the audience applauded

I don't have all the words right now but this film is a work of art.

As Good As It Gets

An old-fashioned movie made with new-fashioned finesse.

Nat King Cole stars in "St. Louis Blues," a short yet loving tribute to W. C. Handy. Like most Hollywood biopics, I'm sure this film barely scratches the surface of Handy's life and career, but it captures the essence of W.C. Handy, the expression of one's self and heart through music, through song. Despite the pressure to follow his minister father's footsteps, he had to go his own way, even if he was disowned. Juano Hernandez plays his narrow-minded father, who dismisses any music other than plain piano church music. This is a continual theme and plot of the movie. Will W.C. ever get or feel his father's approval? But what makes the film so great in an otherwise straightforward script is the cast and performances involved. Eartha Kitt, as a nightclub singer and a contact Will uses for advancement in his career, gets most of the screen time when Nat is not singing, and they both sing quite differently in their ways, but stop the show equally. Also outstanding is the presence of the great gospel vocalist Mahalia Jackson, who can stir one up with her prayer-like style. And, then there's Ella Fitzgerald who makes a brief appearance as herself who apparently influenced W.C. Handy. And, then there's Cab Calloway, who doesn't get to sing, but adds much as an opportunist who uses W.C. Handy for his own devices. And Ruby Dee is on hand as W.C.'s girlfriend. And, Ruby is really jealous of Eartha. And, lastly, one of my favorites of all time, the inimitable Pearl Bailey, with her sassy self, as W.C.'s aunt. Both Mahalia and Pearl did not sing enough to suit me, but this was about W.C. Handy. For all these people and the sheer talent in one place, you can't get much better. Granted the film is too short, but maybe you can just watch it over and over. "St. Louis Blues" and its stars are worth the trouble to find it. Do it today.

"St Louis Blues", the 1958 biopic of the great W.C Handy, is, though not perfect, very enjoyable to watch and-- more importantly-- listen to.Portraying Handy is Nat King Cole, in his only leading role in a feature-length Hollywood film. He sings a few tunes (all fantastically performed, of course) and his acting is even relatively convincing. Also in the cast is Eartha Kitt (whose role I believe would have been better filled by someone like Lena Horne), Cab Calloway, Pearl Bailey and even Billy Preston as Handy as a child. Ella Fitzgerald joins the cast, too, but it is only a cameo. Nevertheless, her part is very important; she gives a stellar rendition of "Beale Street Blues", one of the many great W.C Handy tunes featured.I would definitely recommend this movie, mostly because of the talent in it-- Nat King Cole, Ella Fitzgerald and the rest of the cast's talent and, of course, W.C Handy's talent.This perfect blend of lightheartedness, drama and music is a great biopic of one of America's-- and the world's-- most talented songwriters is a must-see for any lover of Handy or Cole, or, such as myself, both.

I saw a portion of this the other day when TCM aired it. Unfortunately, it was on while I was working out at the local health club, so I only got to see what was on while I was there. What I saw was wonderful and I regret that I could not view it in its entirety. The scenes I did see showcased velvet-voiced Nat King Cole; the following young and lovely actresses/songstresses--Ruby Dee, Pearl Bailey, Eartha Kitt (tiny waist!); the one and only Mahalia Jackson; and the truly incomparable Ella Fitzgerald. Every time I hear Ella Fitzgerald sing, I am struck by what an incredible gift she had; her voice was so sweet, so clear, so melodic and just plain lovely.I was delighted to see this film and the talent showcased there. This is like an Ocean's 11--whether the original Rat Pack or the remake with Clooney et al--in that it's a veritable concentration of celebrity talent all in one film! It's a shame that our history created such divisions between Blacks and Whites that this show had to be produced for Black audiences; it's a fifty year old treasure, period. I'm grateful that TCM aired it.It was interesting to see the struggle within Handy between "church" and "the world." There is a point where he is remembering his father's declaration that, "There are two kinds of music: the Lord's and the Devil's!" and it makes me think how often we decide what God does or does not want us humans to do with our talents and passions. I could see the beauty that Handy gave the church (in the songs he wrote) and the beauty that Handy gave "the world" with his jazz. It was such a burden to put on Handy that if he wasn't in the church, he was therefore not honoring God, vis-a-vis his talent. It didn't give him much of an option to have any concept of grace, but rather, created an either/or, all or nothing scenario, which is unbalanced at best. As for the color/b&w argument, I personally think that B&W films allow the viewer to focus on the story itself. Sometimes color can be distracting to a film b/c it's just visual "noise." Thank God they didn't ruin it with showy musical numbers (choreography and choruses--ugh) but left it to shine with tinkling and stellar jazz. I would encourage you to watch this film; noteworthy storyline aside, the faces and voices alone are worth it.

As long as the great old films are not on home video, we have to search far and long for the elusive cable broadcasts. Well I was pleasantly surprised to see this one air yesterday on Turner Classic Movies. A film that completely reversed the procedure so well known at MGM: keeping actors of color out of the plot of a film so as not to offend the patrons (and sponsors)of Southern movie theaters. Paramount Pictures took such a gamble in 1958 with this biopic of turn-of-the-century blues composer W. C. Handy, son of a rather rigid preacher man, whose musical gifts are repeatedly deflated and discouraged by said father (who believes such progressive music is only the work of shiftless sinners). The big surprise in this film is the warm, sensitive, and totally subdued performances of the majority of the film's lead cast: Nat 'King' Cole as the quiet Handy, Ruby Dee as his patient, waiting-in-the wings fiancée', and Eartha Kitt as a sassy and ambitious nightclub singer. Even Kitt's character- which would normally be presented as a two-dimensional 'bad girl' caricature, shows some interesting depth as she quietly champions Handy's blues and jazz compositions to be seen by a larger, more commercial, audience. The Alan Reisner direction often leans towards the melodramatic, and veterans Cab Calloway and Pearl Bailey aren't given much to do, but the film soars very nicely as a complete movie. Two honorable mentions must be made however, in the names of Mahalia Jackson- whose gorgeous voice can be heard several times in the church scenes as a choir mistress, and Ella Fitzgerald (perhaps my favorite solo singer of all time) who is featured in a *true* cameo appearance singing a single torch song in a nightclub which Handy happens by one evening. It makes one yearn for more early chances like this one, and makes me especially happy that these performers are archived- even in this small capacity- on motion picture film.