First, I would like to point out that I had always dreamed of living in the USA, but The Lady Of My Life hated the idea, although accepting the Big Country for more than 20 visits (business and leisure). However, from this infatuation I developed a strong interest in the two Fine Arts America is proud of: Jazz and Cinema. And America marked the 20th century with them. I even wrote one of the first studies on the subject (JAZZ ET CINEMA), published in 1956 by JAZZ MAGAZINE. In that study, I wrongly suggested YOUNG MAN WITH A HORN as the best movie about jazz musicians ever done (after further thought, the credit goes, for me, to JAMMIN' THE BLUES). And also being the first movie really treating the subject, for which I was also wrong: that credit goes to Anatole Litvak's BLUES IN THE NIGHT, 1941, discovered last year and featuring Jimmie Lunceford and his Orchestra. Maybe not for the quality: after a Nth vision, yesterday on TCM, together with Minnelli's DESIGNING WOMAN (a Bacall Festival, what a double feature!) I still consider YMWAH as the best. It has everything a jazz buff needs: It is based on Bix Beiderbecke's life (also brought to the screen by the Italian Pupi Avati, filmed on locations but totally missed); it features three big stars, still alive and well; it is literally inhabited by jazz; the trumpet solos are played by Harry James, who also signed in as musical adviser; it brings on the screen, as mentioned by David Meeker's JAZZ IN THE MOVIES a certain number of jazz stars of the time, including Jack Jenney, Willie "the Lion" Smith, Corky Corcoran (longtime a member of Harry James' outfits)and Nick Fatool, who drummed also for Benny Goodman and Artie Shaw; I didn't notice Louis Armstrong and Zutty Singleton, as mentioned in IMDb's credits... Let's not forget that Harry James, considered as an intruder by some experts signing their own comments, was Down Beat's Number One in I944, over Louis Armstrong, and contributed to many Hollywood issues, including Hollywood HOTEL, SPRINGTIME IN THE ROCKIES, BATHING BEAUTIES, BENNY GOODMAN STORY and LADIES' MAN. The observation made by some of the IMDb comments, concerning the uncomfortable situation of the Blacks in the early 50ies is very interesting, compared to the results reached since. During my last visit in the States (2006), I was flabbergasted by two things in my relation with Black individuals: I could not understand their accent (but they perfectly understood mine) and 2. At least those I spoked with looked well integrated, comfortable in their jobs and liking it. If I had to assembly now a capsule illustrated study on JAZZ AND CINEMA. I would start it with the Benny Goodman Motorcade beginning Hollywood HOTEL and end it with the last number of Bob Fosse's DVD by Ann Reyking and Ben Vereen: SING, SING, SING (with a Swing).Harry Carasso, Paris, France
Review of Young Man with a Horn
