King of Jazz (The Criterion Collection) [Blu-ray]

There are films you patiently wait to be released on Blu-ray, and then there are those certain occasions where you're hoping for a miracle. The latter is the case with Universal's 1930 two-strip Technicolor musical-revue epic, THE KING OF JAZZ.On its initial release, this cinematically innovative homage to popular bandleader Paul Whiteman failed to ignite with an audience jaded on musicals. A recut reissue in 1933 didn't help much, and the film fell into almost total obscurity. It wasn't until the 1970s that THE KING OF JAZZ acquired cult status among film archivists and private collectors, and efforts began to bring it back into the public eye. MCA Universal answered the call in 1983 with a VHS release of the '33 cut, but the result was disappointing having been transferred off a blurry, 16mm print with muddy color. That was still better than nothing, and it helped to get KING OF JAZZ on the National Film Registry list in 2013, which in turn fueled hope for a well-deserved restoration. Now, at last, that hope has been realized with Criterion's jaw-dropping Blu-ray edition of this amazing movie.Although primarily conceived as a celebration of Paul Whiteman and his band, KING OF JAZZ emerges as a brilliant, highly entertaining pastiche of music, dancing, singing and comedy skits presented with dazzling camera effects, immaculate costumes and lavish set design, all held together by director John Murray Anderson's sure hand. Anderson was a big-name director of Broadway shows, and this was his first and only job helming a feature film, although there's no way the production belies this fact. Of all the big Hollywood musical revues from the period, none comes close to matching the scope that KING OF JAZZ pulls off in terms of creativity and entertainment value. Simply put, this is an audience pleaser on every level. Highlights include a young Bing Crosby making his film debut as part of a trio (Crosby also sings over the film's opening credits), the very first color animated cartoon featuring Whiteman on a lion hunt, a snappy dance number called "Happy Feet" that anticipates Busby Berkeley's 42ND STREET (1933), and the truly eye-popping "Rhapsody in Blue" segment that has Whiteman and his orchestra rise out of a gigantic grand piano accompanied by chorus girls in top hats and tights, tip-toeing atop the piano keys.Criterion's Blu-ray disc of the restored KING OF JAZZ is nothing short of spectacular, with most of the footage sourced from the original camera negative. Three lesser quality 35mm prints were also used and the shift from sources is noticeable, but never detracting in any way. The two-strip Technicolor is a marvel to behold, as it still manages to present (aided by Anderson's choice to use colored lighting) a wide range of tones from the limited combination of a red and green palette. Oftentimes, the image sharpness and richness in color makes it seem like we're watching a Technicolor extravaganza from the '50s during the process' heyday. For a film made just two years into the sound era, the mono track is surprisingly clean and vibrant, without any instability or distortion issues. That said, allowance should be made for a limited dynamic range due to the early technology. There are a few brief instances where photos and surviving audio excerpts were inserted to act as filler for some missing footage. Universal's restoration team deserves resounding applause for bringing this important piece of movie history back to glorious life.The generous helping of extras are the topping on the cake. We get an excellent, in-depth audio commentary by jazz/film critic Gary Giddins, music/cultural critic Gene Seymour and musician/bandleader Vince Giordano. Giddins also gives us a concise introduction to the film. Famed musician/pianist Michael Feinstein offers his personal view and background info on the film, and four video essays by authors James Layton and David Pierce capsulize its development and making. There are also deleted scenes that were included in the '33 reissue, and two shorts: ALL AMERICANS (1929), featuring the "Melting Pot" number reworked for KING OF JAZZ, and I KNOW EVERYBODY (1933), with the Whiteman band and well-known publicist Walter Winchell. Finally, two Oswald the Lucky Rabbit cartoons from 1930 that have a KING OF JAZZ connection, plus a 24-page illustrated booklet.Any lover of classic film, jazz and pop-culture history will consider this long-awaited restoration of THE KING OF JAZZ required viewing, and I unreservedly give it my highest recommendation.

