Jazz enthusiasts in particular, and pop 40s devotees in general will enjoy the fine jazz renditions in "The Benny Goodman Story." Some very fine clarinet playing is heard on the soundtrack by Goodman himself, and there are many wonderful jazz musicians heard and seen as guests in the film. While Benny's story may well have been "reinvented" a bit for story's sake, the over all feel to the film is a typical rise from humble beginnings to the heights of stardom scenario. Those who'll enjoy the musical performances without being too critical on factual matters will undoubtedly find this a pleasant film. Goodman's famed Carnegie Hall concert is recreated as the movie's climax--and what a concert that was!
30 Reviews
Well made biopic of the first man to front an integrated band.
ianlouisiana5 April 2006
Warning: Spoilers
Benny Goodman is respected in jazz circles not only as the first virtuoso clarinetist in the field,but,more importantly and influentially,leading the first band to have both black and white musicians on the stage at the same time.In Ken Burns' epic TV series "Jazz" BG is one of the few white musicians to get much more than a token mention - his importance in the social history not only of jazz but of the very fabric of life in America cannot be overstated.After the success of "The Glenn Miller Story" it was inevitable that Miller's more talented contemporary would become the subject of a biopic - the major difference being BG was still alive. Although respected by his peers BG was not liked,he was not a tolerant man and was very conscious of his "star" status,if any of his sidemen got more applause than he did he would go into a sulk and cut the solo out the next night.Of necessity,the portrayal of him by Mr. Steve Allen was not very accurate,although there was a remarkable physical similarity. Mr Allen,a great jazz lover and a fine pianist,taught himself to play the clarinet for the role and made BG seem a bit like an absent-minded professor,until he picked up his horn. Miss Donna Reed,beautiful,talented and,sadly,rarely mentioned nowadays in film literature adds style and class as the future Mrs BG. The music is wonderful,as it should be with the cream of former Goodman alumni to choose from.There are featured roles for Mr Teddy Wilson,Mr Lionel Hampton and Mr Gene Krupa(soon to have his own biopic with Sal Mineo in the lead).Of the older generation Mr Ben Pollack and Mr Edward "Kid" Ory are particularly welcome. The climax to the film is the legendary Carnegie Hall concert of 1938. The movie led to a welcome resurgence of interest in BG's music and a lot of British jazzmen went into the recording studios with "hommage" Benny Goodman quartets which must have helped to pay the mortgage. With the aforementioned "Drum Crazy - The Gene Krupa Story",the jazz biopic craze fizzled out,although W.C.Handy got a look in with "St. Louis Blues - The Story of W.C.Handy",but it was dire and failed to put bums on seats. Not until Clint Eastwood's "Bird" did the genre revive,however temporarily.By then both the movies and their audience had changed irrevocably. I suspect if "The Benny Goodman Story" was to be remade today it would be less adulatory in tone.The one story that I think sums him up most accurately and not unpleasingly concerns a rehearsal conducted in an unheated room.One after the other,band members complained about the cold until BG finally looked up from his music stand and said"You're right,it is cold".He put his clarinet down and went out of the room.The musicians cheered up,thinking he had gone to arrange for some heating.Three minutes later he came back wearing a thick pullover.
Geat Film From 1955
whpratt111 March 2007
Enjoyed this very entertaining film about Benny Goodman performed by Steve Allen who himself was a great composer, piano player and all around actor and late night show host. This was a very compact Hollywood story detailing the life of the great Jazz King of the 30's. Donna Reed, (Alice Hammond) gave a great supporting role as Benny's girlfriend and then his wife. The film was filled with all great jazz musicians, Gene Krupa, Lional Hampton, Harry James and Sammy Davis Sr. along with many other famous jazz musicians. In the 1950's you were able to go to the Roxy Theater, Paramont and Music Hall in New York City and see these great musicians in between the showing of their feature movies and at very low prices, especially at 10 AM for a price of $1.25 to $2.00. This is a great film and the musical selections will keep you glued to this film from beginning to end.
Reasonable retelling of a portion of BG's life story
john.palmer29 April 2003
Growing up in the 40's in Brooklyn, I heard the music of BG, Miller, Dorsey, Shaw, etc. on the family radio(Martin Block's "Make Believe Ballroom"). I became a big fan of Benny's in 1950, with the release of the Columbia LP of the Carnegie Hall concert and the 1937-1938 radio broadcast albums.The music on these live performance albums was outstanding and spontaneous as opposed to the sterile studio recordings locked into a 3 minute format for 78 rpm records. These albums resulted in a resurgence of Benny's popularity and, ultimately lead to the movie.
Steve Allen, while not a great choice, was probably the best at that time, since he was a popular TV personality and was a music lover and musician in his own right. As for Donna Reed, well what can anyone say except that she was as beautiful as ever and the consummate pro as the female lead. A fairly fast paced film with loads of musical guest stars and some pretty good tunes made famous by and played by BG for the soundtrack.
Benny was not an exciting or controversial guy, so how do you generate enough interest to draw people to the movie,as is the case today. In 1955, good music did the trick. About the only controversy about Benny was his reputation of staring down any band member who diverted from the the arrangement. One former musician described in an interview how "the old man gave me the evil stare for the whole number after hitting a wrong note early on".
Too bad they could not synchronize the actual concert music with the movie. In particular, the quartet version of "Stompin At The Savoy" in which Gene Krupa's cymbal flew off the stand and was hit by Lionel Hampton on the way by without missing a beat, or the concert rendition of "Sing,Sing,Sing", probably the best ever recorded.
