La Féérie du jazz

This has an animation and in-camera tricks introduction. The main body is a big musical presenting band leader Paul Whiteman as The King of Jazz. It's an early musical a few years after the introduction of sound. It's a series of musical numbers on a big stage setting. It's a large production but there is no overarching connecting plot. The main connecting device is a giant book that is flipped to get to the next chapter. It's also in Technicolor. There are comedic interstitial scenes. As a historical document, it is absolutely fascinating. It's almost Vaudeville on film in that it's just a lot of performers performing on stage. It is a movie of a bygone era. It's also the first film with Bing Crosby. It was a bit of a failure at the time which may be due to a flood of similar musicals. It's a scattershot of lavish musical scenes without much connective tissue. By the midway point, any novelty is worn out as it all becomes more and more of the same fascinating nothingness. It has no story and it's not concentrating on any single character other than Paul Whiteman who is mostly simply a face. This may not be a great film but it is a fascinating one.

Paul Whiteman was a huge star in the 20s with his terrific jazz band. He might have been the original star band leader. In "The King of Jazz" he also shows himself to be a decent comic actor as well. He's best remembered for his recording of Gershwin's "Rhapsody in Blue," which is featured in this early revue film.

"King of Jazz" is solid entertainment with some lavish and grand-scale production numbers that boast Bing Crosby, John Boles, Laura LaPlante, the Brox Sisters, Jeanie Lang, and of course Whiteman's band.

Best songs are "Happy Feet," "A Bench in the Park," "The Song of the Dawn," and a jazzy "Bluebirds and Blackbirds" number with Crosby as one of the Rhythm Boys (with Harry Barris and Al Rinker).

Al Norman does an amazing dance number to "Happy Feet." Jeanette Loff is rather bland in the "bridal veil" number. The Sisters G in their Louise Brooks hairdos are OK in their dance numbers. And there's a lot of short comedy bits that feature Walter Brennan, Slim Summerville, Grace Hayes, Merna Kennedy, William Kent, and others.

Although I still prefer "The Hollywood Revue of 1929" this revue is also excellent in its use of lavish production numbers, color, and special effects. For fans of early musicals this one is not to be missed.

Whiteman, Crosby, and Boles are all great.

Today's audiences could not possibly have any idea of how big in every way Paul Whiteman was during the 1920s. Radio was in its infancy and Paul Whiteman's band was the first orchestra to achieve popularity through that medium. Whiteman records were the biggest sellers of their time. And The King of Jazz was his auspicious debut in motion pictures.

The King of Jazz was also how Whiteman billed himself. He was maybe taking a bit much on to himself with that one, he surely didn't have anything to do with the development of jazz as an art form. But he did help a great deal to popularize it with a wider {white} audience. That was primarily done with that famous jazz concert that Whiteman gave in the mid twenties where George Gershwin's Rhapsody In Blue made its debut. And Rhapsody is reprised here in the movie.

Whiteman's greatest contribution may have been the training of the greatest group of musicians ever. At one time or other, the Dorsey Brothers, Benny Goodman, Bix Biederbecke and so many others were members of the Whiteman orchestra. And of course he was the very first band to hire a vocalist specifically for that role. Previously singers were just musicians who just stopped playing and sang a chorus or two.

Whiteman hired a trio, the Rhythm Boys whose lead singer was Bing Crosby. They are prominent in the film and in fact Bing Crosby made his singing film debut here over the opening credits as he sang Music Hath Charms. He was Whiteman's biggest discovery.

The film is just a musical review done in the style of some of the great musical reviews of the time like the Ziegfeld Follies, Earl Carroll's Vanities, George White's Scandals. Some of the acts are better than others, but's The King of Jazz encapsulates a great era in show business.

The biggest song from the film was It Happened in Monterey sung by John Boles who was Universal's biggest musical star at that point. Boles also got to do the film's finale, The Song of the Dawn, when Crosby who was guzzling a little too much bathtub gin got himself arrested and missed doing the finale which he was scheduled for.

Shortly after recording some of the songs from The King of Jazz the Rhythm Boys left Whiteman and broke up soon after that. Bing Crosby would be heard from again.

For a wonderful piece of nostalgia and filmed in early technicolor at that as an added treat, you can't beat The King of Jazz.

"The King Of Jazz" 1930, is a wonderful example of just what the movies could do in the late 20's early 30's if they put their mind to it. The technical achievement is extremely high, for a film of this period, and one wonders at how cinema audiences of 1930 must have been amazed by this picture. It is photographed in a system called "Two Strip Technicolor". (Full 3-strip Technicolor would not be invented until 1932). The 2-strip Technicolor system managed to capture Red and Green, but not blue. To get around this they would use dyes that were a kind of orange/red and aqua-marine/green to trick audiences into thinking there was blue on screen.

In this movie the "Rhapsody in Blue" number is very convincing.

There is no plot to "The King Of Jazz", it is just one mammoth musical number after another, and that adds to its unique charm. My three favourite numbers are "Ragamuffin Romeo", "It Happened In Monterey", and "My Bridal Veil".

The "Bridal Veil" number utilizes one of the biggest indoor sets I have ever seen. A lot of money was spent on this picture, and it shows. The Bridal Veil itself looks to be about 100 feet long and the bride needs about 40 bridesmaids to help hold it up.

The print that is currently in circulation of "The King Of Jazz" is sadly not in 100% excellent condition. It seems to be made up of pristine sections of print, and battered and scratched dupes. Its a real patchwork version that is probably in need of some restoration work. The title sequence, (with vocals over the titles by Bing Crosby singing "Music Hath Charms") is very clear and in good shape, but then halfway through cuts to an extremely battered dupe copy? The same occurrence happens during the "It Happened In Monterey" number, and also "Bench In The Park", we are given a beautiful print with rich colours and rock steady picture stability, only to cut variously to scratched beaten dupes. I cannot understand why certain sections of the film were preserved but others were not.

