|The Magic Bow|
|Directed by||Bernard Knowles|
|Written by|| Roland Pertwee |
Harry Ostrer (Scenario Editor)
Norman Ginsbury (additional dialogue)
|Based on||The Magic Bow: a Romance of Paganini|
by Manuel Komroff 
|Produced by||R. J. Minney|
|Starring|| Stewart Granger |
|Cinematography|| Jack Asher |
Jack E. Cox
|Edited by||Alfred Roome|
|Music by|| Henry Geehl |
Edric Cundell (conductor)
|Distributed by||General Film Distributors (UK)|
|Box office||5,067 admissions (France) |
The Magic Bow is a 1946 British musical film based on the life and loves of the Italian violinist and composer Niccolò Paganini.  It was directed by Bernard Knowles. The film was entered into the 1946 Cannes Film Festival. 
The film was based on a 1941 book.  Maurice Ostrer announced the project in July 1945. 
Yehudi Menuhin was hired to perform the violin solos heard in the film.   He arrived in London in May 1945 to record the tracks.  In August it was announced Stewart Granger would play the lead role as part of his last two films for Gainsborough Pictures; the other project was Caravan .  Phyllis Calvert was to be his co-star.  Filming had to be postponed due to an illness to Phyllis Calvert, so Caravan was rushed into production and made first. 
Phyllis Calvert's character was fictitious, a composite of various women who had helped Paganini.
The character of Bianca, the Italian singer, was real. Margaret Lockwood was originally announced to play the role, but was replaced by Jean Kent. Lockwood wrote in her memoirs that she felt it was "a very poor and unsuitable role... I was so offended by the script that, although I was under contract, I had made up my mind I would not accept it."  At the suggestion of Phyllis Calvert they went to see J. Arthur Rank, who neither had met. Lockwood said "he was absolutely charming, heard both of us voice our opinions on various scripts, and, as far as I was concerned, upheld my determination not to accept the part of Bianca." 
Kent later recalled "I had marvellous costumes in that bit not a very good part. You expect she [Bianca] is going to do something and she never does. It's a film that went wrong. Originally I believe they wanted Margaret Lockwood to play it. Presumably then it would have been a much better part, I don't know what happened. Bernard Knowles was a very good cameraman but not a director."  (Kent routinely played roles devised for Lockwood.  )
Producer R. J. Minner said that:
We are doing it [the film] as delicately as possible, as a study of sacred and profane love. Paganini's relationship with Bianca is rather a tricky business to get past the Hays Office, but we hope, with tact, to manage it. He knew Bianca all his life. He couldn't do it without her. She sang at all his concerts. He kept quarrelling with her and coming back to her. She made him ill and nearly killed him, and in the end he left her. 
Granger was given two violin tutors.  Menuhin used two violins and spent six weeks recording tracks. 
More traditional Gainsborough melodramas like The Wicked Lady and Caravan made the list of popular British films for 1946 but not The Magic Bow.   
In their review, The New York Times concluded, "...the behind-the-scenes playing of Yehudi Menuhin as the violinist, drawing his magic bow over the compositions of Paganini, Tartini and Beethoven, is in itself almost worth the price of admission. Stewart Granger, playing Paganini, offers creditable make-believe as a violinist and does his best to play the man in a forthright manner. Considering the script, that is something of an accomplishment. Phyllis Calvert, as the other half of the romance, does well under the same handicaps, while Jean Kent and Dennis Price, aso facing script difficulties, do the best they can as a couple of jilted lovers. What few pleasant moments occur in the film — outside of the splendid musical sequences — fall to Cecil Parker as Paganini's manager. He presided over the two or three occasions when the audience laughed." 
The film was entered in the 1946 Cannes Film Festival. 
Stewart Granger was a British film actor, mainly associated with heroic and romantic leading roles. He was a popular leading man from the 1940s to the early 1960s, rising to fame through his appearances in the Gainsborough melodramas.
Margaret Mary Day Lockwood, CBE, was an English actress. One of Britain's most popular film stars of the 1930s and 1940s, her film appearances included The Lady Vanishes (1938), Night Train to Munich (1940), The Man in Grey (1943), and The Wicked Lady (1945). She was nominated for the BAFTA Award for Best British Actress for the 1955 film Cast a Dark Shadow. She also starred in the television series Justice (1971–74).
Phyllis Hannah Murray-Hill, known professionally as Phyllis Calvert, was an English film, stage and television actress. She was one of the leading stars of the Gainsborough melodramas of the 1940s such as The Man in Grey (1943) and was one of the most popular movie stars in Britain in the 1940s. She continued her acting career for another 50 years.
Jean Kent was an English film and television actress.