If you like this film go out and buy the newly released CD of the Carnegie Hall concert complete with 2 numbers previously excluded from other releases with intros by BG and no interruptions between numbers allowing you to hear the sounds of the band setting up for the next number, etc. Just like being there.
Steve Allen, while not a great choice, was probably the best at that time, since he was a popular TV personality and was a music lover and musician in his own right. As for Donna Reed, well what can anyone say except that she was as beautiful as ever and the consummate pro as the female lead. A fairly fast paced film with loads of musical guest stars and some pretty good tunes made famous by and played by BG for the soundtrack.
Benny was not an exciting or controversial guy, so how do you generate enough interest to draw people to the movie,as is the case today. In 1955, good music did the trick. About the only controversy about Benny was his reputation of staring down any band member who diverted from the the arrangement. One former musician described in an interview how "the old man gave me the evil stare for the whole number after hitting a wrong note early on".
Too bad they could not synchronize the actual concert music with the movie. In particular, the quartet version of "Stompin At The Savoy" in which Gene Krupa's cymbal flew off the stand and was hit by Lionel Hampton on the way by without missing a beat, or the concert rendition of "Sing,Sing,Sing", probably the best ever recorded.
If you like this film go out and buy the newly released CD of the Carnegie Hall concert complete with 2 numbers previously excluded from other releases with intros by BG and no interruptions between numbers allowing you to hear the sounds of the band setting up for the next number, etc. Just like being there.
Formula..but oh, that music!
rube242419 April 2003
THE BENNY GOODMAN story, the half brother of the GLENN MILLER STORY and the GENE KRUPA STORY and the first cousin of THE FABULOUS DORSEY'S is a made to order biopic that lacks ooomph because of the reticence of the title character. Steve Allen's Goodman doesn't have the boyish enthusiasm that James Stewart had as Miller, but rather a quiet nerdishness that although possibly respresenting the person correctly, doesn't make for thrilling cinema. Because of this, Allen treads water valiantly, while all Donna Reed has to do is look lovingly at him and look as beautiful as, well, Donna Reed. (The real find in the film is Berta Gerstein, of whom I had never heard, but who I gather from reading the IMBD database, must have been a Yiddish theater/cinema star, as Benny Goodman's mother. She is so real that she makes the rest of the actors seem like cardboard.) But what a treat it is to see and hear Kid Ory, Harry James, Martha Tilton, Lionel Hampton, Ziggy Elman, Urbie Green and to hear Goodman himself.
Where the film shines is in its music and never more so than at the halfway point's Paramount Theater engagement and the ending's Carnegie Hall concert of 1938. In these two spots the film soars. AND THE ANGEL'S SING is classic and SING SING SING will blow the top off your DVD player.
So, THE BENNY GOODMAN STORY, usual biopic with some amazing music. (Want a great double feature? No, not THE GLENN MILLER STORY which is fun, but rather the 1947 NEW ORLEANS with more jazz greats including Louis Armstrong. Now, as Cole Porter would say, you has jazz!)!!!!!!!!
Where the film shines is in its music and never more so than at the halfway point's Paramount Theater engagement and the ending's Carnegie Hall concert of 1938. In these two spots the film soars. AND THE ANGEL'S SING is classic and SING SING SING will blow the top off your DVD player.
So, THE BENNY GOODMAN STORY, usual biopic with some amazing music. (Want a great double feature? No, not THE GLENN MILLER STORY which is fun, but rather the 1947 NEW ORLEANS with more jazz greats including Louis Armstrong. Now, as Cole Porter would say, you has jazz!)!!!!!!!!
" Care to dance? Then try a new kind of music, . . . . call Swing! "
thinker169130 October 2013
Writer, director Valantine Davies took on this musical challenge as a testimony to the legendary impresario Benny Goodman and what was then called 'Swing' music.' The film itself is called " The Benny Goodman Story " and it features the late great comic Steve Allen. The movie does a good job of incorporating the early life of the famed musician and the life-struggles he encountered. Striving from an early age to learn his instrument and then later to adapt it to create what he called a 'special' type of music for the era of Early Swing and later Jazz age. The movie does not lend itself any of Goodman's foibles or controversies as there were little in his life. Still it does take a few liberties with his personal history, but nothing which detracts from the established music which he help to initiate. Indeed, his ability to play his clarinet and entrance his audiences is what makes this movie and then the cast which includes Donna Reed, Berta Gersted and Barry Truex as Benny Goodman (at 16), is what marks this Bio-pic as a musical Classic and the late great Gene Cruppa on drums. In addition for any who love the legendary sounds of the Big Bands in the age which started them all, you can do no better than sit and enjoy this musical rendition which is a tribute to that era. Easily recommended. Well done.
