Lamento Negro

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.

"St Louis Blues", the 1958 biopic of the great W.C Handy, is, though not perfect, very enjoyable to watch and-- more importantly-- listen to.

Portraying Handy is Nat King Cole, in his only leading role in a feature-length Hollywood film. He sings a few tunes (all fantastically performed, of course) and his acting is even relatively convincing. Also in the cast is Eartha Kitt (whose role I believe would have been better filled by someone like Lena Horne), Cab Calloway, Pearl Bailey and even Billy Preston as Handy as a child. Ella Fitzgerald joins the cast, too, but it is only a cameo. Nevertheless, her part is very important; she gives a stellar rendition of "Beale Street Blues", one of the many great W.C Handy tunes featured.

I would definitely recommend this movie, mostly because of the talent in it-- Nat King Cole, Ella Fitzgerald and the rest of the cast's talent and, of course, W.C Handy's talent.

This perfect blend of lightheartedness, drama and music is a great biopic of one of America's-- and the world's-- most talented songwriters is a must-see for any lover of Handy or Cole, or, such as myself, both.

I really enjoyed this movie. And it was really nice seeing my all-time favorite singer, Mahalia Jackson, use her acting skills. Also, Pearl Bailey was very funny in this film- the protective aunt, as I would call her. Eartha Kitt was great and very believable- she really played the part! Nat "King" Cole, to me, still seemed a little shy on camera, but I was told that he was a shy individual. Young Billy Preston did very well with his acting and he "tore up" that organ- as he is already known for doing. There just aren't any words that I can use to describe my feelings for this video, except for it's awesome, great, and fantastic!

I give it an A+++

I found the father-son estrangement contrived along conventional religion vs the devil lines, but moving nonetheless. I had forgotten what a good piano player Nat Cole was. Ertha Kitt is the heart of the film. She acts as she sings -- biting, precise, and all-knowing. I think the great Pearl Bailey is wasted here -- wonderful as the Aunt, but we only hear her singing a snippet of the title song. Cab Calloway was also much more talented than permitted to be here. I saw him as "Sportin' Live" in the post-WW II revival of "Porgy and Bess." We get a too brief taste of the great clarinet player, Barney Bigard, and an anachronistic appearance by Ella Fitzgerald singing "Beale St. Blues." The film provides a good definition of the blues as an authentic American musical and poetic form. This one, almost 50 years old now, has aged well. It makes one regret that more African-American based and performed films were not made when these great stars were available. Thanks again, TCM!

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.