I am eagerly awaiting the DVD release of this unique and wonderful film and hope it wont be too long before it gets its well deserved release. There don't seem to be any plans as yet and the only way to see this movie is on television or VHS. This is a true lost opportunity to DVD producers because the film has many wonderful Bing Crosby numbers in it and would be very popular with Bing's fans.

THE KING OF JAZZ (Universal, 1930), directed by John Murray Anderson, is the fourth and final of Hollywood's all star musical revues during the 1929-30 season, and ranks the most impressive of the four, outdoing MGM's THE Hollywood REVUE OF 1929 (1929); Warners THE SHOW OF SHOWS (1929) and PARAMOUNT ON PARADE (1930). Filmed in early two-strip Technicolor, it is fortunate to have survived after all these years considering how many early color movies are either lost or have survived in black-and-white format only. The title character goes to band-leader, Paul Whiteman, in his feature movie debut, but THE KING OF JAZZ is remembered today as the motion picture debut of Bing Crosby, who, in reality, mainly appears as part of the Rhythm Boys in some musical skits.

Virtually plotless, the revue begins with Crosby's off-screen vocalizing of "Music Hath Charms" during the opening credits. This is followed by Charles Irwin standing in as master of ceremonies who tells how Paul Whiteman became crowned "The King of Jazz." A cartoon segment follows (compliments of Walter Lantz, the creator of Woody Woodpecker), showing Whiteman himself hunting in darkest Africa being chased by a lion, to then sooth the savage beast by violin playing to the tune, "Music Hath Charms". After an elephant squirts water through its trunk on a monkey up a tree, the angry monkey throws a coconut towards the elephant, which, in turn, hits Whiteman's head, bumping it into the form of a crown. Then comes the introduction of the Paul Whiteman Band, presenting themselves individually playing tunes with their instruments. Production numbers and comedy skits follow. The most striking numbers are: "The Bridal Veil" the ten minute spectacle of Whiteman conducting his orchestra to George Gershwin's "Rhapsody in Blue," and the "Happy Feet" number, sung by The Sisters "G", with chorus girls descending onto a large-scale miniature of New York City, highlighted by the eccentric rubber-legged dancing by Al Norman.

Other songs presented include: "The Lord Delivered Daniel" (sung by the cartoonish Paul Whiteman) "Mississippi Mud" and "So the Bluebirds and the Blackbirds Got Together" (both sung by The Rhythm Boys: Bing Crosby, Harry Barris and Al Rinker); "It Happened in Monterey" (sung by John Boles); "Oh, How I Would Like to Own a Fish Store" (sung by Jack White); "A Bench in the Park" (sung by Glenn Tryon and Laura LaPlante, The Brox Sisters and the Rhythm Boys); "Ragamuffin Romeo" (sung by Jeanie Lang); "I Like to Do Things for You" (sung by Jeanie Lang to Paul Whiteman; Grace Hayes and William Kent; danced by Tommy Atkins Sextette with Nell O'Day); "Has Anyone Here Seen Nellie?" (sung by Churchill Ross, John Arledge, Frank Leslie and Walter Brennan with his wriggling ear); "The Song of the Dawn" (sung by John Boles); and the finale, "The Melting Pot Medley." Brief comedy skits include THE DAILY MEOW with Laura LaPlante, Jeanie Lang, Merna Kennedy, Grace Hayes and Kathryn Crawford; IN CONFERENCE with Glenn Tryon, Laura LaPlante and Merna Kennedy; SPRING TIME with Slim Summerville, Yola d'Avril and Walter Brennan; ALL NOISY ON THE EASTERN FRONT with Yola d'Avril, Slim Summerville, Walter Brennan, others; FOREVER MORE with William Kent as the drunk, and Walter Brennan as the butler; the risqué, A MEETING WITH FATHER with Slim Summerville meeting his future father-in-law (Otis Harlan) and how he feels about his bride-to-be, and so much more. There's also Joe Venito playing his wild violin to the tune, "Pop Goes the Weasal."

Unseen for many years, THE KING OF JAZZ was presented on television during the early years of cable TV circa 1984, and soon after distributed on video cassette, compliments of MCA/Universal with excellent visuals. For a while, THE KING OF JAZZ did enjoy frequent revivals on American Movie Classics (1989-1990) before color restoration and edited skits restored on DVD in 2018, the same 97 minute edition broadcast March 4, 2019, on Turner Classic Movies.

The biggest surprise about this revue is that it was released by Universal, the studio not known for lavish musicals. Aside from lavishness, it's quite advanced, especially with its camera angles/techniques which remains impressive even today. The comedy skits might seem out of date, but are just a reminder as to what vaudeville was like and the humor that made its audiences chuckle back in the day. Even similar comedy skits of long ago are still being used today, especially by stand-up comics or on current TV shows that try to make old material fresh and original.

One final note: the special effects. Although not a first in early sound cinema, the early portion of the film where Paul Whiteman introduces his orchestra by opening his suitcase, from which many tiny musicians emerge in front of the life-size face of Whiteman as he watches from behind, then growing to normal size, is quite impressive, considering the time frame this was made. Remember, this wasn't done by computers as it would be today.

THE KING OF JAZZ has many bonuses to impress a first-time viewer. The production gets better with each passing comedy skit and musical numbers. And for die-hard Bing Crosby fans, even if the famous crooner doesn't have enough screen time to call his own, there's enough entertainment here performed by others to go around. (***)