King of Jazz

1930

Animation / Comedy / Music / Musical

3
Rotten Tomatoes Audience - Upright 62%
IMDb Rating 7.3 10 640

Synopsis


Uploaded By: FREEMAN
Downloaded 22,422 times
July 10, 2018 at 08:19 PM

Cast

Bing Crosby as One of the Rhythm Boys)
Walter Brennan as Desk Sergeant
720p.BLU 1080p.BLU
815.52 MB
978*720
English
NR
23.976 fps
12hr 0 min
P/S 6 / 22
1.57 GB
1456*1072
English
NR
23.976 fps
12hr 0 min
P/S 2 / 25

Movie Reviews

Reviewed by lugonian 8 / 10

The Paul Whiteman Scrapbook

THE KING OF JAZZ (Universal, 1930), directed by John Murray Anderson, is the fourth and final of Hollywood's all star musical revues during the 1929-30 season, and ranks the most impressive of the four, outdoing MGM's THE Hollywood REVUE OF 1929 (1929); Warners THE SHOW OF SHOWS (1929) and PARAMOUNT ON PARADE (1930). Filmed in early two-strip Technicolor, it is fortunate to have survived after all these years with color footage intact since most color footage used during the early sound films, mostly musicals, are either lost or exist today solely in black and white. The titled character goes to band-leader, Paul Whiteman, in his feature movie debut, but THE KING OF JAZZ is remembered today only as the motion picture debut of Bing Crosby, who, in reality, mainly appears as part of the Rhythm Boys in a couple of musical skits.

Virtually plot less, the revue opens with Crosby's off-screen vocalizing of "Music Hath Charms" during the opening credits. This is followed by Charles Irwin standing in as master of ceremonies. After introducing himself, he goes on to tell and show how Paul Whiteman became crown "The King of Jazz." A cartoon segment follows (compliments of Walter Lantz, the creator of Woody Woodpecker), which shows Whiteman himself hunting in darkest Africa being chased by a lion. After a merry chase, Whiteman sooths the savage beast by playing music with his violin to the tune, "Music Hath Charms". After an elephant squirts water through its trunk on a monkey up a tree, the angry monkey throws a coconut towards the elephant, which, in turn, hits Whiteman instead. The bump on his head thus forms into a crown. Then comes the introduction of th Paul Whiteman Band, who present themselves by playing individual tunes with their instruments. Production numbers and comedy skits follow. The most striking numbers are: "The Bridal Veil" which ends with costumed brides carrying the biggest veil ever made which covers the entire flight of stairs; the ten minute spectacle of Whiteman conducting his orchestra to George Gershwin's "Rhapsody in Blue," and the "Happy Feet" number, sung by The Sisters "G", which has chorus girls descending onto a large-scale miniature of New York City, highlighted by the eccentric rubber-legged dancing of Al Norman which should be seen to be believed!

Other songs presented include: "The Lord Delivered Daniel" (sung by the cartoonish Paul Whiteman) "Mississippi Mud" and "So the Bluebirds and the Blackbirds Got Together" (both sung by The Rhythm Boys: Bing Crosby, Harry Barris and Al Rinker); "It Happened in Monterey" (sung by John Boles); "Oh, How I Would Like to Own a Fish Store" (sung by Jack White); "A Bench in the Park" (sung by Glenn Tryon and Laura LaPlante, The Brox Sisters and the Rhythm Boys); "Ragamuffin Romeo" (sung by Jeanie Lang); "I Like to Do Things for You" (sung by Jeanie Lang to Paul Whiteman; Grace Hayes and William Kent; danced by Tommy Atkins Sextette with Nell O'Day); "Has Anyone Here Seen Nellie?" (sung by Churchill Ross, John Arledge, Frank Leslie and Walter Brennan with his wriggling ear); "The Song of the Dawn" (sung by John Boles); and the finale, "The Melting Pot Medley." Brief comedy skits include THE DAILY MEOW with Laura LaPlante, Jeanie Lang, Merna Kennedy, Grace Hayes and Kathryn Crawford; IN CONFERENCE with Glenn Tryon, Laura LaPlante and Merna Kennedy; SPRING TIME with Slim Summerville, Yola d'Avril and Walter Brennan; ALL NOISY ON THE EASTERN FRONT with Yola d'Avril, Slim Summerville, Walter Brennan, others; FOREVER MORE with William Kent as the drunk, and Walter Brennan as the butler; the risqué, A MEETING WITH FATHER with Slim Summerville meeting his future father-in-law (Otis Harlan) and how he feels about her (wait for the punchline and wonder how that got past the censors); and much more. There's also Joe Venito playing his wild violin to the tune, "Pop Goes the Weasal."

