King of Jazz by James Layton and David Pierce

King of Jazz: Paul Whiteman's Technicolor Revue
by James Layton and David Pierce
foreword by Michael Feinstein
November 2016
304 pages
Media History Press

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King of Jazz (1930) was an ambitious project. The darling of Carl Laemmle's heir Carl Laemmle Jr., it sought out to showcase jazz superstar Paul Whiteman. The bandleader's popularity was staggering, boosted by his penchant for publicity and his ability to add to combine jazz with symphonic style. His name carried so much clout that night clubs were eager to be connected with him. Even his sideline bands and his singing trio the Rhythym Boys, made up of Al Rinker, Bing Crosby and Harry Barris, were in high demand. In 1927, Whiteman was at peak popularity and with the advent of sound in the film industry the Laemmles pounced on booking Whiteman for King of Jazz. But what exactly would this movie be about?

At first Universal tried to give King of Jazz a plot but what stood in their way was Whiteman himself. He wasn't particularly good looking so a romantic lead would be out of the question. He also wasn't much of an actor. Universal tried several times to make a musical out of King of Jazz. One of my favorite directors, Paul Fejos gave it a shot. As did other directors and other writers. Nothing was quite right. It didn't help that Whiteman turned everything down. It wasn't until musical theater director John Murray Anderson came on board and King of Jazz became a musical revue instead of a musical movie with a plot that the film started to take form. It featured a bevvy of talents, including Paul Whiteman himself, some from Universal's stock including John Boles, and others from theater and vaudeville. After many delays, King of Jazz released in 1930. Unfortunately, the onslaught of musicals and musical revues in the early talkie era created a fatigue for this genre of film. There were major flaws with the final production and critics and audiences alike took notice. As a result, it didn't perform well at the box office. However, this two-strip Technicolor movie was innovative and served as a time capsule of the era's entertainment industry. It would prove to be a historically important film.

In Layton and Pierce's follow up to The Dawn of Technicolor, this book explores all that went into the making of King of Jazz and beyond. Readers are treated to a history of Universal Studios, a full background on Paul Whiteman and a soup to nuts look at everything that went into the production of King of Jazz down to the smallest detail. For example, we learn all that took to make the Rhapsody in Blue number as blue as possible which was nearly impossible with two-strip Technicolor. Only red and green would show. In order to mimic blue, they juxtaposed a light green with silver. Also, did you know that Bing Crosby was going to have a bigger role in King of Jazz? He caused a car wreck and upset a judge which landed him in jail. He would be released from jail each day to work a bit on the movie only to go back after he was done.

We also learn about the film's release, subsequent re-releases and the nine foreign language versions. The film's legacy is a complicated one. King of Jazz was chopped up and prints and scenes went missing. It took decades to put it back together and it's still not fully complete. The authors also delve into the expensive and impressive recent restoration effort conducted by NBC Universal. I had the pleasure of seeing the restored film at last year's Capitolfest.

 (The video above is not from the restoration rather from the color corrected re-release. 

This is one of my favorite numbers from the revue.)

King of Jazz: Paul Whiteman's Technicolor Revue is a monumental feat. It's mind-boggling how much research went into this book. As I read through it I kept thinking to myself, what great lengths it took the authors to dig up all this information and present in such a composed and orderly fashion.

I contributed to the Kickstarter campaign for the creation of this book and am so pleased to see the final result. I loved reading The Dawn of Technicolor and I had high expectations for Layton and Pierce's new book. Needless to say these expectations were met and then some. This book is gorgeous. It's full of black-and-white photographs, drawings, sketches, music, portraits and color stills from the film. It's smaller in trim size than The Dawn of Technicolor which makes for much more comfortable reading. A lot of love and attention was put in this book and it shows from the self-cover down to the appendix.

For anyone who is interested in the early history of film, King of Jazz: Paul Whiteman's Technicolor Revue is a must-have for your library. Even if you have never seen the King of Jazz, the insights into the history of it will teach you a lot about this era in film making. Now maybe one day soon we'll get a Blu-Ray release of the fantastic restoration.

This is my fifth review for my Summer Reading Challenge.

Five Came Back by Mark Harris

Five Came Back
A Story of Hollywood and the Second World War
by Mark Harris
Penguin Press
511 pages
February 2014

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World War II was over and director John Huston was heading home. The army had one more assignment for him before he repatriated to good old Hollywood. They needed him to make a documentary about shell shocked servicemen being treated at a psychiatric ward. With soldiers coming back home and some dealing with serious mental trauma, the army was anxious to show employers across the nation that these men were treatable and would make fine employees. Propaganda films during the war became “a matter of strategic necessity” and this didn’t change when things were winding down. Huston was excited to show a reality of war that had been swept under the rug. The army’s vision of The Returning Psychoneurotic because Huston’s vision of Let There Be Light. Huston spent three months filming psychologists working with patients at Mason General Hospital. He had unfettered access and countless hours of precious footage. Once it was filmed, edited and in the can, a premiere at MoMA in New York City was arranged. At first the army approved the final result. But then they urgently tried to supress it. First they said they didn’t have music copyright permission for public screenings. Then they said the releases the soldiers signed were not legally binding. Even though Huston ended the film on an uplifting note, the army wasn’t ready for the public to see what Huston wanted them to see. Let There Be Light was supressed for 35 years. Huston fought for decades to have it released and finally got his wish when Vice President Walter Mondale gave his approval in 1980.

