Birth of the Blues

BIRTH OF THE BLUES (Paramount, 1941), directed by Victor Schertzinger, stars Bing Crosby in an interesting production that's "Dedicated to the musical pioneers of Memphis and New Orleans who favored the "hot" over the "sweet" - those early jazz men who took American music out of the rut and put it "in the grove." In musical terms, "blues" is not a form of depression but a music style of ragtime/jazz that originated by Southern blacks dating back to the 1890s. W.C. Handy (1873-1958), "Father of the Blues," the most recognizable of blues composers of his time, was only an honorable mention along with such notables of both black and white legends as Ted Lewis, Duke Ellington, Louis Armstrong, Tommy and Jimmy Dorsey, Benny Goodman, George Gershwin and Paul Whiteman before the film's conclusion. While BIRTH OF THE BLUES could very well have been a biography to any one of these greats, playing more like a biography in general, but in present form, is basically a fictional account the birth of the first Dixieland Jazz Band.

Opening in the 1890s, the plot begins with prologue in "Jazz Singer" plot-style where a Louisiana boy named Jeff Lambert (Ronnie Cosbey) is seen clarinet playing to "darkie music" among black musicians on the dock side of Basin Street by Louey (Eddie "Rochester" Anderson), the family servant, thus, reporting the news to the boy's stern musician father (Minor Watson). Knowing full well that Lambert would rather have his son resuming with his classical clarinet lessons, Jeff goes against his father's wishes and accepts his punishment rather than making a promise he'll never keep. Flash forward. The now adult Jeff Lambert (Bing Crosby), better known as "Sunshine," has formed a band, but is unable to gain prominence playing in New Orleans cabarets with his all white musicians playing to Dixieland music. Jeff's luck changes with new additions to his company: Memphis (Brian Donlevy), a white trumpet player serving twenty days in a local jail, and Betty Lou Cobb (Mary Martin), a young woman from Alexandria who supplies Jeff $20 to have Memphis bailed from jail. With no money for her trip back home, Jeff finds himself having both Betty and her Aunt Phoebe (Carolyn Lee), a child no more than age six, as his house-guests. With Louey still looking after Jeff, situations occur following a successful engagement at the Black Tie Café where its owner, Blackie (J. Carrol Naish) and his thugs (Warren Hymer and Horace MacMahon) make certain that their newfound "Basin Street Hot Shots" doesn't get to leave for Chicago where a great opportunity awaits them.

During this well-scripted 84 minutes, song interludes and highlights include: "The Birth of the Blues" (sung by Bing Crosby during opening credits); "The Memphis Blues" (by W.C. Handy); "Gotta Go to the Jailhouse," "By the Light of the Silvery Moon," "Tiger Rag" (played by Dixieland Jazz Band); "Waiting at the Church," "Cuddle Up a Little Closer" (sung by Mary Martin); "Wait Till the Sun Shines, Nellie," "My Melancholy Baby" (sung by Crosby to Carolyn Lee); "The Waiter, the Porter and the Upstairs Maid" (new song by Johnny Mercer and Robert Emmett Dolan, performed by Crosby, Martin and Jack Teagarden); "The St. Louis Blues" (hauntingly sung by Ruby Elzy); and "The Birth of the Blues" (sung by Crosby during the montage featuring other blues performers).

Though disappointing through its historic accuracy, it succeeds in entertainment values. Bing Crosby and Mary Martin work just as well here as their did in their initial offering, RHYTHM ON THE RIVER (1940), while Paramount's resident tough guy, Brian Donlevy, has his moment fist-fighting with Bing for one scene. Aside from the aforementioned leads, the best moments go to Eddie Anderson (billed simply as his character "Rochester" from Jack Benny radio fame) where he gives singing advice to Betty (Martin)from a black man's point of view. Very much a black and white production, there's an interesting use of color slide shows on the motion picture screen during the movie house sequence. Others featured in the cast include Harry Barris (Suds); Cecil Kellaway (the French accented Mr. Granet) and Barbara Pepper (Maisie).

Out of circulation since public television broadcast days in some states (1980-1990s), BIRTH OF THE BLUES can be found on DVD along with Crosby's musical, BLUE SKIES (Paramount, 1946) on the flip side. Although the title BIRTH OF THE BLUES could easily be confused with another 1941 release of BLUES IN THE NIGHT (Warner Brothers), or even that of the television title to ST. LOUIS BLUES (Paramount, 1939), a/k/a BEST OF THE BLUES, the Crosby edition, nearly forgotten to today's generation, happens to be one of the more enjoyable birth of the blues presentations for its time. (***1/2)

The blues is a black American invention...period. So, seeing and hearing Bing Crosby and a bunch of white actors singing what they refer to as 'the blues' and its birth is pretty funny....in a sad way. It's a lot like the 1950s when black rock 'n roll songs were remade by dull white singers--such as when (I kid you not) Pat Boone remade Little Richard's "Tutti Frutti"--and outsold the original! Sad...very sad.

