They called Paul Whiteman the "King of Jazz" - only real enthusiasts knew he wasn't. He was big in every way and by 1922 was making a million a year and it was only natural that when movies found their voice Hollywood would beckon. That was Universal in 1929, Carl Laemmle was seeking a headliner band for a big budget musical. The "Whiteman Special" train bringing the band (including Bix Biederbecke who unfortunately didn't make it on film) from New York to Hollywood was highly publicized with public appearances at every stop but the story writers couldn't come up with a story so the band, who had sat around idle for months, temporarily went back to New York.

Whiteman then suggested hiring John Murray Anderson, whose spectacular New York revues had made him Ziegfeld's closest rival and his futuristic and inventive influence made him the real star of the movie. There are so many tantalizing stories - Bing Crosby was all set to be the lead singer with the songs "It Happened in Monterey" and "Song of the Dawn" (a dazzler sang with a cowboy chorus) handed to him but he was involved in a drink driving incident in which he was sentenced to 60 days which was converted to a 40 day furlough but still saw the songs handed to John Boles who vocally was much better suited with his fruity tones. Years later in a documentary Crosby felt Boles carried the songs far better than he could have. Another story involved Jeannie Lang whose Helen Kane rendition of "Ragamuffin Romeo" and "I Like to Do Things For You" had preview critics raving but she had already been cut out of the soon to be released movie so editors had to quickly splice her back.

The film begins with Bing Crosby singing "Music Has Charms" over the credits (one song that Crosby retained) and after an animated cartoon (the first in colour) showing how Whiteman became "King of Jazz" he steps out to introduce "his boys" - there's Joe Venuti and Eddie Lang playing a marvellous duet and a startling shadow looming down on banjoist Mike Pingitore as he strums "Linger Awhile". Then it's "the girls" turn and the marvellous Rockettes dressed in spangley peach and silver go into a precision formation dance and show why they became legends.

Colour lends such a beauty to the "Bridal Veil" number with gorgeous displays of bridal gowns through the ages. Jeanette Loff (with the longest bridal train ever) looks as pretty as peaches and cream and sings very prettily too. Next are the fabulous Rhythm Boys who come out of the shadows of "Mississippi Mud" to sing a "super, super, special kind of production" (Harry Barris's words) of "When the Blue Birds and the Black Birds Get Together". Bing's sense of humour and comic timing is so spot on even though he was still only one of the Rhythm Boys. "A Bench in the Park" features Stanley Smith and Loff as a pair of lovers, joined in harmony by the Brox Sisters accompanied by the Rhythm Boys then "the girls" get together for a dance that was obviously the inspiration for "Pettin' in the Park". "Rhapsody in Blue" is just awesome, initially showing Jacques Cartier in a futuristic setting beating out rhythms on a huge drum. This sequence was supposed to have cost $500,000 with a huge centrepiece of a gigantic blue grand piano, the Paul Whiteman Orchestra inside, dancing girls on top of the keys, a kaleidoscopic effect of dazzling blue feathers and flowers. WOW!!

Where do you start with "Happy Feet" - from a pair of dancing shoes, the Rhythm Boys giving it their unique interpretation (with plenty of piano banging) the Sisters G are shown singing with their heads reflected against a shiny silver surface below - very psychedelic, they then give an all too brief but spirited dance, then the Rockettes dance out of a New York skyline to do another precision tap, then Al "Rubberlegs" Norman takes centre stage to do another of his dazzling eccentric rubberlegs routine!! and lastly Paul Whiteman (or his double) has a go at a vigorous Charleston. "Ragamuffin Romeo" is another "eccentric" dance with Marion Stattler whose gymnastics have her being thrown around like a rag doll.

"The Melting Pot of Music" is almost too much with a succession of sounds and images, dances and countries (strangely no mention of the African American) which then blended into the finale. Interspersed throughout the film were comedy hot spots but unlike other reviews of the time, they were short, snappy and not labored and with the clear print you were able to recognise the stars (Laura La Plante etc). Another reviewer mentioned a preference to "Hollywood Revue of 1929" but I'm sorry for me there is no comparison. This was a true spectacle enhanced greatly by colour and showcasing legends of the music world, to say nothing of Paul Whiteman's ease in front of the camera, the other just relied on movie stars out of their comfort zones being able to bring in a curious public.

Highly Recommended.

Back in the day, Paul Whiteman and his orchestra were big...almost Elvis big. Today, practically no one has heard of the guy though one of his band's soloists, Bing Crosby, went on to super-stardom. But you can tell Whiteman and his band was quite the powerhouse when you see this 1930 film and put it in perspective compared to other Hollywood films from the same year. First, very, very few films had any color in them in 1930 and when they did have Two-Color Technicolor, it was used for only a few minutes at a time--such as for big production numbers. Yet, amazingly, this film is in Two- Color Technicolor for the entire movie--a very, very expensive proposition! Second, the sets and costumes are incredibly lavish and look amazing. The bridal-style dresses in one of the numbers is just eye-popping! Third, the cinematography and sound are state of the art. Watching the tiny people climbing out of the handbag is STILL a technically amazing scene...and for 1930 it's really astonishing.

As far as the story goes, there is none. The film consists of one production number after another as well as a few comedy sketches and animations. This isn't a complaint...but it also makes it one of the most unusual films of all time. It's not really a musical in a traditional sense--more a record of a bygone era and acts. Some of the skits or musical numbers are pretty dated and haven't aged too well, some are still impressive. In many ways, this film is more something for film historians than the average viewer. Fortunately, the National Film Preservation Board recognized this as well and a pristine (or at least as close to pristine as possible) copy is being held by them for posterity. Well worth seeing and really NOT a film I could easily score. It's a wonderful artifact but might be tough viewing for some viewers.

Back in the 1920s and 30s, Paul Whiteman was a hugely popular big band leader...so big that the term 'King of Jazz' was created to describe him. Not surprisingly, this is also the title of this 1930 film, as it essentially is an entire film featuring the Whiteman orchestra and a bunch of mostly unfunny short comedy skits.

What immediately strikes you with this film is the Two-Color Technicolor. While it's obviously not full color, it is a decent early color process and looks very nice in the recently restored movie. This means that colors tend to be rather orangy and greenish-blue...but compared to other Two-Color films I've seen, this one is very nice.

Since the film is essentially a talent show, it's hard to really rate the thing. I noticed one reviewer preferred the "Hollywood Revue of 1929", though I thought "King of Jazz" was a better film. I particularly enjoyed a few of the acts, such as the very limber guy who seemed to have arms and legs made of rubber (his dancing was incredible),the enormous 'giant' ladies walking about the streets of New York, Gershwin's 'Rhapsody in Blue' (written for Whiteman) as well as the strange violinist with the enormous shoes....you just have to see them to believe them. You also get a couple chances to see Bing Crosby before he hit the big time, as he was one of three 'Rhythm Boys' who worked for Whiteman.

Apart from the acts, the film shows some incredibly complicated and amazing footage...due to some neat camera tricks, inventive camera angles and some very artistic cinematography. It really is an amazingly beautiful picture...even though some of the production numbers did drag on a bit and the humor was mostly unwelcome.

Well worth seeing...particularly if you are a fan of early cinema...though non-buffs might find it slow going and dated.