One of only three films in the entire 50s that featured an all-black cast (the other two being Carmen Jones and Porgy and Bess), St. Louis Blues tells the extraordinary story of musician Will Handy. Somewhere along the way, the movie loses its focus on entertainment as it tries to root out the evils of religion and ultimately condemns you to be yourself.
Back in Memphis, Will Handy (Nat “King” Cole) grows up with aspirations of becoming a great musician. His minister father is very opposed to blues music Listener (although he gets 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 disdains the trumpet, which he acquired as a hard-earned mercenary, he refuses to give up his dreams, and eventually becomes a musician, even after going to the prestigious school that his father insists on. First he plays in the train for political groups, then he is taken to the bar. When Gogo meets Germaine (Eartha Kitt), a singer at The Big Cock, he is destined for fame and fortune, until he starts going blind. Struggling with his desire to continue his modus operandi, and still wanting to please his family, Maxime will decide whether his dreams should take precedence over those he loves.
Blue music is referred to in many ways as diabolical music, and that only one kind of song, and hymn, pleases the Lord. The prince of will is a fanatical religious father, and commands great respect and authority from his followers. Perhaps the film unintentionally portrays its dominance as fear, and all that religion is, is a force of evil that suppresses man. “I’d rather be told you’re dead than be told you’re there!” cried the father, referring to the bar where he was playing. Religion blames itself, it seems.
The only role that stars musician Nat “The King” Cole, Will Handy is well represented and believable. Unfortunately, there is always a lot of pain and if you don’t, there will always be a problem. His musical talents are sensational, and he sings songs such as Crocus Dog Blues, Careless Love, and other songs and melodies. Gogo also does an excellent job of singing – the fault lies in the script, which does not allow the characters of the documentary to overcome the balanced feeling of the people moving forward. In almost comically stereotypical fashion, Will goes blind and begins to wonder if his father was there all along. He is a minister, he certainly knows right from wrong. When he miraculously regains his sight by teaching the piano and singing hymns in church, they are shocked by the moral insinuations. Although he eventually confronts his father (as Gogo reports), and his faith in his music is legitimized by a New York concert, he still feels as though the grave evil of religion is his greatest adversary.
Religion in St. Louis Blues is described as a tyrannical corruption, and the reckless flight of the Blues, for example. an addictive drug that must eventually be eradicated. With famous music, great singing, cameos, real-life musical prodigies, and an awful kind of story, St. Louis Blues seems to be just a short version of the recycled and reimagined Jazz Singer, a character who goes through similar struggles. to achieve his goals.
– Mike Massie (www.MoviePulse.net)
