The Benny Goodman Story

Although in general, Jazz is one of my most unfavourite types of music, I was captivated by the story. I couldn't get up once I had started watching it. Donna Reed and Steve Allen really brought the story (partly fictional by the way) of Benny Goodman out and intrigued me enough to want to learn more about his life and the sort of music he played. The musical numbers in the film are among Goodman's best, and really liven the film up. A great film.

Viewed from the point of view of a jazz fan interested in the history of swing, this movie is a treasure. There are moments all through when some of the true greats in jazz can be at least glimpsed, and some have ongoing parts: Buck Clayton, on trumpet, Teddy Wilson on piano, Gene Krupa, on drums, Lionel Hampton on vibes, Stan Getz on tenor saxophone (he was the farthest to the right on the front row--almost always cut out of the pan-and-scan print shown on TCM, but he has a great solo and closeup in one of the numbers, in the Palomar ballroom section). There are other stars who appear for one scene, but it's fun to see them, even briefly. Ziggy Elman plays his trumpet solo on "And the Angels Sing" glibly verbatim from the famous recording, but rushes, unfortunately. The plot is quite predictable, and there's no clinch at the end, just shining eyes. A must-buy for the jazz sentimentalist--but get the wide-screen version.

He was born in the spring of 1909, and beginning with his first hit recording, "Moon Glow" in 1934, he routinely scored a dozen top-ten hits on a yearly basis. Some regard his title, "The King of Swing," as insulting to the African-American tradition that became America's indigenous art form, jazz. It's true that Count Basie, Duke Ellington, Chick Webb, and Fletcher Henderson probably deserved the title, but Benny Goodman was also deserving, and moreover an admirable, seminal representative of the historical period that became known as the "Swing Era." Moreover, in his 1938 Carnegie Hall concert he broke both the "cultural" barrier that insisted on privileging classical European music over "vulgar" American popular forms as well as the color barrier that made it unusual, unlikely, and often impossible for white and black musicians to play on the same stage. Benny was a great musician, as in command of a classical repertory as of jazz, but he was also an ambassador and an example, making the public aware of the music of Billie Holiday (he also introduced Peggy Lee), Lester Young, Lionel Hampton, Teddy Wilson, and the beauties of a music that was a sophisticated American music as well as a highly swinging one. Forget the plot of this adequate but conventional love story. You'll have to look long and hard to find a movie with this much great American music. And give some thought to the revolution that began in the 1950s and changed the American landscape in the 1960s after the "British invasion." Goodman looked like a boring banker. He wore suits and ties--and he played clarinet! How could he have been adopted by a primarily young generation as a hero if not major pop star? Steve Allen is a bit better looking (and far more clever and articulate) than Goodman, but he won't explain the revolution that made hair, guitars and grubby jeans more worthy of our time, attention, and money, tons of it, than a genteel adult like Goodman. Benny instead introduced us to a guitarist who was black, wore suits, and became known as the "Father of the Jazz guitar," Charlie Christian. Benny Goodman was about sophistication, civility, and competence--and that's exactly what you get, and in abundance, from the musically hip Steve Allen. Thanks to this movie, I developed a lifelong love of jazz. I'm still swinging, and I'm still left puzzled by the sounds of distorted guitars, of groups that can't perform without vocals, and of drummers who are clueless about the subtle, airborne groove of a 4/4 walking bass, a tight hi-hat, and a shimmering ride cymbal. And I still fail to grasp the entertainment value of performers who wear torn jeans, earrings and tattoos while commanding tens of thousands for a single performance. If you can't hear music unless the beat sounds like an amplified, mechanical drill hammer, you probably won't like this movie.

I enjoyed the music in this film immensely but the thing that drove me absolutely crazy was the costumes. This film is supposed to take place from 1910 - 1938 yet Donna Reed is in full 1950's dress including her hair and makeup. It actually screws up your whole perception of when the story takes place. Would it have killed them to dress her and the other women in period dress? There is one sad attempt at a 20's outfit where Donna is at a speakeasy and has on a cloche hat with her bangs in spit curls but of course her dress is a total 50's Dior 'New Look' with a cinched waist and huge skirt. It's also sad that original Benny Goodman vocalist, Martha Tilton, is only on film for like 1 minute singing one short refrain.