A great film
Elgroovio19 May 2004
This film is considered by many as being a pretty mediocre film, but I think this film is truly great. Maybe it's just a jazz-lover's point of view; Benny Goodman is my favourite artist, and is the man who inspired me to take up the clarinet. Steve Allen comes across as a likable Goodman, and manages to look the part. Donna Reed also does her job pretty well but the people in the film who will really catch your attention are the jazz musicians that are in the film, playing themselves. These musicians include: the very enthusiastic drummer Gene Krupa, the trombone player Edward "Kid" Ory, the vibraphone player Lionel Hampton and the famous band leader and drummer of the '20s Ben Pollack. Whether you like the film or not, you have got to like the music which includes such Goodman classics as "Don't be that way", "Sing, Sing, Sing", "Let's Dance" and "One o'clock jump". All in all, a highly enjoyable film which, as far as I am concerned, is better than the much acclaimed film "The Glenn Miller Story" starring James Stewart in the part of Miller. "The Benny Goodman Story" is a must-see for all jazz fanatics and all clarinet players. The film also features a very impressive rendition of Mozart's clarinet concerto (Goodman also gave classical music a try, as you can see, to great effect). I'd say that it is decidedly worth seeing. Enjoy!
Musically satisfying true life melodrama
funkyfry19 March 2007
Warning: Spoilers
This project by Valentine Davies (who also wrote but did not direct the more famous but IMHO inferior "Glenn Miller Story") rises somewhat above the usual level of musical biographies largely due to the fact that it puts most of the emphasis on music (as opposed to the standard romantic melodrama, which is present but less important than usual) and contains many original musicians from the "big band" period who along with Goodman revolutionized jazz music.
Steve Allen plays Goodman, and IMHO he did a superior job to most actors who try to play an instrumental musician. He truly seemed to have respect and love for the instrument. Barry Truex actually also did a very good job in the scenes as the teenaged Goodman. Donna Reed puts in a competent but unexceptional performance as his blue blooded love interest. Although the word "jew" is never mentioned in this film, the central component of the melodrama seems to be that Benny's mother disapproves of his marrying a high born gentile woman. I thought the early parts were interesting, in the sense that Goodman had to basically convince Alice (Reed) that swing music was musically respectable.
Other characters weave themselves in and out of the thread of Goodman's life with reasonable proximity to truthfulness. Some of these represent the names of some of his greatest collaborators -- appearing in most cases with rather unconvincing wigs and/or dye jobs. These include Harry James, Gene Krupa, Lionel Hampton, Teddy Wilson, Ben Pollack, Ziggy Elman, and Martha Tilton. At one point we're even treated to a partial recreation of the famed Carnegie Hall concert, which represents both the musical and dramatic finale of the film. But my favorite scene was when the guys in Goodman's band met Lionel Hampton -- working in a cafe as the waiter, cook, and entertainment. Benny can't resist the urge to get his instrument out and jam with him; the film's honest depiction of "jam sessions" featuring artists like Hampton and Wilson is one of its brightest points.
A solid musical bio-pic with just the right amount of story and plenty of solid music.
Steve Allen plays Goodman, and IMHO he did a superior job to most actors who try to play an instrumental musician. He truly seemed to have respect and love for the instrument. Barry Truex actually also did a very good job in the scenes as the teenaged Goodman. Donna Reed puts in a competent but unexceptional performance as his blue blooded love interest. Although the word "jew" is never mentioned in this film, the central component of the melodrama seems to be that Benny's mother disapproves of his marrying a high born gentile woman. I thought the early parts were interesting, in the sense that Goodman had to basically convince Alice (Reed) that swing music was musically respectable.
Other characters weave themselves in and out of the thread of Goodman's life with reasonable proximity to truthfulness. Some of these represent the names of some of his greatest collaborators -- appearing in most cases with rather unconvincing wigs and/or dye jobs. These include Harry James, Gene Krupa, Lionel Hampton, Teddy Wilson, Ben Pollack, Ziggy Elman, and Martha Tilton. At one point we're even treated to a partial recreation of the famed Carnegie Hall concert, which represents both the musical and dramatic finale of the film. But my favorite scene was when the guys in Goodman's band met Lionel Hampton -- working in a cafe as the waiter, cook, and entertainment. Benny can't resist the urge to get his instrument out and jam with him; the film's honest depiction of "jam sessions" featuring artists like Hampton and Wilson is one of its brightest points.
A solid musical bio-pic with just the right amount of story and plenty of solid music.
Brilliant, touching, entertaining!
steve-86226 December 2004
I may have seen this film more than 20 times, unfortunately it has been unavailable in the UK for 10 years and not on TV all that time so I'm missing it right now. It is such a good film whether you enjoy Benny Goodman's music or jazz for that matter or not. Benny Goodman's life was pretty interesting anyway and it's portrayal in this movie is fairly accurate. The music score covers all the best from Benny Goodman and his Orchestra and is a tribute to one of the earlier band leaders in Jazz. There were not too many bands with both black and white members at that time but this was such a band. What was great for the Benny Goodman Orchestra was the fact that many of the members were such well known and respected performers themselves. There was such talent in that group of musicians and how fortunate it was that they should all come together at that time to create and play some brilliant music.
With regard to the film it is based on the life of Benny Goodman and if you know about him the presence of spoilers here would not ruin things. In short though this film shows Benny Goodman from a young boy through to after he has made a success of himself. His challenges, disappointments, love interests are all a part of the story through the film.
I couldn't fault anything in this film, direction, acting, all of it is just right and it makes for a film you can enjoy over and over again.
They certainly don't make movies like this anymore.
9 out of 10. (I reserved 10 out of 10 for my very best 3 or 4 films, this is a top 10 of mine still).
With regard to the film it is based on the life of Benny Goodman and if you know about him the presence of spoilers here would not ruin things. In short though this film shows Benny Goodman from a young boy through to after he has made a success of himself. His challenges, disappointments, love interests are all a part of the story through the film.