Unseen in many years, THE KING OF JAZZ was presented on television during the early years of cable TV circa 1984, and later that year distributed on video cassette, compliments of MCA/Universal with its excellent clear copy which makes it worth purchasing and having as a part of a movie lover's collection. For a while, THE KING OF JAZZ did enjoy frequent revivals on American Movie Classics in the early 1990s.

The biggest surprise about this revue is that it was released by Universal, the studio not known for lavish musicals, yet, coming out with the best of its kind. Aside from lavishness, it's quite advanced, especially with its camera techniques which remains impressive even today. The comedy skits might seem out of date, but are just a reminder as to what vaudeville was like and the humor that made its audiences chuckle way back when. Even similar comedy skits of long ago are still being used today, especially by stand-up comics or on current TV sit-coms which try to make old material fresh and original. One final note: the special effects. Although not a first in early sound cinema, the early portion of the film where Paul Whiteman introduces his orchestra by opening his suitcase, from which many tiny musicians emerge in front of the life-size face of Whiteman as he watches from behind, then growing to normal size, is quite impressive, considering the time frame this was made. Remember, this wasn't done by computers as it would be today.

THE KING OF JAZZ has many bonuses to impress a first-time viewer. The production gets better with each passing comedy skit and musical numbers. Like its predecessors, it predates the bygone era of TV's variety shows. And for die-hard Bing Crosby fans, even if the famous crooner doesn't have enough footage to call this movie his own, there's enough entertainment here by others to go around.(***)

Reviewed by drednm 10 / 10

Paul Whiteman and Company

Paul Whiteman was a huge star in the 20s with his terrific jazz band. He might have been the original star band leader. In "The King of Jazz" he also shows himself to be a decent comic actor as well. He's best remembered for his recording of Gershwin's "Rhapsody in Blue," which is featured in this early revue film.

"King of Jazz" is solid entertainment with some lavish and grand-scale production numbers that boast Bing Crosby, John Boles, Laura LaPlante, the Brox Sisters, Jeanie Lang, and of course Whiteman's band.

Best songs are "Happy Feet," "A Bench in the Park," "The Song of the Dawn," and a jazzy "Bluebirds and Blackbirds" number with Crosby as one of the Rhythm Boys (with Harry Barris and Al Rinker).

Al Norman does an amazing dance number to "Happy Feet." Jeanette Loff is rather bland in the "bridal veil" number. The Sisters G in their Louise Brooks hairdos are OK in their dance numbers. And there's a lot of short comedy bits that feature Walter Brennan, Slim Summerville, Grace Hayes, Merna Kennedy, William Kent, and others.

Although I still prefer "The Hollywood Revue of 1929" this revue is also excellent in its use of lavish production numbers, color, and special effects. For fans of early musicals this one is not to be missed.

Whiteman, Crosby, and Boles are all great.

Reviewed by loza-1 10 / 10

Mankind's Memory would Be all the Poorer without this Film

This film is in two-tone Technicolor. It is rather like a vaudeville brought onto the stage with music, short sketches, and variety turns.

From the perspective of today, the glaring omission is that the American Negro influence is not given any acknowledgement whatever. In the melting pot scene at the end the American Negro influence is glaring conspicuous by its absence. Although there is certainly a European influence in American jazz music, it is less of an influence than African music or - don't forget - Mexican music. But the film was of its time, and at that time, the Amrican Negro playing jazz was not officially referred to, and it would be some time before black artists could be spoken of as musical heroes. Funnily enough Paul Whiteman's star singer Bing Crosby, who appears in this film with the Rhythmn Boys, would have a huge role to play here by his collaborations with black artists like the Mills Brothers.

In spite of all this, we must regard this film in the context of the period it was made, regret the Negro omissions and enjoy the film for its own sake.

Other impressive acts are the trick violinist playing "Pop Goes the Weasel", bel canto singer John Boles and that amazing rubber-legged dancer Al Norman. (Eat your heart out, John Travolta)

Although I was not born till a quarter of a century after the release of this film, I cannot but help a feeling of nostalgia. We will certainly never see the like of these acts again. But for this film, the magic of Boles and Norman and the Whiteman orchestra would be gone for good.

Read more IMDb reviews

1 Comments

Be the first to leave a comment