St. Louis Blues

This traditional composer biopic boasts a truly amazing cast, literally the top Black performers around for each role. It's not a big-budget or even famous movie from Paramount in 1958 (for that, think "Vertigo") but does boast VistaVision in glorious black & white, and costuming by Edith Head -especially effective in presenting star Nat 'King' Cole always looking nattily dressed.

The script's presentation of the psychology of the composer W. C. Handy seems hokey but that is the approach of such a Hollywood biopic, a format that reached its greatest expression in the TV and movie biopics by Ken Russell later on. Not only the music but the inspiration is psychoanalyzed, for better or worse.

But that cast! The opening reel has prescient casting with the 12-year old Willaim Handy played by Billy Preston, who a decade or so later would memorably play with the Beatles and the Rolling Stones, as well as his impressive own career. Here he's shown at the organ playing in his father's church and earning the wrath of his dad (Juano Hernandez) for playing the devil's music.

He morphs into Nat 'King' Cole at the piano as an adult, and I found Nat's performance quite moving. But a secret of the film's success is that the music and singing is recorded live, not the pre-syinc or post-sync method of Hollywood musicals, which gives it bite. Especially in the performances here of leading lady Eartha Kitt. And who better as a romantic interest (platonic) than Ruby Dee; Mahalia Jackson leading the gospel choir; Ella Fitzgerald performing a song after Handy's success, and even Cab Calloway just right as a villain, hammering home a main theme of the film depicting how musical artists are exploited. And instrumental in giving the movie heart, Pearl Bailey as his amazing aunt.

As long as the great old films are not on home video, we have to search far and long for the elusive cable broadcasts. Well I was pleasantly surprised to see this one air yesterday on Turner Classic Movies. A film that completely reversed the procedure so well known at MGM: keeping actors of color out of the plot of a film so as not to offend the patrons (and sponsors)of Southern movie theaters. Paramount Pictures took such a gamble in 1958 with this biopic of turn-of-the-century blues composer W. C. Handy, son of a rather rigid preacher man, whose musical gifts are repeatedly deflated and discouraged by said father (who believes such progressive music is only the work of shiftless sinners). The big surprise in this film is the warm, sensitive, and totally subdued performances of the majority of the film's lead cast: Nat 'King' Cole as the quiet Handy, Ruby Dee as his patient, waiting-in-the wings fiancée', and Eartha Kitt as a sassy and ambitious nightclub singer. Even Kitt's character- which would normally be presented as a two-dimensional 'bad girl' caricature, shows some interesting depth as she quietly champions Handy's blues and jazz compositions to be seen by a larger, more commercial, audience. The Alan Reisner direction often leans towards the melodramatic, and veterans Cab Calloway and Pearl Bailey aren't given much to do, but the film soars very nicely as a complete movie. Two honorable mentions must be made however, in the names of Mahalia Jackson- whose gorgeous voice can be heard several times in the church scenes as a choir mistress, and Ella Fitzgerald (perhaps my favorite solo singer of all time) who is featured in a *true* cameo appearance singing a single torch song in a nightclub which Handy happens by one evening. It makes one yearn for more early chances like this one, and makes me especially happy that these performers are archived- even in this small capacity- on motion picture film.

It's incredible to see all this talent in one place. It's too bad that afro-americans were not supported commercially in the 50's, this film then could have been easy to find. As it is, the big A doesn't carry (or even mention) it. The performances of eartha kitt and nat cole are pretty subdued, for the period of the piece. But ella fitzgerald swings nicely and pearl bailey has a good moment. As for over all film quality, it's a bit stiff ( e.g., nat cole dropping his cane and falling to his kness against the screen door mimics lou pinela tring to convince an umpire he touched home plate), probably a bit more from direction than lack of talent, and the plot , trite. Fortunately, it doesn't dwell very long on the angst between slices of musical venue. A collector's item and an historical document.

A terrific cast, which depicted Southern Black religious traditions and values versus changing times for true opportunity (in the early days). It's a heartfelt movie suitable for the entire family, and should be a suggested viewing in school (if not already).

Black casted movies are a rarity in and of themselves, but one with such mega stars of old was so very uplifting! The movie was made by blacks for blacks and had a plot, story-line and theme that blacks can indeed relate to with pride dignity and a sense of self-esteem. The movie is one that you can watch over and over again and get something more out of it each and every time. It deals with human weaknesses and pitfalls such as are common to man; but finishes on a high note of strength and victory because of faith in and love for God and perseverance.