The opening sequence with Papa and Mama Goodman and their kids shows us a slice of cozy urban ethnic life, but in fact Benny Goodman grew up in terrible circumstances, the ninth of 12 children in a poor family in a rotten neighborhood of Chicago. He was haunted all his life by the hard labor endured by his father in order to feed the family.
And so it goes throughout this movie: the reality has been bled out of the story so that what's left is lifeless. In the film, black musicians like Teddy Wilson and Lionel Hampton just happen to join up with Goodman, when in fact it was almost unprecedented to have blacks and whites performing together, at least before white audiences, and certainly in the South, where the bands would tour. After Goodman set the precedent of working with blacks, black members of white bands still regularly endured all sorts of humiliations in the South, and not just there.
It has been said that the soggy plot and Steve Allen's deadly performance can be overlooked because there is so much great music throughout the film. There is something to be said for that. But consider what was done in the final sequence--the 1938 Carnegie Hall concert. Yes, it was fun seeing the real Harry James, Ziggy Elman, and Gene Krupa perform. But we had to endure repeated cutaways to Goodman's mother and girlfriend, and the real focus of the sequence was on this sappy, conventional romantic situation rather than on the importance of the concert.
I had just listened to a recording of the entire concert--introductions, setups, and applause included--prior to watching this movie. It was the Goodman orchestra at the peak of its powers, and the evening must have been electrifying. It certainly was a milestone in jazz history. Also present were other greats of jazz from the Ellington and Basie bands (even Basie himself at one point). Watching the chopped up portrayal of the concert in the film, I wished Donna Reed and the actress playing Mama Goodman would just disappear.
And yet clearly Benny Goodman gave his stamp of approval for the film, providing all the clarinet music. I doubt that he needed the money. So go figure.
And so it goes throughout this movie: the reality has been bled out of the story so that what's left is lifeless. In the film, black musicians like Teddy Wilson and Lionel Hampton just happen to join up with Goodman, when in fact it was almost unprecedented to have blacks and whites performing together, at least before white audiences, and certainly in the South, where the bands would tour. After Goodman set the precedent of working with blacks, black members of white bands still regularly endured all sorts of humiliations in the South, and not just there.
It has been said that the soggy plot and Steve Allen's deadly performance can be overlooked because there is so much great music throughout the film. There is something to be said for that. But consider what was done in the final sequence--the 1938 Carnegie Hall concert. Yes, it was fun seeing the real Harry James, Ziggy Elman, and Gene Krupa perform. But we had to endure repeated cutaways to Goodman's mother and girlfriend, and the real focus of the sequence was on this sappy, conventional romantic situation rather than on the importance of the concert.
I had just listened to a recording of the entire concert--introductions, setups, and applause included--prior to watching this movie. It was the Goodman orchestra at the peak of its powers, and the evening must have been electrifying. It certainly was a milestone in jazz history. Also present were other greats of jazz from the Ellington and Basie bands (even Basie himself at one point). Watching the chopped up portrayal of the concert in the film, I wished Donna Reed and the actress playing Mama Goodman would just disappear.
And yet clearly Benny Goodman gave his stamp of approval for the film, providing all the clarinet music. I doubt that he needed the money. So go figure.