I just scratch my head sometimes. One "reviewer" says "I know this will be good." Meaning he hasn't seen the disc but is leaving a five-star review anyway. Brilliant. Then there's the other "reviewer" who does a laundry list of the press release, clearly not having seen the disc because - wait for it - he never talks about the transfer or what it looks like, which is - wait for it again - THE POINT OF LEAVING A REVIEW. But, he's a top 1000 "reviewer" and I guess that's how you achieve it. Not for me, kiddies.I'm gonna keep it short and sweet: The film is a curio and a wonderful curio at that and it's completely entertaining from start to finish. The disc is worth it for the Happy Feet number alone, but all the dancing is jaw-droppingly great.The restoration is also jaw-dropping and breathtaking. Yes, there are a few bits taken from lesser sources, but the majority comes from the camera negative and that stuff is incredible. The two-color Technicolor is fantastic and the texture of the thing is, well, you just have to see it for yourself. This should be a no-brainer for any lover of classic film. This is a gem.

First of all, this is the best 2-strip Technicolor restoration I’ve seen to date, with beautiful picture & nice sound (I purchased the Blu Ray version). Full length Technicolor talkie films from this period are extremely rare, so this is a real treat. The sets are just amazing, and Paul Whiteman comes off as a good co-MC for the mixed bag variety style of the production. There are a few brief moments between several numbers where missing or damaged footage is replaced by still photos, but this doesn’t detract from the overall film at all (the film was recut after its initial release, so that may account for some of this). A few of the highlights are “Pop Goes The Weasel”, the rubber-legged “Happy Feet” guy, the gigantic “Rhapsody In Blue” orchestra piano, a young Bing Crosby, and the chance to see Joe Venuti & Eddie Lang jamming is icing on the cake. The commentary track is really good, and helps put the film into modern perspective. But is it jazz? Well, for the most part, not really by today’s standards. You’ll probably like some parts more than others, but it is a Wow!, thoroughly entertaining, enjoyable, and tons of fun to watch.

“Back in the day,” Paul Whiteman was to jazz what Alan Freed was to rock and roll, or Russell Simmons was to hip-hop. These entrepreneurs may not have invented a music genre, but they knew there was something special to the music and built their careers around nurturing and promoting the music. Whiteman’s musicianship, business acumen, and marketing skills made him an important figure in the dissemination of jazz into the mainstream (read the book, Pops: Paul Whiteman, King of Jazz). He was so popular he was approached about a biopic of his life, which eventually turned into the film,” King of Jazz”.By the time “King of Jazz” was released, the music-review format had fallen out of favor, and the film did not do well at the box office. However, the quality of music, talent, and production would stand the test of time. Yes, the styles are now dated, but the grand scale of production surpasses nearly everything released during that time. This restored version is a feast for the eyes and ears. It’s amazing what was done with a two-toned filming process! It’s also impressive to hear “Rhapsody in Blue” while reflecting that this song – at the time – was still new. Imagine as audiences heard this “jazz-symphony” for the first time! Kudos to everyone who had a hand in restoring this film and saving a culturally significant film.In my opinion, Paul Whiteman has not received the credit he deserves and should be better known. He was an innovator in many ways, and always forward thinking. Perhaps this restored version of “King of Jazz” (and the release of the campion book) will encourage a rethinking of his place in music history.

Paul Whiteman though largely forgotten now was in the twenties and early thirties the most successful band leader of the time with his records selling a million copies.This timecapsule variety review showcases him and his orchestra.Presented in 2 strip Technicolor it has been restored beautifully.Consisdering this is nearly ninety years old the sound quality is superb.Whilst the music is not what we would class as jazz now,the term King of Jazz was coined by his publicist,his support of the work of the black jazz musicians and arrangers is important.Some of images and references in the film might now be considered offensive,but times were different then.Overall an excellent insight to the popular music of the time.

A 5 star restoration, but a rather disappointing film. It is not jazz at all, but a kind of popular, middle-of -the road music. There is some splendid dancing and some dire comedy. I am sure Whiteman fans will like it, but it is not a good introduction to his work if you don't already know it - if you don't know his work - buy some CDs instead.

