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12 out of 12 people found the following review useful:

Historic Gem

Author: charles shoemake ( from cambria california
28 November 2005

In the 1940's there were probably 5,000 B movies made that were no better or worse than this one with one big exception.This little film has a scene that contains five truly great jazz artists playing at close to their peak. I think it's now on youtube.

I saw it on a late show in Palo Alto California 42 years ago and in those days there were no tape machines.(it wouldn't have mattered since I was watching it in a motel.) Anyway, the jazz greats are Coleman Hawkins, Howard McGee,Sir Charles Thompson, Denzil Best, and most of all, Oscar Pettiford on the bass. For a young jazz bass player to be able to watch the great Pettiford in action would be worth something of value thats immeasurable. MOST IMPORTANTLY, the other comments are incorrect !! That is definitely Coleman Hawkins and Oscar Pettiford on the sound track. Believe me, I KNOW their playing. It's definitely THEM !! I'm shocked that people haven't heard that. p-s I had just finished playing a concert with the George Shearing Quintet in Concord California opposite Dave Brubeck and came back to the motel and this movie was on t.v. Talk about an unbelievable the way, I was able later to secure the film.

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9 out of 10 people found the following review useful:

A fun film with an unusual hero and a jazz great.

Author: John Nedby from Philadelphia, PA
1 June 1999

Jazz saxophone pioneer Coleman Hawkins plays in the background of this fun mystery in which a jazz-mad detective secures his dream assignment: investigating a murder in a jazz cabaret. The detective's musical passion is infectious and the film stimulated my interest in jazz of all periods. For me the refreshing depiction of detective as music enthusiast raised the film above the level of most B-mysteries then prevalent.

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7 out of 7 people found the following review useful:

Musicians clip available

Author: dadoun-1 from Canada
3 September 2007

I've never seen the film either but the Esquire Jazz All-stars sequence is over on you tube, just search for Crimson Canary (the Josh White clip is there too) - see the comment there that the musicians actually playing are not the ones that were filmed (sadly enough) ... N --- PS. I guess I might as well duplicate my comments here since IMDb won't let me post a comment under 10 lines: Unfortunately (according to David Meeker's Jazz in the Movies) the featured musicians are not the ones actually playing! The musicians are: Nick Cochrane - trumpet; Eddie Parkers - lead trumpet; Dale Nichols - trombone; Barney Bigard -clnt; King Guion - tenor; Stan Wrightsman - piano; Budd Hatch - bass; Mel Torme - drums. Why the Esquire all-stars weren't good enough to play their own music one can only guess but I suspect it was a licensing or union thing. BTW, the other musicians pictured there besides Howard McGhee, Oscar Pettiford, and Coleman Hawkins are Sir Charles Thompson on piano and Denzil Best on drums ... N

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3 out of 3 people found the following review useful:

Hot jazz, a two-timing woman, a murder, and a band on the run.

Author: gordonl56 from Canada
21 June 2010

*** This review may contain spoilers ***

-- "THE CRIMSON CANARY" - 1945 A group of navy vets form a jazz combo just after the war and hit the road looking for work. We have Noah Beery Jr. on trumpet, Danny Morton on drums, John Kellogg on the ivories, Jimmy Dodd on sax and Steve Brodie playing the clarinet. They are playing a small jazz club owned by Steven Geary. Claudia Drake is the club singer who is making the rounds of the band. The drummer, Morton, falls hard for the tart and wants to marry her. Beery, the leader of the group, warns her off with an "or else" threat. The band ends their set for the night and hit the bar to tip a few. Morton begs off saying he has had enough already. 20 minutes later the band hits the change room to pack up their stuff. What do they find but an unconscious Morton and a very dead Drake. The boys grab up Morton, their instruments, their pay, and make a dash out the door. Morton recalls having an argument with Drake but has no idea how she ended up dead. They all agree to split up and lay low for a while till the heat cools. Beery and Morton hide out in San Fran where Beery's girl, Lois Collier lives. John Litel is the Police detective who draws the case. Litel is a jazz fan who uses a recording of the band to track them down. He hits all the local jazz clubs till he rounds up the band. While this is going on, Collier is doing an investigation of her own. She discovers that Miss Drake had also been stepping out with club owner Geary. Geary was less than amused with the attention she was laying on Morton. Geary had killed Drake and framed Morton for the crime. Collier confronts Geary, which needless to say is not the swiftest thing to do. It is only the timely arrival of Detective Litel and Beery that save Collier from the same fate as Drake.

While not a gem by any means, this Universal Studios low renter passes the time quite well. As a bonus for the jazz fan, there is a set that features tenor sax great, Coleman Hawkins, as well as bass legend, Oscar Pettiford. Josh White even gets in a couple of songs.

John Hoffman directed the film. Hoffman worked mostly as an editor with WHY MUST I DIE and WAR HUNT as examples of the films he worked on. The screenplay was by Henry Blankfort. Blankfort wrote the screenplays for "Underworld Story" and "Open Secret". The D of P was Jerome Ash who was a bottom B and serial cameraman.


