This film is in two-tone Technicolor. It is rather like a vaudeville brought onto the stage with music, short sketches, and variety turns.
From the perspective of today, the glaring omission is that the American Negro influence is not given any acknowledgement whatever. In the melting pot scene at the end the American Negro influence is glaring conspicuous by its absence. Although there is certainly a European influence in American jazz music, it is less of an influence than African music or - don't forget - Mexican music. But the film was of its time, and at that time, the Amrican Negro playing jazz was not officially referred to, and it would be some time before black artists could be spoken of as musical heroes. Funnily enough Paul Whiteman's star singer Bing Crosby, who appears in this film with the Rhythmn Boys, would have a huge role to play here by his collaborations with black artists like the Mills Brothers.
In spite of all this, we must regard this film in the context of the period it was made, regret the Negro omissions and enjoy the film for its own sake.
Other impressive acts are the trick violinist playing "Pop Goes the Weasel", bel canto singer John Boles and that amazing rubber-legged dancer Al Norman. (Eat your heart out, John Travolta)
Although I was not born till a quarter of a century after the release of this film, I cannot but help a feeling of nostalgia. We will certainly never see the like of these acts again. But for this film, the magic of Boles and Norman and the Whiteman orchestra would be gone for good.
From the perspective of today, the glaring omission is that the American Negro influence is not given any acknowledgement whatever. In the melting pot scene at the end the American Negro influence is glaring conspicuous by its absence. Although there is certainly a European influence in American jazz music, it is less of an influence than African music or - don't forget - Mexican music. But the film was of its time, and at that time, the Amrican Negro playing jazz was not officially referred to, and it would be some time before black artists could be spoken of as musical heroes. Funnily enough Paul Whiteman's star singer Bing Crosby, who appears in this film with the Rhythmn Boys, would have a huge role to play here by his collaborations with black artists like the Mills Brothers.
In spite of all this, we must regard this film in the context of the period it was made, regret the Negro omissions and enjoy the film for its own sake.
Other impressive acts are the trick violinist playing "Pop Goes the Weasel", bel canto singer John Boles and that amazing rubber-legged dancer Al Norman. (Eat your heart out, John Travolta)
Although I was not born till a quarter of a century after the release of this film, I cannot but help a feeling of nostalgia. We will certainly never see the like of these acts again. But for this film, the magic of Boles and Norman and the Whiteman orchestra would be gone for good.