Jam Session

Watching JAM SESSION, the big question that comes to mind is why on earth did it take ANN MILLER so long to break into A-films and become a big musical star? She had pep, verve, charm, an overload of personality and those twinkling dancing feet. She plays a girl with aspirations for becoming a Hollywood movie star, even breaking into studios to pretend being secretary to handsome JESS BARKER, or onto movie sets to watch a musical number being filmed while she watches from the sidelines.

The big drawback is that Ann doesn't get to do her own "Victory" dance routine until the final five minutes or so. Then she gets her big production number with a sizzling routine that ought to have convinced MGM to take her away from Columbia much earlier than they did.

Several popular bands and band singers of the day are featured in a thin plot that has the usual predictable ending for these sort of show biz stories. For fans of 1940s nostalgia, there are The Pied Pipers with Jo Stafford, Nan Wynn, and bands like Charlie Barnet, Glen Gray, Alvino Ray, Teddy Powell, etc., all squeezed into the running time of this Columbia B-film with Ann Miller in the lead.

A pleasant diversion, the sort of programmer Miller was featured in more often than not.

Ann Miller shines in this oft-used tale playing a small town girl trying to break into Hollywood.

This is a movie about making a movie. Not any movie, mind you, but this movie, a movie named "Jam Session." A writer is hired to write a plot to tie together performances by several big bands, not true jam sessions, however, or even staged ones, but rather numbers performed and filmed for the movie within the movie (making the title a bit of a misnomer).

Ann's character carries a letter of introduction to the head of the studio which just happens to be the one making Jam Session, but she can't get past the door. Not one to give up, she attempts to get into the studio by whatever means, including posing as secretary to the movie's screenwriter. (It's a bit of fun watching her character trying to figure out a typewriter.)

As for the musical numbers, they kick off with one by trumpet master Louis Armstrong. A couple of throw-away novelty numbers follow, but pick up again with the Pied Pipers, a perennial favorite, and with Nan Wynn, the vocalist featured in the opening credits. Naturally, without belaboring the plot points, everything works out in the end with a production number featuring our gal Ann.

It took me decades to finally view this film and I am glad I kept busy all those years for JAM SESSION is a bit of a miss-fire.

The fact that there is no story of consequence is moot point. The reason to see the film is the bands, singers and Ann Miller.

I must say that I have never seen Ann Miller look lovelier and more appealing. Sadly, she only gets one number at the end and it isn't a stunner.

The bands and the vocalists - a first rate line up of largely disappointing appearances with the emphasis on novelty tunes.

Armstrong - excellent.

Garber - much better then expected for Garber.

Rey - weird novelty number.

Powell - dreary comedy performance of a clever tune. What a waste of a good, forgotten band.

Barnet - the great Charlie Barnet band plays their immortal hit CHEROKEE. Well played, but no visual excitement.

Glen Gray/Casa Loma - same as above with NO NAME JIVE.

Nan Gray - OK

Jo Stafford and the Pied Pipers perform their old Tommy Dorsey hit, IT STARTED ALL OVER AGAIN. Excellent! Jo Stafford never looked better! She was 25 years old and looks right off the farm with a fresh face and big eyes to match her high hair do. An exceptional performance by Jo and the Pied Pipers in an unexceptional film. I think she hit 91 years old this year, so God bless her!

Clean. crisp photography.

That sums it up.

Copying the format used in Ann Miller's previous film, "Reveille With Beverly", once again the plot is an excuse to piece together musical performances by popular recording artists of the day.

Nevertheless, it's an opportunity to enjoy the lovely Miller, who was only in her early 20s at the time of filming. I read that Dorothy Parker was once quoted as saying Miller "was the most statuesque broad in Hollywood".

While she dances only once, it's a nice production number with a World War II theme. She remarked in her autobiography that her Columbia films were intended as entertainment of the troops.

Sprightly Ann Miller musical featuring many of the top bands and vocalists of the day. Notable too for a rather tough-minded look at the movie industry, as Kansas contest winner Miller tries to break into the big time. The studio scenes are an occasional hoot-- like the stagecoach driving in from the street to shoot an Old West scene! However, the business side gets a pretty realistic and none-to-flattering treatment (maybe the writers' revenge). Some other nice touches-- Alvino Rey's "echo-box dummy" that sings electronic lyrics (that one spooked me); Miller's under-the-staircase bedroom, about big enough for a midget if she doesn't stand up; and the big-finish "marching at ya" tribute to the boys overseas. Miller is engaging throughout, wholesomely pretty with a lot of verve and sparkle. This was perfect war-time escapism, a programmer with no pretensions that despite the years continues to entertain.