| Rhapsody in Blue | |
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Film poster
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| Directed by | Irving Rapper |
| Screenplay by | Howard Koch Elliot Paul Clifford Odets (uncredited) Harry Chandlee (uncredited) Robert Rossen (uncredited) |
| Story by | Sonya Levien |
| Produced by | Jesse L. Lasky |
| Starring | Robert Alda Joan Leslie Alexis Smith Hazel Scott Anne Brown |
| Cinematography | Merritt B. Gerstad Ernest Haller Sol Polito |
| Edited by | Folmar Blangsted |
| Music by | George Gershwin Max Steiner Ray Heindorf |
| Distributed by | Warner Bros. |
Release dates |
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Running time | 151 minutes |
| Country | United States |
| Language | English |
| Budget | $2.46 million[2] |
| Box office | $4.9 million[2] |
Rhapsody in Blue, subtitled The story of George Gershwin is a 1945 American biographical film about composer and musician George Gershwin, released by Warner Brothers. Robert Alda stars as Gershwin. Joan Leslie, Alexis Smith, Hazel Scott, and Anne Brown also star, while Irving Rapper directs. The film was released in the United States on September 22, 1945.
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Starring Robert Alda as Gershwin, the film features a few of Gershwin's acquaintances (including Paul Whiteman, Al Jolson, and Oscar Levant) playing themselves. Alexis Smith and Joan Leslie play fictional women in Gershwin's life, Morris Carnovsky and Rosemary De Camp play Gershwin's parents, and Herbert Rudley portrays his brother, Ira Gershwin. Levant also recorded most of the piano playing in the movie, and also dubbed Alda's piano playing. Both Rhapsody in Blue and An American in Paris are performed nearly completely, with the "Rhapsody in Blue" debut of 1924 orchestrated by Ferde Grofe and conducted, as it was originally, by Whiteman himself.
The film introduces two fictional romances into the story, one with a woman named Julie Adams, played by Leslie, and the other a near-romance with a rich society woman played by Smith.
The film notably features performances of Gershwin music by two African-American musicians/singers, Anne Brown and Hazel Scott. Both were child prodigies whose training included study at the Juilliard School. Brown, a soprano, created the role of "Bess" in the original production of Gershwin's opera Porgy and Bess in 1935. In the film, she sings the aria Summertime from Porgy and Bess, albeit rearranged, with the first verse sung by chorus only. Scott, who became known as a jazz and classical pianist and singer, was one of the first African-American women to have a career in Hollywood as well as television. She plays herself in the film, performing in a Paris nightclub.
Irving Rapper felt it was "a rambling story, a little too sentimental at times, although written by some wonderful people, mainly Clifford Odets with far, far too much music."[3]
Rapper wanted Tyrone Power to play the lead but had to use Robert Alda. The director says apart from Alda's casting he was happy with the film.[3]
Contemporary reviews praised the music but had more mixed opinions about the plot. Bosley CrowtherofThe New York Times called the film a "standard biography," explaining: "There is never any true clarification of what makes the gentleman run, no interior grasp of his nature, no dramatic continuity to his life. The whole thing unfolds in fleeting episodes, with characters viewing the genius with anxiety or awe, and the progression is not helped by many obvious and telescoping cuts. Throughout, the brilliant music of Mr. Gershwin is spotted abundantly, and that is the best—in fact, the only—intrinsically right thing in the film."[4] Variety reported that the film "can't miss" with "such an embarrassment of musical riches," to the point that "corny lapses" in the script "can easily be glossed over."[5] Harrison's Reports wrote that the musical score was "in itself worth the price of admission," while the film also offered "an inspiring, heart-warming story."[6] Wolcott GibbsofThe New Yorker called the music "magnificent", but criticized the plot as a "monumental collection of nonsense," describing the romance as "silly and tiresome."[7]
On the review aggregator website Rotten Tomatoes, 20% of five critics' reviews are positive, with an average rating of 4.8/10.[8] Metacritic, which uses a weighted average, assigned the film a score of 55 out of 100, based on five critics, indicating "mixed or average" reviews.[9]
According to Warner Bros. records, the film earned $3.3 million domestically and $1.5 million overseas.[2]
The film was nominated for the Grand Prize at the 1946 Cannes Film Festival.[10] The film was also nominated for two Academy Awards; Academy Award for Best Original Score (Ray Heindorf and Max Steiner) and Best Sound Recording (Nathan Levinson).[11]
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Films directed by Irving Rapper
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