Boogie-woogie band-leader Ted Barry is outside the pearly gates. Because of Ted's musical background, the gatekeeper points him in the direction of the Hall of Music section, where he is ... See full summary »
Boogie-woogie band-leader Ted Barry is outside the pearly gates. Because of Ted's musical background, the gatekeeper points him in the direction of the Hall of Music section, where he is escorted by an angel named Joy, who is in awe of Ted and his musical abilities. Before Ted can enter heaven, he must pass the approval of the Hall of Music's judiciary, which is comprised of who are considered the best ever composers and musicians, led by Ludwig van Beethoven. Ted, with Joy as his supporter, gets into a heated discussion with the judiciary panel about the merits or not of his style of music, especially if there is any originality to it compared to the classics. Beyond these initial disagreements, Ted will have to pass the final test - composing an original piece of music in ten minutes - which may make all their previous discussion moot. Written by
Tchaikovsky scolds Ted for having used one of his melodies and then says to the Official Recorder to let him "know when that Freddie Martin checks in here (Heaven)". Freddie Martin's biggest hit was "Tonight We Love" in 1941, which heavily borrowed from Tchaikovsky's Piano Concerto Number 1 in B-flat Minor. It was such a big hit that Martin began to incorporate melodies from the classics in follow-up songs. See more »
(Opening disclaimer) Dear Audience: In pictures that You've seen from time to time You've been to every country, and You've sampled every clime; You've roamed the jungles- Climbed the Alps You've sailed the seas (all seven) You've even been to Brooklyn Now, we're taking you to....... See more »
I just caught this movie today on Turner Classic, and it's very sweet - but most noteworthy is the leading man, who's a ringer for the young Bill Clinton (and, this being 1943, with a much better haircut than Bill ever had in the '70s). It's also an eye-opener for anyone who thinks the 1940s were an era of servile deference to the Dead White Euroguys of cultural history; our young bandleader is polite, but he argues tough with the millennium's heavyweight composers, and he scores his points. Recommended.
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