My Love Came Back 1940

A bright, talented violinist named Amelia Cornell, Olivia de Havilland, studies at the prestigious Brissac Academy of Music in New York City. With a mother to support and only a modest scholarship, she supplements her income by giving private music lessons in her spare time—a practice the school forbids and the dean zealously enforces, Grant Mitchell portraying Dr. Kobbe. Frustrated by being treated like a child and pushed to the margins of the program, Amelia makes a bold decision: she will leave the academy and join a jazz group led by her fellow student and rising swing bandleader, Dusty Rhodes, a move that promises both artistic freedom and financial relief.

Meanwhile, after witnessing Amelia perform at a concert, Julius Malette, a distinguished and wealthy patron of the arts, finally accepts the academy’s invitation to become its president—a choice driven as much by influence as by affection for the young violinist. When he learns that Amelia plans to depart in order to sustain herself, Julius quietly arranges a second scholarship so she can continue her studies, a gesture that reveals his generosity and his desire to shape the school’s future. To accompany her growth, Julius gifts her a phonograph player and records, and he personally escorts her to concerts to broaden her musical experience and exposure to new styles.

One evening Julius cannot attend a performance and sends his spirited young business manager, Tony Baldwin, to explain his absence. Tony and Amelia’s connection deepens rapidly; they begin to fall in love, but Tony keeps his feelings to himself, wary of the possibility that Amelia could be Julius’s companion rather than his muse. The tension intensifies as Julius’s brash son, Paul Malette, uncovers Tony’s habit of mailing company checks to Amelia—mistakenly thinking money is flowing directly to her account rather than being part of a clever scheme to support her scholarship. When Paul confronts Tony, the young manager protects his employer with silence, and the suspicions multiply. Paul later catches a glimpse of Julius entering Amelia’s apartment and misreads the scene, assuming unfaithfulness, which leads him to apologize to Tony and to step back from the accusation—yet he remains unsure of what is really happening. Tony, in turn, discovers that the checks have indeed been cashed, though Dusty Rhodes had merely borrowed the money for a momentary need, a fact that further complicates the web of trust and misperception surrounding Amelia and her benefactors.

The plot thickens at a lavish party hosted by Julius and his wife. To provide a night of innovative classical and swing music, they hire Amelia’s roommate Joy O’Keefe, and Joy’s boyfriend, the vibrant Dusty Rhodes, to perform in a setting that fuses refinement with rhythm and energy. At the party, Amelia confesses everything to Mrs. Malette, then fearlessly takes the stage with the band and improvises a swing violin performance that startles and delights the guests, even earning praise from the night’s music critic. The moment marks a turning point: Amelia’s daring fusion of styles gains legitimacy, challenging the academy’s rigid boundaries and proving that technique can thrive when it is allowed to breathe and blend with new influences. The new sound captivates Julius and the rest of the room, reshaping how Amelia is viewed by her teachers, patrons, and peers.

As the night winds down, the truth about the money surfaces: Dusty had borrowed the funds, a revelation that brings relief and reconciliation. Tony, who has watched the situation unfold with growing trust, apologizes to Amelia for his earlier doubts, and their earlier tension culminates in a passionate kiss in the garden, sealing a renewed bond between them. In the end, Amelia’s courage to blend classical discipline with the vitality of swing—backed by the quiet support of a benevolent patron and the loyalty of a devoted partner—ushers her into a broader world where art and life can coexist with honesty, trust, and a touch of romance.