Rhapsodie en bleu

This film presents many Gershwin tunes in great fashion with several great settings and great production numbers. Yes, it's unfortunate that the story line is so heavily fictionalized and even misleading. But, the sets are honest to the periods covered, several sequences are very tastefully done and fun, the show excerpts are good, and did I mention the music? As several other commentators have indicated, the music is faithfully recreated in long segments that bring you much or all of the tune.

If you come to this film to hear some wonderful Gershwin performed by some great artists staged with a lot of character and splash (my favorite set is Hazel Scott's Paris show), you won't be disappointed. The story line is simply a convenient string to tie together the thread of music.

Of all our famous Tin Pan Alley composers George Gershwin alone managed to bridge that gap between the old masters of Europe and our own American musical traditions. I've always had a particular affinity for his music, maybe because he and I share the same birthday, 49 years apart though. He did so much in his life of 38 years and left so much unwritten and unsung it's impossible to comprehend all this beauty could have come from the mind of one man.

Rhapsody In Blue is no better or worse than some of the other Hollywood biographies of our composers. The idea was to make a musical picture and story is always sacrificed, especially in the accuracy department. Joan Leslie and Alexis Smith play a compilation of characters of many women involved in George Gershwin's life. It is true however that Gershwin sacrificed all for his art. He wanted to attain heights that no American composer ever did and he succeeded.

There is also the problem of contracts and copyrights in making these kind of films. Certain Gershwin standards you won't hear because either Warner Brothers didn't have the rights or Jack Warner was spending way too much money for the Gershwin songs to begin with.

Al Jolson, Paul Whiteman, and Oscar Levant all appear as themselves in this, the story of Gershwin could not be told without them. Jolson introduced Gershwin's first hit song of Swanee, he interpolated it in one of his shows which he always did. Paul Whiteman, the King of Jazz, took that crown with his concert at Aeolian Hall of Rhapsody In Blue from whence this film gets its title. It maybe the most well known instrumental piece of music by an American composer ever.

And certainly no life of Gershwin could have even been filmed without Oscar Levant whose friendship and abiding affection for George Gershwin was well known. Levant's wit was devastating, even upon himself and his friend George. But he worshiped at the altar of that music.

But a real treat for me was Anne Brown, the original Bess from Porgy and Bess singing Summertime. That alone is worth seeing this film.

Hazel Scott, singer, jazz pianist, and outspoken civil rights advocate plays a Josephine Baker type role and does several Gershwin numbers while he's in Paris. The film sadly makes no mention of Fred Astaire or Gertrude Lawrence both of whom are very important in George Gershwin's career. And it would have been nice to see Victor Moore playing Throttlebottom from Of Thee I Sing which got a one line mention about it winning a Pulitzer Prize and that was it.

Robert Alda plays the title role and he did get good reviews and to the limited extent the script gave the character, he does capture the essence of the driven Gershwin. Stardom in Hollywood would elude Alda however, he'd have to wait for Broadway and Guys And Dolls.

I was sorry to see the role of Ira Gershwin by Herbert Rudley given such a short shrift. Ira was an interesting man in his own right. He wrote lyrics with several other name composers both before and after his brother's demise. In fact he wrote with others specifically to establish his own credentials so no one would think he was just riding on brother George's coattails.

Gershwin's one man who could use a new biographical film. Maybe we can get a better idea of his life, have his songs done in proper chronological order and see him from another century's perspective.

Until then Rhapsody In Blue will give you a general idea.

As with most Hollywood biopics (particularly back in the 1930s, 40s, and 50s), this account of the life of George Gershwin is somewhat fictionalized. As just one example, in real life he also had two sisters, who are not even mentioned in the film. And, the romantic angles here (with two women) apparently are fictionalized. But, so what. This is a surprisingly entertaining film, and a number of Gershwin's pieces are faithfully executed, including "Rhapsody In Blue". I watched this quite a long time ago and remembered it as one of the better movie biopics...plus, I rather like Gershwin's music. I think I liked this film better the second time around.

Robert Alda is fine in the lead role, as are others in supporting roles, including Charles Coburn as a mentor on the pop side of things. Particularly interesting are the many "cameo" appearances by real associates of Gershwin -- Al Jolson ("Swanee"; although so clearly too old to play a young Jolson!), George White (of the famous "Scandals"), and Paul Whiteman. Supporting players are good here -- Joan Leslie, Alexis Smith, especially Albert Bassermann, Rosemary DeCamp, Oscar Levant, and Herbert Rudley (as Ira Gershwin).

At just over 2:20, it's a long movie, but that length allows so much of the Gershwin music to be played. I can't help but compare this to the Cole Porter biopic starring my favorite actor -- Cary Grant; but this is so much better a film. A good movie worth watching at least once for the acting and to revel in the music.

Rhapsody in Blue, is a true black and white American classic. I bought the tape because of the title, which is one of the pieces written by George Gershwin. I had the privilege of going to the Library of Congress in Washington, D.C., and xeroxing some of Gershwin's hand written sheet music with his own signature in it. Wow! Just like he signs his name in the movie. The movie starts with his and his brother, Ira's, childhood, when they get the piano for Ira to play. Turned out that George became the pianist and Ira the lyricist. George never married but the movie is a love story between George and singer "Julie Adams" Joan Leslie (Yankee Doodle Dandy), who truly loved him. He was also romantically involved with Alexis Smith "Christine Gilbert" (The Age of Innocence). She was a socialite painter who lived in Paris. George would have married Julie, but he somehow was married to his music and ended up never marrying Julie, due to his early death. Each scene of the movie has the rhythm of Gershwin's music and the music played is a piece which corresponds that period of his life. To my surprise Al Jolson plays himself where he sings and dances. Remember him the guy that Warner Brothers decided to star him in their first partly-talking-picture, "The Jazz Singer" in 1927. The two Gershwin's had a wonderful relationship with their parents and Ira became their parent's caretaker because George traveled a lot. I love the fact that "George Gershwin" is played by Robert Alda (Imitation of Life), a great actor and singer and also father one of my favorite actors Alan Alda (M.A.S.H., Same Time, Next Year). Talent runs in the families in the cases at hand, (the Aldas and the Gershwins) and Robert and Alan Alda they looked a lot alike. This is a must see for anybody to see, specially Gershwin fans such as myself. It has an imaginable body of their work in this movie, their music is vibrant and happy. Favorite Scenes: Gershwin's parents getting their first piano to their apartment I believe up to the sixth floor of the building where they lived. George getting fired when he meets Julie because he gives her his own work to sing. Favorite Quotes: Ira: "Good Night Mr.Music." George: "Thank you Mr. Words." George: "It is only with music that I can prove my right to live." Dad Gershwin to George: "Take time to be happy, George." This is a great old fashion movie I think that you will love it as I have.

The music was wonderful, I enjoyed watching the father of Alan Alda in the title role & I got one "mini surprise"! That was the solo song of a very young, enchanting Hazel Scott, accompanying herself on the piano. She was a musical prodigy on the piano from the age of 4 and the youngist student admitted to the Julliard School of Music at age 16. This was the last of her early film appearances, as she focused more on musical recordings and a TV series, until the late 50s. She also married Adam Clayton Powell Jr., noted congressman from Harlem & civil rights activist. Her 1955 album, "Relaxed Piano Moods," recorded with Charles Mingus and Max Roach was recently reissued on CD & named Album of the Month by National Public Radio.