I couldn't fault anything in this film, direction, acting, all of it is just right and it makes for a film you can enjoy over and over again.
They certainly don't make movies like this anymore.
9 out of 10. (I reserved 10 out of 10 for my very best 3 or 4 films, this is a top 10 of mine still).
Luckily, it's the sound track that matters and it's in good hands!
JohnHowardReid10 November 2017
Warning: Spoilers
Copyright 1956 by Universal-International. New York opening at the Capitol: 21 February 1956. U.S. release: February 1956. U.K. release: 20 February 1956. Australian release: 23 February 1956. Sydney opening at the Lyric. 10,458 feet. 116 minutes.
NOTES: Despite its long running time, Universal sold this film as a "B" in many overseas locations, including Australia and New Zealand. The reason: Aside from Donna Reed, absolutely no star power.
COMMENT: The script is mediocre and distorts the truth in a dull way. The musical numbers are tied together with a feeble romance that wastes the only interesting player in the cast, Donna Reed.
Still, if you like swing — and whose feet don't start tapping to such numbers as "Stompin' at the Savoy" and "One O'Clock Jump"? — this film is a must-see, despite its tired plot by Valentine Davies and its equally tired direction by the same gentleman.
Mr. Davies wrote the screenplay for "The Glenn Miller Story", but he obviously had more dramatic material to work with there.
Furthermore, Miller was not in a position to sue the film's producers if the story they came up with was not to his liking; whereas Benny Goodman is still very much alive. This could account for his life story emerging as a very bland and inoffensive vehicle, especially as Goodman himself recorded this film's soundtrack. The film is a joy to hear but a bore to watch.
OTHER VIEWS: The bland story is the usual tale of the slum kid who makes good. At least it's inoffensive, though the script is remarkably coy as to why Mrs. Goodman doesn't want her Benny to marry a non- Jewish girl.
Still, Miss Reed wears a new gown in every scene and looks absolutely stunning. I suppose that's reason enough. Aside from the jazzy start, Davies the director is wearisomely over-indulgent to Davies the scriptwriter, the pace sluggish, the delivery slow so that not a word of silver dialogue be lost. Luckily, it's the sound track that matters and it's in good hands!
NOTES: Despite its long running time, Universal sold this film as a "B" in many overseas locations, including Australia and New Zealand. The reason: Aside from Donna Reed, absolutely no star power.
COMMENT: The script is mediocre and distorts the truth in a dull way. The musical numbers are tied together with a feeble romance that wastes the only interesting player in the cast, Donna Reed.
Still, if you like swing — and whose feet don't start tapping to such numbers as "Stompin' at the Savoy" and "One O'Clock Jump"? — this film is a must-see, despite its tired plot by Valentine Davies and its equally tired direction by the same gentleman.
Mr. Davies wrote the screenplay for "The Glenn Miller Story", but he obviously had more dramatic material to work with there.
Furthermore, Miller was not in a position to sue the film's producers if the story they came up with was not to his liking; whereas Benny Goodman is still very much alive. This could account for his life story emerging as a very bland and inoffensive vehicle, especially as Goodman himself recorded this film's soundtrack. The film is a joy to hear but a bore to watch.
OTHER VIEWS: The bland story is the usual tale of the slum kid who makes good. At least it's inoffensive, though the script is remarkably coy as to why Mrs. Goodman doesn't want her Benny to marry a non- Jewish girl.
Still, Miss Reed wears a new gown in every scene and looks absolutely stunning. I suppose that's reason enough. Aside from the jazzy start, Davies the director is wearisomely over-indulgent to Davies the scriptwriter, the pace sluggish, the delivery slow so that not a word of silver dialogue be lost. Luckily, it's the sound track that matters and it's in good hands!
Wonderful music, but otherwise pretty bland
larry-labati31 March 2009
This film was certainly made in order to give jazz and swing band fans a real fine dose of perhaps the greatest swing music ever recorded, and this it does in abundance and in very fine form.
However, the story and dramatic part of this film is truly not very well executed, and much inferior to the previous year's "Glen Miller Story".
And, as a previous commentator stated on this site, why couldn't the producers have put in a little more thought into the costumes of the period, not only for the women, although this is where it is obviously not proper period costume, but also for the men.
Are 1920's fashions that difficult to reproduce? I don't think so.While Donna Reed certainly looked beautiful in the clothes she did wear in the film, it was a bit "jarring" to know that the story is taking place in the 20's and 30's, and everyone is parading around in mid 50's clothing.
Otherwise, the film is modestly entertaining, and the music , as mentioned, is superb.
However, the story and dramatic part of this film is truly not very well executed, and much inferior to the previous year's "Glen Miller Story".
And, as a previous commentator stated on this site, why couldn't the producers have put in a little more thought into the costumes of the period, not only for the women, although this is where it is obviously not proper period costume, but also for the men.
Are 1920's fashions that difficult to reproduce? I don't think so.While Donna Reed certainly looked beautiful in the clothes she did wear in the film, it was a bit "jarring" to know that the story is taking place in the 20's and 30's, and everyone is parading around in mid 50's clothing.
Otherwise, the film is modestly entertaining, and the music , as mentioned, is superb.
