Birth of the Blues

11/7/19411h 27m

Theatrical Release (US)

~ Strike Up The Band ! * Here comes happiness . . . in a merry medley of romance . . . and rhythm ! ~

Overview:

Jeff grows up near Basin Street in New Orleans, playing his clarinet with the dock workers. He puts together a band, the Basin Street Hot-Shots, which includes a cornet player, Memphis. They struggle to get their jazz music accepted by the cafe society of the city. Betty Lou joins their band as a singer and gets Louie to show her how to do scat singing. Memphis and Jeff both fall in love with Betty Lou.

Director:

Victor Schertzinger

Status:

Released

Language:

English

Buget:

$0.00

Revenue:

$0.00

Key words:

jazz
new orleans, louisiana
scat singing

Cast

Bing Crosby

~ as ~

Jeff Lambert

Mary Martin

~ as ~

Betty Lou Cobb

Brian Donlevy

~ as ~

Memphis

Carolyn Lee

~ as ~

Aunt Phoebe Cobb

Eddie 'Rochester' Anderson

~ as ~

Louey

J. Carrol Naish

~ as ~

Blackie

Warren Hymer

~ as ~

Limpy

Horace McMahon

~ as ~

Wolf

Ruby Elzy

~ as ~

Ruby

Jack Teagarden

~ as ~

Pepper

View full cast & crew

Reviews (1)

CinemaSerf
Written 4 month(s) ago
6
It’s set in the American Deep South in the late 1930s so of course there are going to be unsavoury racial overtones, but in some ways this films strives to suggest that by using jazz music and the wholesomeness of Bing Crosby, there might be some green shoots of desegregation starting to emerge. The young “Jeff” is a pretty prodigious talent, but is regularly strapped by his father for playing with “darkie bands” in New Orleans. Undeterred, he grows up (into Bing Crosby) and establishes his own multi-racial and multi-talented band. They struggle to overcome the prejudicial attitudes on the city, though, and it’s only when they hook up with songstress “Betty Lou” (Mary Martin) that they start to get hired. Somewhat predictably, he falls for her but so does his best mate - their cornet player “Memphis” (Brian Donlevy). This latter love-triangle element is what passes for the plot and we’ve seen that play out loads of times. This thrust of film is really all about the plentiful and varied musical numbers that frequently get the toes tapping, and maybe encourage a 1941 audience to look beyond colour and see talented human beings strutting their stuff to produce a great sound (except for Dunlevy who clearly isn’t playing anything!). The songs themselves are all a bit album-tracky so you might not recall them for long, but they do their job here as the USA starts to look towards a turbulent next few years and the charismatic Bing gets to remind us why he was a star.