Now despite the title of the film being 100% ridiculous, there is one other problem with the film. Most of the music is NOT the Blues but Dixieland--a much happier and bouncier variation on Jazz and the Blues. Now I don't mind this style of music--but this isn't the film's title! So is the film worth seeing? Well, yes--provided you don't take the film very seriously. The actors (Bing Crosby, Brian Donlevy and Mary Martin) are fine--but very white and middle-class. An enjoyable film but not at all a tribute to the black men who created this music. While the black men are mentioned (such as by using enlightened phrases like folks referring to it as 'darkie music'!), this is clearly a white-wash--though an enjoyable one.

Another of Der Bingle favorites with Mary Martin; wow, how I loved her; her heart really sang to Daddy. I haven't seen it for some years, but I do have it on VHS which I recorded. I have over 1000 recorded VHS movies all in the garage, so now that I am retired, I have time to look at some now and then. This also has Crosby singing with Louis Armstrong.

Birth of the Blues was a labor of love for Bing Crosby and it showed. Coming up with Paul Whiteman, Bing met and worked with some of the greatest musicians in history. He enjoyed their company, he enjoyed working with them, just couldn't get enough. The plot is a fictionalization of the creation of the first all white jazz combo, the Original Dixieland Band.

This is Mary Martin's second of two films she did with Crosby and at the same time this was being shot, she was doubling as the girl singer on his Kraft Music Hall. As in Rhythm on the River, for once he's given a leading lady who matches him vocally. Why movie audiences didn't take to her is still a mystery.

Brian Donlevy was at the height of his career where he usually played villains. He's no villain here, but he's Bing's rival for Mary Martin. He plays a hot cornet player named Memphis and I do love the scene where Crosby's band engages in an impromptu jam session on the street in front of the new Orleans Jail where Donlevy is residing and Crosby's trying to get him out. In a radio broadcast dramatization of this film, Phil Harris played Donlevy's part and Dinah Shore played the Mary Martin role.

Usually Crosby's films have original material written for them, this is an exception. A whole lot of old standards are used, the only original song for Birth of the Blues is The Waiter and The Porter and The Upstairs Maid, written by Bing's good pal Johnny Mercer. It's nice, catchy, novelty number with the waiter and upstairs maid done by Crosby and Martin. The porter is jazz trombone great Jack Teagarden who's really into the spirit of the thing.

One of the standards is Wait Till The Sun Shines Nellie, this time done with a jazz inflection. Crosby and Martin duet it and it became a big seller Decca recording.

J. Carroll Naish plays a good gangster villain assisted by henchmen Horace McMahon and Warren Hymer. Hymer had a specialty in playing schlemiel henchmen and this is a typical Warren Hymer part.

Eddie Anderson is in the film, playing a Rochester like part for Bing Crosby as he did for Jack Benny. In many ways he played the typical servile black person and some would say he does it here. Personally I found his Rochester character very good, he often got the best of Jack Benny. He acquits himself well here.

Ruby Elzy plays Anderson's wife and she gets a good vocal opportunity to sing St. Louis Blues as Anderson is unconscious and the band thinks he's checking out.

No one should pass on an opportunity to see Bing and Mary Martin together.

Not a great film, and as far as Victor Schertzinger-directed and Bing Crosby and Mary Martin films go, there is a preference for 'Rhythm on the River'. However, despite the script, story and characterisation not being as strong as the rest this is good-natured entertainment.

The songs and performances especially make much more of an impression than the aforementioned not-so-good things. The story is paper-thin, shallow and contrived. While the script has its fun, light-hearted and heart-warming moments, it's also talky, hokey and even flimsier than the storytelling. Despite strong performances, not much attention was given to characterisation, which is barely there.

On the other hand, it is a very handsome looking film and very well directed by Schertzinger. The songs are simply great, standouts being the title song, "St Louis Blues", "Melancholy Baby" (definitely a highlight here) and the jazzy rendition of "Wait Till The Sun Shines Nellie". Even with its faults, there is something about 'Birth of Blues' that stops one from being too hard on it, it's funny, charming and good-natured.

Performances are great, with Bing Crosby and Mary Martin singing in a way that takes you to another world that you don't want to leave, while they look comfortable and are charming. Brian Donlevy is delightfully roguish, J. Carrol Naish agreed seems incapable of being bad and while real-life trombonist Jack Teagarden is better as a trombonist than an actor there is denying how much of a legend he was on the instrument.

In summary, not great but a good, fun film that are lifted particularly by great songs and a talented cast giving their all. 7/10 Bethany Cox