Parker's desire to lead two lives, as an opera singer and a dutiful wife, causes friction, but her troubles really begin after she is stricken with polio. Her triumphant return to the stage is inevitable (or the story would lack the requisite happy ending), but we must first get through her blue period, with the help of eternally patient, understanding, and loyal Glenn Ford.
How others will see it. This by-the-numbers Hollywood biopic will be of interest mostly to fans of the two leads, Parker and Ford, or to those curious about how Moore looked in 1955 (younger, of course). There are several stage numbers, in which Parker is presumably dubbed by a real Opera singer, and these may be of interest to Opera enthusiasts. The movie itself is competent but uncompelling.
How I felt about it. The problem here is chiefly the writing, which takes the rough edges off the characters. Parker is attractive and has a wonderful voice, but her character is bland, as is her impersonation of June Allyson. Ford is nice enough, and sometimes engaging, but it would be welcome if he would yell at her just once, "Get off that couch, you (expletive deleted) slug!"
Parker also played a crippled woman in a much more gritty movie, The Man With a Golden Arm. I liked her crafty character in that film better. In Interrupted Melody, Parker seems to believe that just because she has a splendid God-given voice, the world should fall at her feet. But even that isn't enough for her, because she also wants to be the doting housewife of Dr. Ford.
The most interesting character, instead, is Cyril (Roger Moore), the farmboy brother of Parker. Presumably, he knows more about stacking hay than negotiating a contract, but he turns out to be a natural manager, shrewdly manuevering his sole client from the sticks into the Metropolitan.
As a manager, he's devoted to her career. But in the process, he sometimes forgets to be a brother, and can't see that Parker is not as ambitious as he wants her to be. She wants to sing at the Met, sure. But she also wants a gentle daddy substitute, which is where Ford comes in. Moore has trouble with the concept that something can be left at the table. You don't have to take with you all the goodies you can carry.