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2 out of 2 people found the following review useful:

Seen on Pittsburgh's CHILLER THEATER in 1977

Author: kevin olzak ( from Youngstown, Ohio
16 May 2011

1945's "The Crimson Canary" was a Universal mystery with a twist, the main suspects are jazz musicians, allowing for about 20 minutes of music to detract from the investigation. Noah Beery Jr. heads the cast as the trumpet playing bandleader, who discovers the body of their flirtatious singer (Claudia Drake), dead from a fractured skull, in the same back room as her unconscious fiancée, the group's drummer. With a young Mel Torme dubbing the drums, the music holds more intrigue than the whodunit angle (the killer's identity is hardly a surprise), but John Litel steals it as the detective with a fine ear. This film aired twice on Pittsburgh's CHILLER THEATER, although it was never included in Universal's popular SHOCK! package of classic horror films first issued to television in the late 50's, which still featured a number of non horror titles. Also shown on CHILLER THEATER was another whodunit with music, 1944's "Murder in the Blue Room" (also with John Litel), but at least that one featured an actual ghost, albeit a comic one. Other non SHOCK! Universals to air on CHILLER THEATER included 1934's "The Crosby Case," "The Man Who Reclaimed His Head," and "Rendezvous at Midnight," 1938's "The Black Doll," "The Crime of Doctor Hallet," and "The Missing Guest," 1939's "The House of Fear," 1940's "The Invisible Woman," 1941's "The Black Cat," 1942's "Invisible Agent," and 1944's "Jungle Woman."

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1 out of 1 people found the following review useful:

This would have made a better 30 minute short...

Author: calvinnme from United States
22 January 2017

...because there just isn't that much story here. A vocalist in a small dive of a club is flirting with all of the five members of a jazz band, trying to get her hooks into one. Why I don't know. It's not like she is Yoko Ono and these guys are the Beatles. They are impoverished musicians on the way up - maybe- living out of a suitcase. The beginning shows Danny (Noah Beery, Jr.) telling the vocalist, Anita (Claudia Drake), to leave Johnny alone - he's promised to marry her and Danny says he'll kill her if she doesn't back off.

Then after the next number Anita's bludgeoned body is found in the back room by the quintet. Johnny blacked out during the time of the murder so he doesn't know if he did it. Danny is the leader of the band, and says that, before anybody else discovers the body, they should just all pack up and leave as though they never saw anything, and go to their next gig. So that is what they do, except the police are waiting. So they split up waiting for the heat to be off. But the heat is never off when it comes to murder.

And so for the next thirty minutes you are mainly following Danny around as he is always looking over his shoulder for the police. Danny turns out to be engaged to a girl with an inquiring mind who goes looking for the real perpetrator. In this interim period that really has no surprises there is a great jazz performance by Coleman Hawkes.

The end finds the jazz quintet right back at Vic's club, the scene of the crime, where detective Quinn (John Litel) is waiting for them. Now how Quinn got this job is crazy. The commissioner thought he would be good at it because he likes jazz? Crazy man, crazy.

The ending is not that big of a surprise because of the claustrophobic scene of the crime and therefore limited number of suspects, but for what The Crimson Canary lacks in plot it makes up in atmosphere and some great jazz. Just realize that this film is more hep cat than Hitchcock and you should enjoy it.

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1 out of 1 people found the following review useful:

Musicians led by Noah Beery, Jr. elude Det. John Litel who is on a case of murder

Author: msroz from United States
19 December 2013

The fame of "The Crimson Canary" rests on the appearance of several jazz notables at 32 minutes in. The front line is Coleman Hawkins on tenor and Howard McGhee on trumpet. Oscar Pettiford plays a vigorous bass, Denzil Best is on drums and Sir Charles Thompson on piano. They play "Hollywood Stampede" for almost 2 minutes. They are followed by Josh White. They do not play either the orchestral sound track or the dubbing for the traditional jazz quintet. Other reviews identify those musicians. Among them, Barney Bigard on clarinet is the best known.

Noah Beery, Jr. leads a quintet of vets. In the club's back room, drummer Danny Morton passes out. When he awakes, joined by the others, they find the dead body of the club's singer. Morton has no memory of what happened, so they go on the run. Club owner, Steven Geray, cannot tell Det. John Litel where they've gone. Litel, a jazz fan, has one recording of the group and seeks to find it by the distinct sound of Beery's trumpet.

This movie is a noir in several respects, both story and atmosphere. I strongly doubt that the film's makers consciously strove to make a noir as that style was not even identified. It's more that it was becoming a way to do films like this. The "way" actually consists of a number of elements. In the story, we have a veteran who has no memory for the time he blacked out. Compare "The Blue Dahlia". The police may be pursuing the wrong man, but we are unsure. There is ambiguity. There is a singer who can excite, tantalize and frustrate men. A trustworthy and helpful figure can turn out to be duplicitous. The atmosphere is dark clubs and the quintet flees into the dark night. Beery is almost paranoid about police in a dark scene with Lois Collier. The jazz figures as a kind of underground music, found in smoky and dark clubs.

The overall result is far, far different than a Charlie Chan mystery. It's not a major b-movie noir, not in the category of "Detour". The jazz clip is on youtube. Old collector copies are available for a price. Maybe some day Universal will clean it up and market a good copy.

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