A fine glimpse--if not of the actual life of Mr Goodman--of giants of the Swing era.
jjgregory30 July 2008
Viewed from the point of view of a jazz fan interested in the history of swing, this movie is a treasure. There are moments all through when some of the true greats in jazz can be at least glimpsed, and some have ongoing parts: Buck Clayton, on trumpet, Teddy Wilson on piano, Gene Krupa, on drums, Lionel Hampton on vibes, Stan Getz on tenor saxophone (he was the farthest to the right on the front row--almost always cut out of the pan-and-scan print shown on TCM, but he has a great solo and closeup in one of the numbers, in the Palomar ballroom section). There are other stars who appear for one scene, but it's fun to see them, even briefly. Ziggy Elman plays his trumpet solo on "And the Angels Sing" glibly verbatim from the famous recording, but rushes, unfortunately. The plot is quite predictable, and there's no clinch at the end, just shining eyes. A must-buy for the jazz sentimentalist--but get the wide-screen version.
Schmaltz 'n swing
rps-219 November 2000
The Goodman story looks terribly contrived and schmaltzy here in enlightened 2000. Yet schmaltz was what Hollywood was all about in 1955. So Donna Reid smiles and simpers, black man Kid Ory walks unchallenged into an NBC studio (in 1937???) and you just know the movie will end with a "and they all lived happily ever after." But maybe the Hollywood of 55 wasn't that bad. There was no heavy breathing, no f-words, no bare butts but lots of superb music by now deceased masters. The ultimate test? My wife and I really enjoyed watching it! But that doesn't seem to be the reason they make movies these days.
The Benny Goodman Story has great music but that's all!
gitrich26 October 1998
If you like Benny Goodman music, this might be a great film. It is NOT accurate in its story of the famous band leader but most formula Hollywood films aren't. Steve Allen is only average as Benny Goodman and he was lucky to have the veteran actress Donna Reed playing his love interest. Some heavy weight musicians appear as themselves. They are: Gene Krupa,Lionel Hampton, Teddy Wilson and Sammy Davis Sr. just to name a few.
1930's or 1950's? - Costumes are wrong!
CatchyJ-112 March 2007
I enjoyed the music in this film immensely but the thing that drove me absolutely crazy was the costumes. This film is supposed to take place from 1910 - 1938 yet Donna Reed is in full 1950's dress including her hair and makeup. It actually screws up your whole perception of when the story takes place. Would it have killed them to dress her and the other women in period dress? There is one sad attempt at a 20's outfit where Donna is at a speakeasy and has on a cloche hat with her bangs in spit curls but of course her dress is a total 50's Dior 'New Look' with a cinched waist and huge skirt. It's also sad that original Benny Goodman vocalist, Martha Tilton, is only on film for like 1 minute singing one short refrain.
Nice, light biopic
HotToastyRag7 January 2022
You'd better love jazz if you're going to rent The Benny Goodman Story. On the heels of the successful The Glenn Miller Story, this famous bandleader was also given his own biopic - but without any tragedy in the story. So, you can sit back and relax. You'll get to see some humble beginnings, an unlikely romance, and tons of music played by Benny and his band! The casting is great, with a strong likeness between the little boy, Steve Allen as the adult version, and Benny himself. Steve's not the best actor in the world, but he certainly comes across as a serious musician who can't really focus on anything or anyone else. His slightly wooden delivery adds to his believability (and the fact that he was a famous musician and songwriter in real life didn't hurt either). In one scene, he's eating lunch at a café and listening to a piano player. He's holding his girlfriend's (Donna Reed) hand, but he starts tapping with his fingers. Donna smiles knowingly, removes her hand without his notice and replaces it with the handle of his clarinet case so he can join in the music. It's very funny, and it shows a valuable lesson to the ladies in the audience: if you want to get involved with a musician, be prepared to take second place.
Most biopics of musicians have some elements of sadness in them, but this is generally light. Benny's father dies early on in the film, but from then on out, it's nothing but blue skies and jazzy songs. So if you like old music and are in the mood for something on the sweeter side, check it out.
Most biopics of musicians have some elements of sadness in them, but this is generally light. Benny's father dies early on in the film, but from then on out, it's nothing but blue skies and jazzy songs. So if you like old music and are in the mood for something on the sweeter side, check it out.
Swing
jotix10016 July 2012
Warning: Spoilers
As biopics go, "The Benney Goodman Story" is seldom seen these days on classic movie channels. The 1956 Universal International picture deserves a look, not only for the story itself, but for the historical events depicted in the film. Directed and written by Valentine Davies, it takes the viewer to one of America's best musician, Benny Goodman, to his humble origins in Chicago and culminating in his milestone January 16th 1938 jazz concert in Carnegie Hall, a venue considered the mecca for classical music until that time.
Benny Goodman was an innovator. He discovered American jazz to be one of the most original forms of music, dedicating his life to what he knew best, giving the public pleasure with his many recordings during his lifetime. He had a talent for surrounding himself with the best musicians, as proved with the people he had in his orchestra. Gene Kruppa, Fletcher Anderson, Ted Ory, Teddy Wilson, Lionel Hampton, Ziggy Elman, and even his own brother Harry were among the people who either played, arranged music, or just influenced him.
The story involves his romance with Alice Hammond, a rich woman, way out of Benny Goodman's league, who became a fan after a disastrous first encounter. Alice recognized Benny's talent and fell in love with him. Alice and Benny met through her brother John. He was a record producer who recognized Benny's talent from the start. Steve Allen, seen as Goodman, makes an impression for the way he got the essence of the musician. Donna Reed is wonderful as Alice, the sweet lady that was the love of Benny.
