Romance de um Trovador

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.

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.

All the previous reviews/critiques are probably right-on. I was happy to see the film because it presented a bit of theatrical history, showing something of what minstrel shows were like, especially in the opening "Gentlemen Be Seated" bit. Of course, there are similar historical pieces in other movies as well. I don't know that I had ever seen Benny Fields before, although he apparently had done many television appearances in the past, so I was curious to see him and hear him sing. Having seen this film, I rather understand why Ralph Meeker was chosen to play Fields in "Somebody Loves Me" opposite Betty Hutton and I now appreciate that bit of casting.

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.

Benny Field opens on Broadway, with a minstrel show he has written and is starring in. When his wife dies giving birth to their daughter, he disappears for 16 years.

The IMDb indicates that Edward Ulmer was in charge for the first five days, then shipped off to the second unit when Joseph H. Lewis took over. There are certainly enough bizarre angle choices to indicate that Wagon Wheel Joe was handling the megaphone, from the opening shot through the stage flies, through the low angle that the dance number in Havana is shot. Judy Clark performs her numbers like she wants to be Betty Hutton, and you can spot John Raitt just before he hit it big as Curly in the Chicago production of OKLAHOMA. The score was good enough to two Oscar nominations, for best score and best song -- and an immediate lawsuit, settled out of court.

However, this is a PRC movie, and it fails on two counts: star Benny Fields -- better known as husband and stage partner of Blossom Seeley, if that name means anything to you -- has no screen charisma and less energy, and the script looks like they started throwing out pages and didn't know where to stop. Gladys George seems to be there mainly to move the plot, and so does Jerome Cowan, although he's good as an agent collecting from both ends and nibbling at the middle. I'm sure it would have run another $40 to shoot enough footage to make them more than brooms to sweep Field along, which would have meant two fewer B Westerns that year.

Minstrel shows had been old hat in 1920, and by the time this was made, it was meant to appeal in a purely nostalgic sense to small-town audiences. Nowadays, you couldn't put this on anywhere. Nonetheless, that's where backstage musicals like this live, and that's where it succeeds. The minstrel show that starts it looks right for the era, and the swing version that closes is nicely done, thanks to choreographer Jack Boyle. It's certainly no movie to show to a modern movie fan, but to someone who loves old musicals, it has some charm.