“The men were seeking adventure, but more than that, they were reaching for relevance in a world that had become rougher and more frightening than anything their studio bosses would allow them to depict on film.” – Mark Harris

The story of Huston’s Let There Be Light is one of many stories contained in Mark Harris’ book Five Came Back: A Story of Hollywood and the Second World War. Before the United States was involved in the war, there was an understanding that the film industry would be a crucial ally in building pro-War sentiment with the general public. After the attack on Pearl Harbor, five Hollywood directors enlisted and lent their talents as filmmakers to capture scenes of the war for the folks back home. These included John Ford, William Wyler, John Huston, Frank Capra and George Stevens. Harris follows their stories from just before the war, through to their assignments on the battle field and their eventual return to Hollywood. Told in chronological order the narrative intertwines their stories to tell the bigger story of WWII.

Anyone with an interest in 1940s film will be fascinated by how the war influenced pictures including feature films but also documentaries and shorts. Many films are discussed at length and what’s particularly fascinating is how the director’s involvement in the war affected their films. Did you know Frank Capra wanted to make Arsenic and Old Lace so his family could have some income while he was away? Or that Harold Russell was first part of William Wyler’s Diary of a Sergeant before he was added to The Best Year’s of Our Lives? Or that George Stevens witnessed the horrors of the concentration camps and after that couldn’t bring himself to make comedies in Hollywood?

“As long as they lived, the war lived in them.” – Mark Harris

William Wyler (left)

George Stevens (center)

John Ford (left)

John Huston (second from left), Frank Capra (right)

Films discussed at length include Meet John Doe (1941), Mrs. Miniver (1942), The More the Merrier (1943), They Were Expendable (1945), The Best Years of Our Lives (1946), It’s a Wonderful Life (1946), The Treasure of the Sierra Madre (1948) and more. Then there are the documentaries that brought home the story of the war. These included Capra’s Why We Fight series and The Negro Soldier, Huston’s The Battle of San Pietro and The Report from the Aleutians, Ford’s The Battle of Midway, Stevens' Nazi Concentration Camps and Wyler’s The Memphis Belle: A Story of a Flying Fortress and others.

Mark Harris’ book is a result of five years of archival research and it shows. It’s incredibly detailed and while it’s not overly long it does take quite a bit of time to read. Mostly because of it’s structure and how much information is packed in its pages. I’m fascinated by this era so it was essential that I read Five Came Back. The book inspired a Netflix mini-series which I’m keen to watch. It does help to have seen some of the films and documentaries mentioned in the book. Many of the docs are available on YouTube including Huston’s Let There Be Light which I highly recommend you see and have included below.

Five Came Back is a fascinating book about Hollywood directors contributing to the war effort during WWII and how their experiences affected them.

This is my fourth review for my Summer Reading Challenge.

Where the Boys Are (1960)

In the late 1950s, the young adult rite of passage known as "spring break" was blossoming. Legions of college students would make the trek to warmer climes. Spending Easter week in the sunshine and sand broke up the monotony of collegiate life. It wasn't until author and English professor Glendon Swarthout wrote a novel called Where the Boys Are that spring break became the phenomenon it's known as today.

It all started when Swarthout overheard some of his English honor students discussing an upcoming trip from Michigan State University to Fort Lauderdale, Florida. Intrigued by their enthusiasm, Swarthout asked them questions about their trip. They invited him to join and see for himself and he did. Swarthout observed the goings on of his students and others on Spring Break and his observations proved to be the inspiration for his next novel. In a 1985 interview with Larry King, Swarthout said:

 "as the week progressed that this would make a fine novel, a very funny novel, and yet, I thought at the same time make a kind of ... write a kind of profile of that particular generation. Their aspirations, their hopes, their fears and so and that’s what I tried to do."

The title was inspired by a 1959 Time magazine article. In the piece a young coed was asked why she traveled to Fort Lauderdale in the Spring and she replied "that’s where the boys are." The novel was published in 1960 and became a bestseller. MGM purchased the rights and quickly turned around a low-budget movie. Little did anyone know how one movie would make a huge impact on youth culture.