Benny Goodman was an innovator. He discovered American jazz to be one of the most original forms of music, dedicating his life to what he knew best, giving the public pleasure with his many recordings during his lifetime. He had a talent for surrounding himself with the best musicians, as proved with the people he had in his orchestra. Gene Kruppa, Fletcher Anderson, Ted Ory, Teddy Wilson, Lionel Hampton, Ziggy Elman, and even his own brother Harry were among the people who either played, arranged music, or just influenced him.
The story involves his romance with Alice Hammond, a rich woman, way out of Benny Goodman's league, who became a fan after a disastrous first encounter. Alice recognized Benny's talent and fell in love with him. Alice and Benny met through her brother John. He was a record producer who recognized Benny's talent from the start. Steve Allen, seen as Goodman, makes an impression for the way he got the essence of the musician. Donna Reed is wonderful as Alice, the sweet lady that was the love of Benny.
Honor the Centennial of the King of Swing
schell-76 April 2009
Warning: Spoilers
He was born in the spring of 1909, and beginning with his first hit recording, "Moon Glow" in 1934, he routinely scored a dozen top-ten hits on a yearly basis. Some regard his title, "The King of Swing," as insulting to the African-American tradition that became America's indigenous art form, jazz. It's true that Count Basie, Duke Ellington, Chick Webb, and Fletcher Henderson probably deserved the title, but Benny Goodman was also deserving, and moreover an admirable, seminal representative of the historical period that became known as the "Swing Era." Moreover, in his 1938 Carnegie Hall concert he broke both the "cultural" barrier that insisted on privileging classical European music over "vulgar" American popular forms as well as the color barrier that made it unusual, unlikely, and often impossible for white and black musicians to play on the same stage. Benny was a great musician, as in command of a classical repertory as of jazz, but he was also an ambassador and an example, making the public aware of the music of Billie Holiday (he also introduced Peggy Lee), Lester Young, Lionel Hampton, Teddy Wilson, and the beauties of a music that was a sophisticated American music as well as a highly swinging one.
Forget the plot of this adequate but conventional love story. You'll have to look long and hard to find a movie with this much great American music. And give some thought to the revolution that began in the 1950s and changed the American landscape in the 1960s after the "British invasion." Goodman looked like a boring banker. He wore suits and ties--and he played clarinet! How could he have been adopted by a primarily young generation as a hero if not major pop star? Steve Allen is a bit better looking (and far more clever and articulate) than Goodman, but he won't explain the revolution that made hair, guitars and grubby jeans more worthy of our time, attention, and money, tons of it, than a genteel adult like Goodman. Benny instead introduced us to a guitarist who was black, wore suits, and became known as the "Father of the Jazz guitar," Charlie Christian. Benny Goodman was about sophistication, civility, and competence--and that's exactly what you get, and in abundance, from the musically hip Steve Allen.
Thanks to this movie, I developed a lifelong love of jazz. I'm still swinging, and I'm still left puzzled by the sounds of distorted guitars, of groups that can't perform without vocals, and of drummers who are clueless about the subtle, airborne groove of a 4/4 walking bass, a tight hi-hat, and a shimmering ride cymbal. And I still fail to grasp the entertainment value of performers who wear torn jeans, earrings and tattoos while commanding tens of thousands for a single performance. If you can't hear music unless the beat sounds like an amplified, mechanical drill hammer, you probably won't like this movie.
Forget the plot of this adequate but conventional love story. You'll have to look long and hard to find a movie with this much great American music. And give some thought to the revolution that began in the 1950s and changed the American landscape in the 1960s after the "British invasion." Goodman looked like a boring banker. He wore suits and ties--and he played clarinet! How could he have been adopted by a primarily young generation as a hero if not major pop star? Steve Allen is a bit better looking (and far more clever and articulate) than Goodman, but he won't explain the revolution that made hair, guitars and grubby jeans more worthy of our time, attention, and money, tons of it, than a genteel adult like Goodman. Benny instead introduced us to a guitarist who was black, wore suits, and became known as the "Father of the Jazz guitar," Charlie Christian. Benny Goodman was about sophistication, civility, and competence--and that's exactly what you get, and in abundance, from the musically hip Steve Allen.
Thanks to this movie, I developed a lifelong love of jazz. I'm still swinging, and I'm still left puzzled by the sounds of distorted guitars, of groups that can't perform without vocals, and of drummers who are clueless about the subtle, airborne groove of a 4/4 walking bass, a tight hi-hat, and a shimmering ride cymbal. And I still fail to grasp the entertainment value of performers who wear torn jeans, earrings and tattoos while commanding tens of thousands for a single performance. If you can't hear music unless the beat sounds like an amplified, mechanical drill hammer, you probably won't like this movie.
Great Movie!
mattieboyinaz20031 November 2004
I loved this film. Huge Donna Reed fan, and I think this is one of her best films aside from "From Here To Eternity" that she did in the 1950's. Finally a movie about someones life made in the 1950's without June Allyson. The close up's Donna has in this film make you melt, she is and always was even in her 60's breath taking! And this movie shows that. Her and Steve Allen who plays Benny Goodman have great chemistry, and I have read that Donna & Steve look very much like Mr. & Mrs. Goodman but didn't act like them. According to Steve Benny Goodman was brilliant but wasn't a very nice man. And surprisingly this film didn't do as well as the previous "Glen Miller Story". Which I found to be alittle dull. Anyways great film a recommend it to everyone!
