Colibel Terrible acting, screenplay and direction.

Inadvands Boring, over-political, tech fuzed mess

Contentar Best movie of this year hands down!

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

JohnHowardReid Copyright 1956 by Universal-International. New York opening at the Capitol: 21 February 1956. U.S. release: February 1956. U.K. release: 20 February 1956. Australian release: 23 February 1956. Sydney opening at the Lyric. 10,458 feet. 116 minutes.NOTES: Despite its long running time, Universal sold this film as a "B" in many overseas locations, including Australia and New Zealand. The reason: Aside from Donna Reed, absolutely no star power. COMMENT: The script is mediocre and distorts the truth in a dull way. The musical numbers are tied together with a feeble romance that wastes the only interesting player in the cast, Donna Reed. Still, if you like swing — and whose feet don't start tapping to such numbers as "Stompin' at the Savoy" and "One O'Clock Jump"? — this film is a must-see, despite its tired plot by Valentine Davies and its equally tired direction by the same gentleman. Mr. Davies wrote the screenplay for "The Glenn Miller Story", but he obviously had more dramatic material to work with there. Furthermore, Miller was not in a position to sue the film's producers if the story they came up with was not to his liking; whereas Benny Goodman is still very much alive. This could account for his life story emerging as a very bland and inoffensive vehicle, especially as Goodman himself recorded this film's soundtrack. The film is a joy to hear but a bore to watch. OTHER VIEWS: The bland story is the usual tale of the slum kid who makes good. At least it's inoffensive, though the script is remarkably coy as to why Mrs. Goodman doesn't want her Benny to marry a non- Jewish girl. Still, Miss Reed wears a new gown in every scene and looks absolutely stunning. I suppose that's reason enough. Aside from the jazzy start, Davies the director is wearisomely over-indulgent to Davies the scriptwriter, the pace sluggish, the delivery slow so that not a word of silver dialogue be lost. Luckily, it's the sound track that matters and it's in good hands!

richwgriffin-227-176635 I loved this movie. Yes, it's "inaccurate" - from all accounts Benny Goodman was a horrible man to work for and with, difficult, and conflicted - but this film IS accurate - musically! (: And what music! Big band swing at it's brashest and most beguiling! I also wish Barry Truex, who played the teenaged BG, had made more movies - he's marvelous! He is completely convincing as someone secure in his musical knowledge and know-how.Yes, it is bothersome that they don't do enough with period detail - 50's clothing and feel instead of 20's and 30's (the film ends with the 1938 Carnegie Hall concert; he was more interesting AFTER that concert!) It's also a HUGE pleasure to hear Martha Tilton sing too!

funkyfry This project by Valentine Davies (who also wrote but did not direct the more famous but IMHO inferior "Glenn Miller Story") rises somewhat above the usual level of musical biographies largely due to the fact that it puts most of the emphasis on music (as opposed to the standard romantic melodrama, which is present but less important than usual) and contains many original musicians from the "big band" period who along with Goodman revolutionized jazz music.Steve Allen plays Goodman, and IMHO he did a superior job to most actors who try to play an instrumental musician. He truly seemed to have respect and love for the instrument. Barry Truex actually also did a very good job in the scenes as the teenaged Goodman. Donna Reed puts in a competent but unexceptional performance as his blue blooded love interest. Although the word "jew" is never mentioned in this film, the central component of the melodrama seems to be that Benny's mother disapproves of his marrying a high born gentile woman. I thought the early parts were interesting, in the sense that Goodman had to basically convince Alice (Reed) that swing music was musically respectable.Other characters weave themselves in and out of the thread of Goodman's life with reasonable proximity to truthfulness. Some of these represent the names of some of his greatest collaborators -- appearing in most cases with rather unconvincing wigs and/or dye jobs. These include Harry James, Gene Krupa, Lionel Hampton, Teddy Wilson, Ben Pollack, Ziggy Elman, and Martha Tilton. At one point we're even treated to a partial recreation of the famed Carnegie Hall concert, which represents both the musical and dramatic finale of the film. But my favorite scene was when the guys in Goodman's band met Lionel Hampton -- working in a cafe as the waiter, cook, and entertainment. Benny can't resist the urge to get his instrument out and jam with him; the film's honest depiction of "jam sessions" featuring artists like Hampton and Wilson is one of its brightest points.A solid musical bio-pic with just the right amount of story and plenty of solid music.

whpratt1 Enjoyed this very entertaining film about Benny Goodman performed by Steve Allen who himself was a great composer, piano player and all around actor and late night show host. This was a very compact Hollywood story detailing the life of the great Jazz King of the 30's. Donna Reed, (Alice Hammond) gave a great supporting role as Benny's girlfriend and then his wife. The film was filled with all great jazz musicians, Gene Krupa, Lional Hampton, Harry James and Sammy Davis Sr. along with many other famous jazz musicians. In the 1950's you were able to go to the Roxy Theater, Paramont and Music Hall in New York City and see these great musicians in between the showing of their feature movies and at very low prices, especially at 10 AM for a price of $1.25 to $2.00. This is a great film and the musical selections will keep you glued to this film from beginning to end.