As she fragments her emotions, Lydia even contemplates suicide — both as a measure of emotional escape and as a means of changing her identity. She isn’t giving up on her work, but she’s also emotionally tired, and she’s ready to end this chapter, if only for awhile.
There are, however, two side effects of the changing atmosphere in the film’s final act. The first of these is Lydia’s own state of mind. As her confidence ebbs, her obsession with her own interpretation of what her readers might appreciate plummets. She obsesses then contemplates suicide, which leads to the second effect: She’s very much alone, and she spends the second act not physically alone, but emotionally. She struggles to play a song for herself, even though the studio audience is well behind her. She emerges from the rehearsal hall haunted, and she emerges from that hauntedness alone, without a accompanying band. The implications of that filter through the relationship we witness — and through the entirety of the film. When the conductor sees his wife, he suspects her of infidelity; when she visits a florist and selects a rose for herself, he chides her for being self-absorbed; when she walks around her city without her husband, and then strides off the stage and on into seemingly impossible love, it’s a world of longing and confusion. This is the kind of sophisticated love story that isn’t often seen in pictures, a construct that moves between genres with no boundaries. Schuur’s film is a patchwork of realism, melodrama, romance, and romance as melodrama, but it’s also one of those nearly unspeakable love stories that doesn’t work without nuance — and, for all of its many layers, it’s a film that feels only slightly contaminated by those on which it was built.
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