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New Orleans (1947)

Approved | | Music, Romance | 18 April 1947 (USA)
A gambling hall owner relocates from New Orleans to Chicago and entertains his patrons with hot jazz by Louis Armstrong, Billie Holiday, Woody Herman, and others.

Director:

Writers:

(screenplay), (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
...
Nick Duquesne (as Arturo De Cordova)
Dorothy Patrick ...
Miralee Smith
...
Grace Voiselle
...
Mrs. Rutledge Smith
...
Colonel McArdle
Richard Hageman ...
Henry Ferber
...
Biff Lewis
Bert Conway ...
Tommy Lake
Joan Blair ...
Constance Vigil
John Canady ...
Undetermined Secondary Role
Louis Armstrong and His Band ...
...
Endie
Woody Herman and His Orchestra ...
Woody Herman and His Orchestra
...
Louis Armstrong (as Original New Orleans Ragtime Band)
Zutty Singleton ...
Drummer (as Original New Orleans Ragtime Band)
Edit

Storyline

A gambling hall owner relocates from New Orleans to Chicago and entertains his patrons with hot jazz by Louis Armstrong, Billie Holiday, Woody Herman, and others.

Plot Summary | Add Synopsis

Taglines:

It's the Lowdown of Wicked Old Basin Street! And the Music That Made It Wicked!

Genres:

Music | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

18 April 1947 (USA)  »

Also Known As:

A Cidade do Jazz  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Goofs

In the first scene there is a shot of Basin Street, and the year 1917. We hear West End Blues playing, which was not recorded until 1928. See more »

Connections

Edited into Billie Holiday: The Ultimate Collection (2005) See more »

Soundtracks

Basin Street Blues
(uncredited)
Written by Spencer Williams
Possibly played instrumentally or cut from the movie
See more »

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User Reviews

 
Only The Music Is Worthwhile In This Overbaked "Drama"
6 April 2016 | by (United States) – See all my reviews

Some inconsequential dialogue and an overly dramatic story sandwiched between some entertaining jazz performances. Actually, the story is manufactured only to bring jazz to the big screen.

And the music is the real reason to watch this film. It includes some really nice arrangements and solos, especially by Louis Armstrong. Billie Holliday also appears.

There are also some interesting cameos, e.g. Shelly Winters. But the music is the real star. It feels quaint now to consider that this film practically apologizes for bringing jazz to society's elites. It uses classical music as a bridge to suggest that jazz might be worth appreciating.


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