Dolores Hart, Connie Francis, Yvette Mimieux and Paula Prentiss in Where the Boys Are (1960)

Producer Joe Pasternak, who was not new to movies that appealed to teens and young adults, gathered a bevvy of newcomers and contract players to make up of the cast of the film. Henry Levin directed the film and he would go on to work on two of my favorite 1960s sex comedies If a Man Answers (1962) and Come Fly With Me (1963).

Where the Boys Are (1960) stars Dolores Hart as Merritt Andrews. She attends Michigan State University with her good friends Tuggle (Paula Prentiss), Melanie (Yvette Mimieux) and Angie (Connie Francis). Sick of the cold weather and the uptight faculty who don't appreciate the hormonal struggle of their students, the foursome head south to Fort Lauderdale, Florida in search of fun in the sun and boys. On the way there they pick up TV Thompson (Jim Hutton), a quirky college student hitchhiking his way to Florida. At over 6 feet tall he's quickly paired up with the 5'10 beauty Tuggle. When they arrive in Florida there are more boys to meet. Melanie becomes the victim of two douchebag college students, Dill (John Brennan) and Franklin (Rory Harrity). While outspoken about sex, Merritt proceeds cautiously when she meets rich Massachusetts boy Ryder (George Hamilton). Angie seems to have the worst luck with the boys and only manages to partially capture the attention of the legally blind bass player Basil (Frank Gorshin). Also in the film is Barbara Nichols as the sexpot underwater performer Lola Fandango who temporarily threatens to break up TV and Tuggle.

Dolores Hart, George Hamilton, Paula Prentiss and Jim Hutton in Where the Boys Are (1960)

Actress Dolores Hart was on loan from another studio but all the rest were newcomers that were either recently signed or about to be signed as MGM contract players. Newcomers included George Hamilton and Yvette Mimieux, both of whom who had only made a few films previously and would later star in Light in the Piazza (1962) together. Where the Boys Are was the first film for both Paula Prentiss and Connie Francis. Prentiss was signed on to MGM when she was booked for the film. Because of their chemistry and the fact that they were both tall, Prentiss and Jim Hutton were paired in a total of four movies. Where the Boys Are (1960) was followed by The Honeymoon Machine (1961), Bachelor in Paradise (1961), The Horizontal Lieutenant (1962). In fact the chemistry of all of the players made them prime for other movies including Follow the Boys (1963) and Looking for Love (1964).

With a budget of $1.4 million, grossed triple that at the box office when it was released December 28, 1960. Where the Boys Are was an enormous hit. For publicity, MGM sent the cast on a 6 week tour all around the United States doing TV, radio and newspaper interviews wherever they could. A separate Fort Lauderdale premiere occurred on February 21, 1961. The effect on Fort Lauderdale was substantial. Already bracing for the impact of the spring break migration, they were completely unprepared when the 20,000 students increased to 50,000 after the movie was released and would keep growing in subsequent years. In an interview with Broward Palm Beach New Times, Connie Francis said, “it wasn’t even a movie, it was a national phenomenon. They didn’t know whether to kill me or give me the key to the city.” Where the Boys Are would popularize spring break and would also inspire subsequent beach movies that became such a part of 1960s youth culture.


The film captures the longing for sexual freedom and independence. It's at times humorous and dark. Audiences see the ridiculousness of spring break but also its dangers. I love that this film isn't just some silly comedy. It has a lot of heart and both teaches and entertains. Swarthout's book was a lot more scandalous and the movie version, adapted to the screen by George Wells, was toned down quite a bit. I like to believe that it still captures what Swarthout intended: a study of youth culture. I've always loved this movie but when I did some research on it and watched it again after not having seen it in a while, I have a new found appreciation. It doesn't hurt that Where the Boys Are has a fantastic cast, clothing to die for and a set that I just want to live in. The only thing I don't care for is the title song sung by Connie Francis which she revealed she didn't care for either at the start but it eventually brought her a lot of success.

The good folks at the Warner Archive Collection released Where the Boys Are (1960) on Blu-Ray recently and even though I already had a DVD-R copy I wanted to check out the new restoration. It looks beautiful! The Blu-Ray has closed captions (I'm always grateful for these), a featurette about the Fort Lauderdale premiere and a 7 minute documentary featuring interviews with Paula Prentiss and Connie Francis. I'm not big on commentary but I enjoyed listening to Paula Prentiss' commentary on the Blu-Ray. Highly recommended.

Where the Boys Are (1960) is available from the Warner Archive Collection. You can buy the Blu-Ray or the DVD-R from the WB Shop.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to the Warner Archive for sending me a blu-ray copy of Where the Boys Are (1960) for review!

Sources:
Glendon Swarthout official site
Michigan State University
Where the Boys (and Girls) Were!: The Fun and Sun History of Fort Lauderdale by Dan Santoro
Connie Francis interview
TCMDB