Movie Review: St. Louis Blues

One of only three films in all of the 50s that featured an all black cast (the other two being Carmen Jones and Porgy and Bess), St. Louis Blues tells the exceptional tale of musician Will Handy. Somewhere along the way however, the film loses its focus on entertainment, as it tries to uproot the evils of religion and ultimately condemns being yourself.

In turn-of-the-century Memphis, Will Handy (Nat “King” Cole) is growing up with aspirations to become a great musician. His father, a minister, is greatly opposed to the blues music Will listens to (although he receives some support from his aunt, played by Pearl Bailey), cursing it as “the devil’s music” and forbidding Will from playing it. Even when his father crushes the trumpet that Will purchased with his hard-earned money, he refuses to give up on his dreams, and eventually becomes a musician, even after going to a nice school which his father insisted upon. At first he is stuck playing in marching bands for political rallies, and later he is hired at a bar. When he meets up with Gogo Germaine (Eartha Kitt), a singer at The Big Rooster, he is destined for fame and fortune, until he begins to go blind. Struggling with his desire to continue playing his own style of music, and still wishing to please his family, Will most decide whether his dreams outweigh the importance of those he loves.

Blues music is referenced multiple times as being the music of the devil, and that only one kind of music, hymns, pleases the Lord. Will’s father is a fanatical religious leader, and commands great respect and authority from his followers. Perhaps unintentionally the film depicts his leadership as one of fear, and everything he represents, including religion, is a force of evil that suppresses man. “I’d rather be told you were dead than to be told you were in that place!” his father cries, referring to the bar where he plays. Religion, apparently, reprehends being yourself.

The only starring role for musician Nat “King” Cole, Will Handy is well portrayed and believable. He is unfortunately and simply not that much fun to watch. His musical talents are sensational, and he sings songs including Yellow Dog Blues, Careless Love, and others that are catchy and melodic. Gogo also does an exemplary job singing – the fault lies in the script, which doesn’t allow the characters to surpass an even-paced documentary feel of people merely going through motions. In an almost comically stereotypical fashion, Will goes blind and begins to wonder if his father was right all along. He is a minister – surely he knows right from wrong. When teaching piano at the church and playing hymns miraculously brings back his sight, we are shocked at the moral insinuations. Even though Will eventually confronts his father (as does Gogo), and his belief in his music is legitimized by a New York concert, it still feels like the oppressive villainy of religion is his major opponent.

Religion in St. Louis Blues is portrayed as a tyrannical corruption, and blues is the careless escape, like an addictive drug that eventually must be expunged. With celebrated music, great singing, cameos by real-life musical prodigies, and a horribly generic story, St. Louis Blues comes up just short of being a recycled and rehashed version of The Jazz Singer, which has a character that goes through similar struggles to achieve his goals.

– Mike Massie (www.MoviePulse.net)