The King of Jazz(released April/30) stars the Paul Whiteman Orchestra and a coterie of Universal stars in this musical extravaganza.It was an initial flop in it's premiere release,but did manage to make up some of that in it's /33 re-release.It is easy to see why this film bombed.It is a stilted stop and start production,with many of the vignettes just plain boring and most of the "comic" interludes as flat as Buster Keaton's hat!The film is supposed to present us with a scrapbook of Whiteman's career,with a literal scrapbook up front with each page turn giving us a new vignette.When the film centers on the music it comes to life.The later jazz greats that came and went from his orchestra is like a who's who of jazz;such folks as Bix Beiderbecke,Jack Teagarden,Joe Venutti ,Eddie Lang,the Dorsey Brothers,Bing Crosby and on and on.But there is far too much detritus in between,and the film easily becomes a snooze-a-thon.The sole and solitary reason this film is important ,is it's musical historical value.While the Whiteman Orchestra gave us a symphonic angle of presenting music,it was just that,music for the White-Man.It was like Ricky Nelson or Pat Boone in later years singing the songs of Little Richard and Fats Domino.One of Whiteman's greatest"feathers"in his cap was the debuting of Gershwin's Rhapsody in Blue in /24.He recorded it then,and again in /27.Both of those are far better versions than the shortened version we hear here.Another man of course who literally changed the course of all singers in the 20th Century was Bing Crosby.He is seen here with the Rhythm Boys,which included Al Rinker and Harry Barris.Another source of consternation is that it was done in an early two strip Technicolor process.When one is used to the Technicolor of today, it is a bit of a visual shock, and takes time to adjust.What we see are yucky shades of pastel greens,oranges and peach throughout.It is not the most pleasant of sights and I really would have preferred it in black and white.Technically speaking the film is presented in its original a/r of 1:37:1 and for the most part is clear and crisp.However multiple sources were used to recreate this film,and when a copy of the camera neg is not in use you can see a more grainier screen.I give the film itself around a 2 1/2 stars.This being a Criterion collection which is always a superior release,there is a second disc which includes many,many extras which include scenes added to the /33 re-release,a couple of cartoons featuring Paul Whitman,a short with the band ,and four featurettes with various critics giving their takes on the film.There is also a 22 page booklet included.I give the specials four stars.All in all if you are looking for a "classic" look elsewhere.There are far better "gotta sing,gotta dance" musicals of the late 20s and early 30s than this stinker.The dancers are certainly well rehearsed,maybe too rehearsed.I have even heard Busby Berkeley's name bandied about in relation to this film,which is as far from the truth as can be.He made his name with overhead shots with specialized dancing to create visuals effects.That's a long way off from using just a higher than normal camera,from a ways back as this film does.What this film does have going for it is its' musical historical significance.It's a snap shot of one of the most popular orchestra's of the day,with many future jazz greats among its players.Whiteman never played real jazz of the 20s or 30s.His music was for the masses, and he was quite successful in doing just that.The King of Jazz is certainly a misnomer,although he did give birth to many of its progeny.

噂には聞いていましたが、こんなに凄い映画だったとは。映画や舞台でこの後見られるような振付やアイデアはほとんど詰まっています。画質は古い映画であり、いわゆるリストアされたものではありませんので、ノイズもあるし、二色テクニカラーも色が褪せてはいます。これは、しょうがない。修復がなされる迄は我慢するしかないでしょう。しかし、そんなことはどうでも良くなってしまうほどに、ショー自体の中身の質が高いのです。スターでなく出てくる女性たちも美しいですし、何といってもコーラスガールたちの踊りが一糸乱れず揃っている。こんなに早い時期の群舞でこんなに質の高いダンスを見たのは、初めてだといって過言ではありません。ダンスやレヴューに興味があり、ジャズのお好きな方にお薦めします。本当に凄い映画だ。（^_-)vﾌﾞｲﾌﾞｲｯ