Minstrel Man

As cheap musicals go, it's not bad. The subject matter is respectable, avoiding unnecessary comedy that B-musicals of the mid forties boosted. The problem appears to be casting. For Benny Fields this is his only major dramatic lead in films, and one can easily understand, why. He is a relatively unexciting old man with no remarkable talents to showcase. He does sing, but his voice is very soft and definitely not one that would carry in a live theatre. Judy Clark is so perk that it makes your eyes hurt, and as natural as Duracel bunny. How did a quality actress like Gladys George get lost in that vehicle, is a minor mystery. Said all that, the film is quite entertaining, and the music (not meaning some well-known standards that get used but the original score) is better than is usual for a small time musical. Plus it's a reasonably short flick that doesn't let you get bored. It's also very nice to look at a good old fashioned, dignified minstrel show. Makes you wonder what the world would be like if minstrels hadn't paved the way to making black music part of our everyday life.

Only watch if you want a negative example of just how insulting old Hollywood could get. Contrary to the other reviews, minstrel and blackface was going strong until the 1950s and even made its way onto TV, until civil rights protests put an end to it. There was even blackface in films into the 1980s, Soul Man and Trading Places. (Yes, Tropical Thunder much later. But that was criticizing and mocking the practice of clueless whites portraying other races.)

The music is terrible and the comedy is far worse. Blackface was half imitating Black culture and half mocking Black people. But here the music is corny and tone deaf.

Blackface makeup can be incredibly jarring to see, to be reminded of just how deep racist hatred went to dehumanize Blacks. Here the mockery is also of Blacks who would dare to dress well or have money, for the clothes are over the top too.

Only see if you have a strong stomach and have a historical interest in Hollywood stereotypes.

As a super fan of Al Jolson, I was really interested in seeing this movie, but was sadly disappointed. It strained credulity to believe that the lead, a character named Dixie Boy Johnson, had any kind of following, let alone star power. Voice, body language, dance routines, character - all this was sorely lacking. The scenes of minstrelsy, notwithstanding the elaborate costumes, were dead in the water. I don't understand how the music was nominated for an Oscar. Really it was very ordinary. Moreover, the songs functioned as padding for a storyline was lame from start to finish. Too bad. If you want to see minstrelsy at its entertaining best, check out Swannee River, the biopic of Stephen Foster with Al Jolson as E.P.Christy and give Minstrel Man a pass.

I'm not sure and I'm certain to be corrected if I'm wrong, but Minstrel Man might very well be the only PRC film ever to get recognition from the Academy. It received two Oscar nominations for Best Song and for musical scoring.

A studio known for its pinch penny budgets for noirs, westerns, and a few horror films producing a musical? It's worth the novelty just to watch the thing.

A year before Minstrel Man came out Paramount even used Technicolor in its minstrel film Dixie that starred Bing Crosby. The folks at PRC thought that maybe a minstrel film would work for them. Of course they did not have Crosby or color.

The lead here is Benny Fields who was a well known song and dance man and became even better known when he teamed on the stage and in life with Blossom Seeley. Blossom was smart enough to stay away from this.

Good song and dance man that he was Fields just couldn't act. When not singing he's wooden and as charming as a wet napkin. The story covers some thirty years of the life of Fields's character Dixie Boy Johnson.

The climax involves the revival of minstrel shows. I mean in 1944, really?

Seasoned performers like Gladys George and Roscoe Karns are wasted as the surrogate parents to the daughter of Dixie Boy Johnson. And a pretty perky blond like Molly Lamont wants to hide that beauty under cork makeup. Give me a break.

It's more than the subject matter that's kept this film under wraps.

Virtually PRC's only musical before it was bought out by another company in the late 40's, this film tells the story of Dixie Boy Johnson, a performer in minstrel shows, who loses his wife when their daughter is born. Made with money from the sale of the film HITLER'S MADMAN the previous year to MGM, the film won an Oscar nomination for its score. The songs were written specifically for this film, and they're designed to bring forward the plot . The lead actor does an outstanding job, and for years l thought he was Al Jolson, only it turns out he wasn't. All in all a fine effort from PRC, and possibly even their finest film. Alas, dye to the demise of PRC's corporate successor, this film is now public domain.