Good Music, but Hokey
mlbachorik24 February 2015
The fun of watching this movie is the music, of course, but other than that, it's a typical 50's whitewash kind of film. All the issues that existed at the time are glossed over. 1. No mention is made of the fact that Alice was married when they met, that they had an affair, and that her British husband divorced her for infidelity. She's portrayed (charmingly by Donna Reed) as an innocent rich girl. 2. The fact that Benny is Jewish and she's not is alluded to one time, but not even mentioned outright. 3. Race is completely ignored. There's this illusion that the black musicians were accepted everywhere, hotels, restaurants, 5th Ave. mansions. The Benny Goodman Story could be made today and tell the realities of the integration of the bands, and it would be a great story. The good parts--well, seeing Gene Krupa, Teddy Wilson, and Lionel Hampton portray themselves. All that talent on display! That was great. One last thing, the costumes. It was fun to see Alice's gorgeous 1950's dresses. But the movie was set in the 30s! WHY didn't they bother to put the cast in 1930's clothing? That part is just laugh out loud odd.
Good Biopic of an Enormously Talented Musician
LeonardKniffel28 April 2020
Benny Goodman was known as the King of Swing, and his songs "Sing, Sing, Sing," "One O'clock Jump," "Stompin' at the Savoy," "Moonglow," "Goody Goody," and my favorite "And the Angels Sing" (performed in this film by Martha Tilton) helped define an era. He was still going strong when this movie was made and continued to play his clarinet until his death in 1986 at the age of 77. Portrayed as an adult by television pioneer Steve Allen, Goodman's band musicians perform in this film: Gene Krupa, Teddy Wilson, Ben Pollack, Edward "Kid" Ory, and Lionel Hampton. The film makes clear that Goodman was instrumental in breaking the racial barrier in American music. Gorgeous Donna Reed costars (and blessedly doesn't sing), and Sammy Davis Sr. plays Fletcher Henderson. And you'll love the scene where Goodman shows the music snobs that he can play Mozart's "Clarinet Concerto" with the best of them. ---from Musicals on the Silver Screen, American Library Association, 2013
The Reality Was a Lot More Interesting than the Movie
bob-790-19601815 July 2010
The opening sequence with Papa and Mama Goodman and their kids shows us a slice of cozy urban ethnic life, but in fact Benny Goodman grew up in terrible circumstances, the ninth of 12 children in a poor family in a rotten neighborhood of Chicago. He was haunted all his life by the hard labor endured by his father in order to feed the family.
And so it goes throughout this movie: the reality has been bled out of the story so that what's left is lifeless. In the film, black musicians like Teddy Wilson and Lionel Hampton just happen to join up with Goodman, when in fact it was almost unprecedented to have blacks and whites performing together, at least before white audiences, and certainly in the South, where the bands would tour. After Goodman set the precedent of working with blacks, black members of white bands still regularly endured all sorts of humiliations in the South, and not just there.
It has been said that the soggy plot and Steve Allen's deadly performance can be overlooked because there is so much great music throughout the film. There is something to be said for that. But consider what was done in the final sequence--the 1938 Carnegie Hall concert. Yes, it was fun seeing the real Harry James, Ziggy Elman, and Gene Krupa perform. But we had to endure repeated cutaways to Goodman's mother and girlfriend, and the real focus of the sequence was on this sappy, conventional romantic situation rather than on the importance of the concert.
I had just listened to a recording of the entire concert--introductions, setups, and applause included--prior to watching this movie. It was the Goodman orchestra at the peak of its powers, and the evening must have been electrifying. It certainly was a milestone in jazz history. Also present were other greats of jazz from the Ellington and Basie bands (even Basie himself at one point). Watching the chopped up portrayal of the concert in the film, I wished Donna Reed and the actress playing Mama Goodman would just disappear.
And yet clearly Benny Goodman gave his stamp of approval for the film, providing all the clarinet music. I doubt that he needed the money. So go figure.
And so it goes throughout this movie: the reality has been bled out of the story so that what's left is lifeless. In the film, black musicians like Teddy Wilson and Lionel Hampton just happen to join up with Goodman, when in fact it was almost unprecedented to have blacks and whites performing together, at least before white audiences, and certainly in the South, where the bands would tour. After Goodman set the precedent of working with blacks, black members of white bands still regularly endured all sorts of humiliations in the South, and not just there.
It has been said that the soggy plot and Steve Allen's deadly performance can be overlooked because there is so much great music throughout the film. There is something to be said for that. But consider what was done in the final sequence--the 1938 Carnegie Hall concert. Yes, it was fun seeing the real Harry James, Ziggy Elman, and Gene Krupa perform. But we had to endure repeated cutaways to Goodman's mother and girlfriend, and the real focus of the sequence was on this sappy, conventional romantic situation rather than on the importance of the concert.
I had just listened to a recording of the entire concert--introductions, setups, and applause included--prior to watching this movie. It was the Goodman orchestra at the peak of its powers, and the evening must have been electrifying. It certainly was a milestone in jazz history. Also present were other greats of jazz from the Ellington and Basie bands (even Basie himself at one point). Watching the chopped up portrayal of the concert in the film, I wished Donna Reed and the actress playing Mama Goodman would just disappear.
And yet clearly Benny Goodman gave his stamp of approval for the film, providing all the clarinet music. I doubt that he needed the money. So go figure.