Enjoyed this very entertaining film about Benny Goodman performed by Steve Allen who himself was a great composer, piano player and all around actor and late night show host. This was a very compact Hollywood story detailing the life of the great Jazz King of the 30's. Donna Reed, (Alice Hammond) gave a great supporting role as Benny's girlfriend and then his wife. The film was filled with all great jazz musicians, Gene Krupa, Lional Hampton, Harry James and Sammy Davis Sr. along with many other famous jazz musicians. In the 1950's you were able to go to the Roxy Theater, Paramont and Music Hall in New York City and see these great musicians in between the showing of their feature movies and at very low prices, especially at 10 AM for a price of $1.25 to $2.00. This is a great film and the musical selections will keep you glued to this film from beginning to end.

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.

THE BENNY GOODMAN story, the half brother of the GLENN MILLER STORY and the GENE KRUPA STORY and the first cousin of THE FABULOUS DORSEY'S is a made to order biopic that lacks ooomph because of the reticence of the title character. Steve Allen's Goodman doesn't have the boyish enthusiasm that James Stewart had as Miller, but rather a quiet nerdishness that although possibly respresenting the person correctly, doesn't make for thrilling cinema. Because of this, Allen treads water valiantly, while all Donna Reed has to do is look lovingly at him and look as beautiful as, well, Donna Reed. (The real find in the film is Berta Gerstein, of whom I had never heard, but who I gather from reading the IMBD database, must have been a Yiddish theater/cinema star, as Benny Goodman's mother. She is so real that she makes the rest of the actors seem like cardboard.) But what a treat it is to see and hear Kid Ory, Harry James, Martha Tilton, Lionel Hampton, Ziggy Elman, Urbie Green and to hear Goodman himself. Where the film shines is in its music and never more so than at the halfway point's Paramount Theater engagement and the ending's Carnegie Hall concert of 1938. In these two spots the film soars. AND THE ANGEL'S SING is classic and SING SING SING will blow the top off your DVD player. So, THE BENNY GOODMAN STORY, usual biopic with some amazing music. (Want a great double feature? No, not THE GLENN MILLER STORY which is fun, but rather the 1947 NEW ORLEANS with more jazz greats including Louis Armstrong. Now, as Cole Porter would say, you has jazz!)!!!!!!!!

Jazz enthusiasts in particular, and pop 40s devotees in general will enjoy the fine jazz renditions in "The Benny Goodman Story." Some very fine clarinet playing is heard on the soundtrack by Goodman himself, and there are many wonderful jazz musicians heard and seen as guests in the film. While Benny's story may well have been "reinvented" a bit for story's sake, the over all feel to the film is a typical rise from humble beginnings to the heights of stardom scenario. Those who'll enjoy the musical performances without being too critical on factual matters will undoubtedly find this a pleasant film. Goodman's famed Carnegie Hall concert is recreated as the movie's climax--and what a concert that was!

I loved this film. Huge Donna Reed fan, and I think this is one of her best films aside from "From Here To Eternity" that she did in the 1950's. Finally a movie about someones life made in the 1950's without June Allyson. The close up's Donna has in this film make you melt, she is and always was even in her 60's breath taking! And this movie shows that. Her and Steve Allen who plays Benny Goodman have great chemistry, and I have read that Donna & Steve look very much like Mr. & Mrs. Goodman but didn't act like them. According to Steve Benny Goodman was brilliant but wasn't a very nice man. And surprisingly this film didn't do as well as the previous "Glen Miller Story". Which I found to be alittle dull. Anyways great film a recommend it to everyone!

I may have seen this film more than 20 times, unfortunately it has been unavailable in the UK for 10 years and not on TV all that time so I'm missing it right now. It is such a good film whether you enjoy Benny Goodman's music or jazz for that matter or not. Benny Goodman's life was pretty interesting anyway and it's portrayal in this movie is fairly accurate. The music score covers all the best from Benny Goodman and his Orchestra and is a tribute to one of the earlier band leaders in Jazz. There were not too many bands with both black and white members at that time but this was such a band. What was great for the Benny Goodman Orchestra was the fact that many of the members were such well known and respected performers themselves. There was such talent in that group of musicians and how fortunate it was that they should all come together at that time to create and play some brilliant music. With regard to the film it is based on the life of Benny Goodman and if you know about him the presence of spoilers here would not ruin things. In short though this film shows Benny Goodman from a young boy through to after he has made a success of himself. His challenges, disappointments, love interests are all a part of the story through the film. I couldn't fault anything in this film, direction, acting, all of it is just right and it makes for a film you can enjoy over and over again. They certainly don't make movies like this anymore. 9 out of 10. (I reserved 10 out of 10 for my very best 3 or 4 films, this is a top 10 of mine still).