La città del jazz

"New Orleans" started out as an Orson Welles project at RKO -- a Louis Armstrong biopic with Armstrong playing himself -- and it morphed through several different incarnations (including a version by writer Valentine Davies that ultimately got filmed as "Syncopation" in 1942) before ending up with producer Jules Levey as the film we have. There's certainly a sense of might-have-been about this movie that was only accentuated in the early 1980's when an independent jazz reissue label called Legends released the surviving pre-recordings made by Louis Armstrong and Billie Holiday in October 1946 for use in the film -- including a treasure trove of music that hadn't made it anywhere near the final cut -- and the idea of basing a film about the history of jazz around a set of boring white characters and reducing the African-Americans to extras in their own story is all too familiar in Hollywood's treatment of just about any story involving African-based politics or culture.

Now for the good news: within the horrible limits of the concept, the script is relatively well constructed, and Arthur Lubin's direction shows some visual imagination -- notably in the opening tracking shot through the streets of back-lot "New Orleans" before the camera enters Arturo de Cordova's cabaret/casino and discovers Louis Armstrong and his band playing "West End Blues" (inexplicably renamed "Name-Your-Poison Blues" in the film). In her autobiography "Lady Sings the Blues" Billie Holiday vividly registered her disgust at being cast as a maid, and in the scenes with Dorothy Patrick she's visibly stiff, barely able to get the servile dialogue out of her mouth -- but when she shows up at the cabaret set and gets to sing with Armstrong's band she visibly loosens up and becomes a relaxed and quite effective screen presence. My partner noted the similarities between "New Orleans" and the 1936 MGM film "San Francisco" -- both are about gamblers who own night clubs and opera singers who climb down from their pedestals to perform popular music, and the (real) closure of New Orleans' Storyville red-light district in 1917 fulfills the same climactic story function as the 1906 earthquake and fire did in "San Francisco."

The first time I saw any part of "New Orleans" was at a screening of jazz movies in 1970, at which the host presented three numbers from the film ("Do You Know What It Means to Miss New Orleans?," "Where the Blues Were Born in New Orleans" and "Farewell to Storyville") that had been blown up from 8 mm sound prints released for home sales in France. The host said that the rest of the film had been lost, so it was quite surprising to me when I got to see the complete version twice in 1973 on an independent local TV station in the San Francisco Bay Area. Then I didn't see the film again until Kino released it on DVD, and having got over my disappointment at what it could have been, this time I could appreciate it for what it is: a flawed movie with an almost unbearably pretentious ending but still a quite entertaining film as well as a chance to see Armstrong and Holiday at the peak of their powers. (Woody Herman is hardly showcased to good effect even though he was leading perhaps the best band of his career, the "First Herd," at the time.) And I'm surprised the other commentator mentioning the greatest jazz movies left out my all-time favorite, Clint Eastwood's "Bird."

Wonderful entertainment. If you love Louis Armstrong and Billie Holiday you will enjoy this film. Satchmo on the horn with Billie Holiday singing with it. Two greats that we will never see again. This movie may be a bit outdated but that is part of it's charm. I just love even hearing Sathmo's voice when he is just talking let alone his magic horn. I recommend this movie for all old time jazz fans who want to see some of the greats on film even if they appear for only for a few minutes. Movies like this really make me think of our mortality. Everyone is gone but their spirit still lives on. That is my own personal feeling. After watching this movie I just want to listen to all the old jazz tunes played by the old timers. I would really not call this a great movie. It's just lots of fun.

Very uplifting. No need to worry about bad stuff happening, it's just an escape into the early days of blues and jazz. Great songs by Satchmo and Billie Holiday and a bunch more.

A fellow-jazz-fan in the US recently sent me this on video. I enjoyed it immensely. I can't pretend it's a good film. The story and its treatment are reminiscent of the straight bits in Marx Brothers films (the ones that had straight bits, that is). But instead of Groucho and Harpo, Louis Armstrong and Billie Holiday do their stuff, and bring the film to life.

Plus points for jazz fans are that several of the numbers are seen and heard complete, rather than faded out; both Billie and Louis were still near their best; the other musicians, including Kid Ory and Barney Bigard, get to solo, and you hear -- and see - an early version of the Armstrong All-Stars really swinging. There's also a rare sight of the great (and now disappeared) Lucky Thompson behind Louis in one sequence.

A personal note: one of my very first records (78 rpm, early 1950s) was Louis' "Where the Blues Was Born". I guess I had the studio, not the soundtrack version, but both are terrific. It was amazing to SEE that long-treasured performance.

"New Orleans" would not go down well with latter-day jazz musicians because Billie's shown as a maid, and Woody Herman (white) comes into the story for no earthly reason beyond the fact that he was a big name in 1947. But if you can see and hear past all that, the music makes it worthwhile.

OK, it's not a good film. But how many jazz films are? "Jammin' the Blues," "Pete Kelly's Blues," "Sven Klang's Combo," "Round Midnight," and that's it. Only three of those are feature-length, and two are European. For anyone who loves the music, "New Orleans" is well worth viewing.

Just the musicians alone make this a worthwhile movie...jazz musicians like Louis Armstrong, Billie Holiday, Kid Ory, Barney Bigard, Meade 'Lux' Lewis, Woody Herman, Zutty Singleton, and others have close-ups, and a number of them have speaking parts. There are nine musical numbers featured in the movie also.