Starring George Montgomery, Ann Rutherford, Lynn Bari, and Glenn Miller and His Orchestra
Directed by Archie Mayo
Music by Mack Gordon; Lyrics by Harry Warren
Big Band music reached its zenith during the late 30's and 40's, when bands like Glenn Miller's and Benny Goodman's toured the country. Their albums sold in the millions; their dance concerts raked in big bucks and lifted spirits during some of the most difficult times in the mid-20th century. Leaders of major orchestras were celebrities in their own rights, appearing on film and in their own radio shows. Most big band orchestras tended to be limited to specialties in bigger musicals, or heading fluffy B pictures. This is a rare A movie where the big band is front and center. How does this look at the world of one woman who marries a musician in a popular orchestra look nowadays? Let's start in New York, as Gene Morrison (Miller) and his boys rehearse "Chattanooga Choo Choo," and find out...
The Story: Connie Ward (Rutherford) is a huge fan of Gene Morrison and His Orchestra. Her boyfriend (Harry Morgan) takes her to a concert, and she's in seventh heaven when skirt-chasing trumpet player Bill Abbott (Montgomery) flirts with her. After a second concert, they jump into a hasty marriage before he has to go on tour with the band. The other wives traveling with them do their best to make life difficult for the newcomer, throwing out catty gossip about Bill chasing women.
When she catches Bill with singer Jaymie Stevens (Lynn Bari), she finally leaves him and tell the other women flat-out that they're being obnoxious. That, however, makes the other band members realize they're neglecting their women, and the band splits. It's up to Connie, Gene, and pianist St. John (Caesar Romero) to reunite the group and patch up hurt feelings.
The Song and Dance: This is an unusual movie in many respects. Musical dramas were extremely rare in the early days of World War II. Though stage shows started to experiment at this point, most film musicals were made to be escapist fluff. This one has a bit more bite in it. It's more interesting during the second half, when we see the band travel and perform and get to hear some terrific numbers, including the Oscar-nominated smash "I've Got a Gal In Kalamazoo." Montgomery and Rutherford aren't bad as the slick musician and the small-town girl who jump into marriage without considering the ramifications or responsibilities. Carole Landis is another stand-out as the nastiest of the wives, while Lynn Bari is appropriately snarky and slinky as the band's glamorous singer.
Favorite Number: Along with "Kalamazoo," the big hit here was the ballad "At Last," which is sung by Ray Eberele and Pat Friday (dubbing Lynn Bari) during the second concert. Though better-known for soul singer Etta James' rendition twenty years later, this one is a little faster (to the point where you don't catch all the lyrics), but still lovely. Friday also gets the other major ballad "Serenade In Blue" towards the end, when Connie and Bill are having problems.
Of course, the smash was "I've Got a Gal In Kalamazoo." It became one of Miller's most popular songs, and it gets a routine worthy of it, too. After Tex Beneke, Marion Hutton, and the Modernaires give the song an enjoyably relaxed work-out, the Nicholas Brothers tap up a storm with an incredible dance routine full of their trademark splits and fast footwork.
Trivia: In addition to Bari being dubbed, actual Glenn Miller trumpeter Johnny Best did Montgomery's playing, and pianist Crummy McGregor dubbed Romero.
Film debut of later cowgirl Dale Evans as one of Connie's buddies. Look for a young Jackie Gleason as another member of the orchestra.
"At Last" was recorded for Sun Valley Serenade, but held over for this movie.
"Kalamazoo" was nominated for an Oscar.
What I Don't Like: As much as I commend 20th Century Fox for trying something different, the story is bogged down by annoying and overwrought melodrama. It get so ridiculous that when Connie laughs bitterly at the other wives fighting each other after they're told their husbands are straying, too, you have to laugh right along with her. The whole plot with the band breaking up just because their wives whined about them leaving home is too much.
This is also pretty small-scale for a musical of this time period, and in black and white to boot. Obviously, this isn't for someone looking for a bright, fluffy romance or a bigger, bolder show.
The Big Finale: Fans of Miller, big band music, the Nicholas Brothers, or the cast will want to hit the road and take a look around for this one.
Home Media: Alas, out of print and expensive on DVD. You may be better off looking for this one used or catching it in an occasional appearance on TCM.
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