All That Jazz
Lechuguilla28 July 2007
Maybe back in the 1950s this film was of interest to viewers. But half a century later, it comes across as dated, bland, and boring. Benny Goodman no doubt was a talented band leader and clarinet player. But many other musicians have also been talented, and their "story" has not been told on screen. I'm not being factious when I ask of this film: what's the story here?
Surely it's not Goodman's public persona. The film portrays him as expressionless, nerdy, versatile, single minded, and uncompromising. As a bland Goodman, Steve Allen's performance is understated, and that renders a protagonist so flat and dull that a mannequin could have played the title role as well.
Actually, there is a "story" here, if you look closely. It's Goodman's insight. He was something of a musical prophet. He anticipated what audiences wanted to hear. Instead of the usual "stock arrangements" being played on radio and in clubs, Goodman opted for a new style, called "hot music", derived in part from a synthesis of ragtime and dixieland jazz, music that was, at first, relegated to your local, disreputable back room speakeasy. Goodman popularized that style of music.
Technically, the film is adequate. Costumes and production design are credible. There are some interesting camera angles at the film's beginning; lighting is conventional. Although Goodman's appearance changes as he gets older, his longtime friend Gil Rodin (Dick Winslow) does not change at all through the years, an oversight in makeup and/or casting. As Goodman's love interest, Donna Reed shines. She is adroit at changing facial expressions during scenes wherein not much is happening. The film's structure is okay, but the ending is abrupt; the film just ... stops.
One of the better aspects of this film is the appearance of other famous musicians, including Harry James, Gene Krupa, Lionel Hampton, and singer Martha Tilton.
Although I did not find "The Benny Goodman Story" to be especially interesting, it probably would be of interest to viewers who like Goodman's dated style of music, or to those interested in the history of popular music in the U.S.
Surely it's not Goodman's public persona. The film portrays him as expressionless, nerdy, versatile, single minded, and uncompromising. As a bland Goodman, Steve Allen's performance is understated, and that renders a protagonist so flat and dull that a mannequin could have played the title role as well.
Actually, there is a "story" here, if you look closely. It's Goodman's insight. He was something of a musical prophet. He anticipated what audiences wanted to hear. Instead of the usual "stock arrangements" being played on radio and in clubs, Goodman opted for a new style, called "hot music", derived in part from a synthesis of ragtime and dixieland jazz, music that was, at first, relegated to your local, disreputable back room speakeasy. Goodman popularized that style of music.
Technically, the film is adequate. Costumes and production design are credible. There are some interesting camera angles at the film's beginning; lighting is conventional. Although Goodman's appearance changes as he gets older, his longtime friend Gil Rodin (Dick Winslow) does not change at all through the years, an oversight in makeup and/or casting. As Goodman's love interest, Donna Reed shines. She is adroit at changing facial expressions during scenes wherein not much is happening. The film's structure is okay, but the ending is abrupt; the film just ... stops.
One of the better aspects of this film is the appearance of other famous musicians, including Harry James, Gene Krupa, Lionel Hampton, and singer Martha Tilton.
Although I did not find "The Benny Goodman Story" to be especially interesting, it probably would be of interest to viewers who like Goodman's dated style of music, or to those interested in the history of popular music in the U.S.
Benny Goodman Orchestra Performing at Carnegie Hall
agent_dscully17 July 2006
Warning: Spoilers
It is was interesting to figure out what footage was the movie and what footage was from the actual 1938 performance at Carnegie Hall. There are two ways to figure it out: watch the color of the piano and what type of shot is taken by the camera. In close up shots with Steve Allen as Benny, the piano is brown. In far away shots, the piano is black. The far away shots are the actual 1938 footage. And of course, if you see Steve Allen (the close up shots), it is the movie footage. Without knowing that the original 1938 performance was spliced in with the 1955 movie footage , the viewer might see this as a continuity error.
Although Steve Allen was not a clarinetist, one can see by his "performance" that he went to a lot of trouble to look as if he was actually playing (spoiler: Benny Goodman himself was actually playing clarinet off camera with the other musicians in the movie). As a musician and music historian, I am often annoyed when an actor or actress pretends to play a musical instrument: his or her performance usually looks fake.
Excellent movie for all musicians! Very seldom do you see movies with so many great performances. It was also terrific to see some very famous musicians like Gene Krupa and Harry James.
Although Steve Allen was not a clarinetist, one can see by his "performance" that he went to a lot of trouble to look as if he was actually playing (spoiler: Benny Goodman himself was actually playing clarinet off camera with the other musicians in the movie). As a musician and music historian, I am often annoyed when an actor or actress pretends to play a musical instrument: his or her performance usually looks fake.
Excellent movie for all musicians! Very seldom do you see movies with so many great performances. It was also terrific to see some very famous musicians like Gene Krupa and Harry James.
Very enjoyable
tworleft24 June 2006
If you like the jazz/swing music of yesteryear you will really enjoy this movie. Steve Allen plays the part of Goodman almost like two different people. He is extremely awkward in anything not related to music and unbelievably comfortable where music is involved. This might have been a true representation of Goodman himself. Donna Reed is wonderful. She has the clean cut beauty that you really don't see in many of the female stars of today. I believe many men could fall in love with her. The thing that makes this movie is the music. How often to you get to hear and see the great jazz/swing artists that have parts in the movie. I particularly enjoyed Teddy Wilson. He was a great artist. Although the movie took many liberties on Goodman's life it's typical of this time in Hollywood.
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