The Man in Grey is a 1943 British film melodrama made by Gainsborough Pictures; it is considered to be the first of a series of period costume dramas now known as the "Gainsborough melodramas". It was directed by Leslie Arliss and produced by Edward Black from a screenplay by Arliss and Margaret Kennedy that was adapted by Doreen Montgomery from the 1941 novel The Man in Grey by Eleanor Smith. The film's sets were designed by Walter Murton.
Arthur Crabtree was a British cinematographer and film director. He directed films with comedians such as Will Hay, the Crazy Gang and Arthur Askey and several of the Gainsborough Melodramas.
Bernard Knowles was an English film director, producer, cinematographer and screenwriter. Born in Manchester, Knowles worked with Alfred Hitchcock on numerous occasions before the director emigrated to Hollywood.
Leslie Arliss was an English screenwriter and director. He is best known for his work on the Gainsborough melodramas directing films such as The Man in Grey and The Wicked Lady during the 1940s.
Madonna of the Seven Moons is a 1945 British drama film directed by Arthur Crabtree for Gainsborough Pictures and starring Phyllis Calvert, Stewart Granger and Patricia Roc. The film was produced by Rubeigh James Minney, with cinematography from Jack Cox and screenplay by Roland Pertwee. It was one of the Gainsborough melodramas.
Fanny by Gaslight is a 1944 British drama film, directed by Anthony Asquith and produced by Gainsborough Pictures, set in the 1870s and adapted from a 1940 novel by Michael Sadleir.
Edward Black was a British film producer, best known for being head of production at Gainsborough Studios in the late 1930s and early 1940s, during which time he oversaw production of the Gainsborough melodramas. He also produced such classic films as The Lady Vanishes (1938). Black has been called "one of the unsung heroes of the British film industry." In 1946 Mason called Black "the one good production executive" that J. Arthur Rank had. Frank Launder called Black "a great showman and yet he had a great feeling for scripts and spent more time on them than anyone I have ever known. His experimental films used to come off as successful as his others."
Patricia Roc was an English film actress, popular in the Gainsborough melodramas such as Madonna of the Seven Moons (1945) and The Wicked Lady (1945), though she only made one film in Hollywood, Canyon Passage (1946). She also appeared in Millions Like Us (1943), Jassy (1945), The Brothers (1947) and When the Bough Breaks (1947).
Caravan is a 1946 British black-and-white drama film directed by Arthur Crabtree. It was one of the Gainsborough melodramas and is based on the 1942 novel Caravan by Eleanor Smith.
The Gainsborough melodramas were a sequence of films produced by the British film studio Gainsborough Pictures between 1943 and 1947 which conformed to a melodramatic style. The melodramas were not a film series but an unrelated sequence of films which had similar themes that were usually developed by the same film crew and frequently recurring actors who played similar characters in each. They were mostly based on popular books by female novelists and they encompassed costume, such as The Man in Grey (1943) and The Wicked Lady (1945) and modern-dress, such as Love Story (1944) and They Were Sisters (1945) settings. The popularity of the films with audiences peaked mid-1940s when most of the cinema audiences consisted of mainly women. The influence of the films led to other British producers releasing similarly themed works, such as The Seventh Veil (1945), Pink String and Sealing Wax (1945), Hungry Hill (1947), The White Unicorn (1947), Idol of Paris (1948), and The Reluctant Widow (1950) and often with the talent that made Gainsborough melodramas successful.
Harold Huth was a British actor, film director and producer.
They Were Sisters is a 1945 British melodrama film directed by Arthur Crabtree for Gainsborough Pictures and starring James Mason and Phyllis Calvert. The film was produced by Harold Huth, with cinematography from Jack Cox and screenplay by Roland Pertwee. They Were Sisters is noted for its frank, unsparing depiction of marital abuse at a time when the subject was rarely discussed openly. It was one of the Gainsborough melodramas.
Cardboard Cavalier is a 1948 British historical comedy film directed by Walter Forde and starring Sid Field, Margaret Lockwood and Jerry Desmonde.
Look Before You Love is a 1948 British drama film directed by Harold Huth and starring Margaret Lockwood, Griffith Jones and Maurice Denham.
Bedelia is a 1946 British drama film directed by Lance Comfort and starring Margaret Lockwood, Ian Hunter and Barry K. Barnes. It is an adaptation of the 1945 novel Bedelia by Vera Caspary with events moved from the United States to England and Monaco.
The Root of All Evil is a 1947 British drama film, directed by Brock Williams for Gainsborough Pictures and starring Phyllis Calvert and Michael Rennie. The film was the first directorial assignment for Williams, who was better known as a screenwriter, and also produced the screenplay based on the 1921 novel by J. S. Fletcher.