willey. It's an unusual role for her. Normally, she's a dowager without much sense of humor. Here, she still comes off like a dowager, but her wisecracks are effective nevertheless.There are some major holes in this film - I find Merle Oberon's speaking voice and accent very unique, and I don't know why Dan didn't recognize it immediately when she is introduced as her real self. I also didn't totally buy Dan's reactions at the end; I would have expected him to become quite angry.Still, there's something about "Night Song" that you can't help liking. If you're a fan of Merle Oberon's and/or Dana Andrews, don't miss it. Lucky for me, I love Hoagy Carmichael as well.

The job of a movie is to give the audience members a bigger slice of life than they would normally experience. Night Song, a classic movie of the post-war 1940's, gives that slice of life with rare grace, elegance and style. Critics have panned it because of the "bad" far-fetched plot, the "bad" music, and "bad" acting.I like this movie because, quite coincidentally, I personally have digested many of the slices of life in the "far-fetched" plot. The movie is about a piano player/composer who is struck on the head in the prime of his life. I am a piano player/composer who was struck on the head in the prime of my life. We both made it through a war era untouched, he WWII, and I Vietnam, well almost. He is living hand to mouth with his best friend. I am also living hand to mouth with my best friend, my wife. For those who love far-fetched coincidences: The composer's last name is Evans—my grandfather's name before he changed it. The movie was probably shot in 1946, the year I was born. Exactly 20 years later I saw Artur Rubenstein, who acted and performed in this movie, in a concert at the Music Center in Los Angeles--the only time I ever went to such a concert. It opened in Sweden on my birthday. What could be more far-fetched?. The not so far-fetched plot twists were not lost on me. As I watched, I was saying to myself, "What is possible for me? Miracles happen every day! Every success story was improbable before it happened!" After watching the film, I went over to the piano and played my own unfinished concerto once again! As for the Leith Stevens music, if you didn't like it, say so. If it didn't touch you, say so. I liked it, immensely. It touched me immensely! If you want a thrill, type in Leith Stevens on IMDb. You'll find page after page of musical credits—right up to 2005! The man is a modern master composer played by the greatest performers of that time in this movie! Not bad for "bad" music! The job of film critics is to say what they like and dislike about films and why. They should leave all categorical good and bad thoughts completely out of the conversation.One measure of the talent of an actor, and some say the only measure of a film, is the ability to transport the mind and the spirit of the viewer to another time and place. I was completely transported by this movie. I was perfectly comfortable with ALL the performances, by some of the most distinguished actors of the era, because I was ready, willing and able to be transfixed; and this film is transfixing! Let's get it on DVD!

If there's one thing to be said for NIGHT SONG, it's that at least it does put the spotlight on some nice classical music. But you have to wonder what they were thinking when they dreamed up a story that has blind pianist DANA ANDREWS being wooed by a woman (MERLE OBERON) who, in order to get close to him, pretends that she is blind too. Then, when he gets his sight back (thanks to a successful operation the wealthy woman sponsors), he sees her for the first time but feels guilty about the "other woman" whom he met when he was without sight. Well, with a plot like that, you know there's going to be an inevitable happy ending somehow--or is there? If that sounds like a silly description of the plot, it is. But that's the story we're supposed to swallow if we want to get any enjoyment out of the whole thing.MERLE OBERON looks lovely (but hardly changes her expression when she's supposed to be wildly in love with Andrews), and DANA ANDREWS looks a little uncomfortable feigning blindness. HOAGY CARMICHEL is a welcome presence as the owner of the joint where Oberon catches Andrews playing piano, and ETHEL BARRYMORE gives another one of her arch performances as Oberon's knowing aunt.John Cromwell directs it in leisurely fashion but it all adds up to an improbable tale with both stars looking a bit uncomfortable in what can only be termed an "unbelievable" tale. The concert music supplied by Leith Stevens is underwhelming even given its symphonic treatment.