Let's Make Music (1941)

For years, I pinpointed veteran actress Elisabeth Risdon to the role of Aunt Della she played in the RKO "Mexican Spitfire" series. As the disapproving wife of Leon Errol in that screwball group of movies, she was always doing what she could to discredit the title character (Lupe Velez) in the eyes of her nephew. She was featured in dozens of movies from the silent movie era (as a lead) through the 50's, playing characters both nasty and nice, and this is perhaps her most memorable role. As a small town High School music teacher, she finds that her music appreciation class roster has been dwindling due to changing tastes in music. The kids of the swing era aren't interested in the classics, and she doesn't seem to understand why. When her principal asks her to write a High School fight song to promote school spirit, she has no idea that the song will be picked up by none other than Bob Crosby and his Bobcats as a novelty number. They come to see her but find disapproval from her over-protective niece (Jean Rogers). When Rison gets her check, she takes her niece for a trip to New York, and goes to see Crosby's show where she ends up on the radio. But as fast as she becomes famous, the faster her song becomes like the Macarena---popular today, despised tomorrow. Her attempts to write a new song fall flat, and while performing her fight song one more time, she falls ill. In the meantime, Rogers and Crosby have warmed up to each other, and Crosby takes matters into his hands, making her second song, "Central Park", another surprise hit. Risdon returns home to her job to an appreciative class of students, who have come to respect her for all she had tried to teach them.Most everybody remembers their High School fight song (if they still have them!), and as hard as they try to get it out of their heads, it will pop up on moments of sentimentality over a past that can't be recaptured. In the case of this High School fight song, I can understand it being popular in one community, but getting the attention of a national audience, let alone a popular swing band, is silly. Risdon, however, is so likable in the role, that she will win your heart the moment she steps on a New York nightclub stage to sing. You both admire her and feel sorry for her, especially in the scene where the audience starts to walk out on her. She is both sweet and feisty, standing up for her desire to contribute to the world of music. Crosby, who was talented but didn't have the long-lasting success of his more famous brother, appeared in several films as himself, most notably this one and a 1951 RKO musical called "Two Tickets to Broadway", where his spoof of his relationship with Bing was the focus of a very funny novelty number. He's likable, laid back and talented, but I doubt he could play any role but himself. Rogers is an adequate young heroine, but it's Risdon who wins the acting honors here. W.C. Fields said never play opposite children or animals, but he forgot sweet old ladies with a touch of vinegar in them.

I stumbled upon this little gem of a movie just as I was about to go to bed late one night. Already a fan of old black and white films I decided to tape it and watch the next day however, my attention was suddenly caught by the very handsome Bob Crosby,which made me even more curious as I didn't even know that Bing had a brother. So, I ditched the tape and sat there for the duration of the film....and I was not disappointed at all. I was completely captivated by this charming little movie with its unusual storyline and great personable characters but mostly for its fantastic music. I was already an old devotee of jazz, swing and big band music but had forgotten how addictive it is. So of course, not only was I now smitten with the cute and adorable Bob Crosby but I fell in love with big band music all over again. This film is not to be dismissed lightly, it has something for everyone in it and is a lovely feel good movie that puts a smile on your face just by the music numbers alone. Personally, I couldn't stop tapping my feet when the band started to play and was itching to get up and dance. Wishing I had taped the movie after all so that I could watch it again and again.

Here's a swing musical with a 65 year old woman as the main character! There are some excellent big band numbers courtesy of Bob Crosby and his Bobcats or Bobalinks (as HE says anyway) and the usual excellent RKO production qualities. Dear Aunt Malvina writes a college fight song which ends up on the radio hit parade in a different tempo with added 1941 style bop and shuffle. It is generally a lovely film If I can say that without sounding twee, because it ultimately has a lot to say about a good and talented woman too long in conservative isolation (and corralled by her drone niece) who really enjoys freeing up her music and her self. Grannies who saw this on first release would have been inspired to do the same! The two main numbers are strong and the first one has a dynamite 60 secs of aerial jitterbug. The main showpiece is the hit parade link "Big Noise From Winnetka" which is really as much a novelty song as the "fight song from Newton High" that Mulvina writes. The film is about the fleeting fame that novelty songs allow and the crash that comes if one is not aware. The scene where Malvina has the curtain dropped on her is especially fascinating as it appears to be filmed on one of either Keith or Orpheum's old theaters (that were wired for sound, dearie) in the amalgamation that came in forming R-K-O with the Radio Corp in 1928 to create this monopoly entertainment giant. Lets Make Music indeed. Malvina did and so did Bob; and if you have the chance to enjoy this gimmick musical you will smile as I did and marvel at the generosity of spirit this simple but honest musical allows. Charming...with groove and swing!

The plot was a bit tedious and unbelievable, but there was one musical number that made watching this movie worthwhile. The song "The Big Noise from Winnetka" was a big hit at the time it was recorded by Bob Crosby and to see it performed by him and orchestra was a big treat. Ray Bauduc was the drummer and Bob Haggart was on bass (both were co-composers of the song along with Crosby) and it winds up as sort of a duet with Bauduc and Haggart. The multi-talented Haggart whistles the tune between his teeth and fingers the bass violin while Bauduc uses his drumstick on the bass violin to make the music. A very enjoyable piece to listen to and watch, and it will surely be appreciated by lovers of the big band era, swing or jazz.I was a bit confused at the credits calling Crosby's quartet of singers "The Bobcats" while Crosby himself always refers to them as "The Bobalinks." I wonder what that was all about.