Alexander's Ragtime Band (1938) Online

"Alexander's Ragtime Band" has always been a personal favorite of mine and an excellent example of the kind of lively and jubilant musicals Fox specialized during the golden age. It was a huge hit in its day and remains a huge improvement over the monotonous "In Old Chicago"(1937). I saw "Alexander's Ragtime Band" again last night and it may well be my favorite Fox musical, though I have dozens of other favorites. Directed by the underrated Henry King with a rich and endlessly tuneful score, the film is a fictionalized account on the early days of jazz, and contains close to 30 Irving Berlin songs. Alice Faye never looked so ineffably beautiful, Tyrone Power never more charismatic, Don Ameche never more genial. It's all about the music and the stars. A great timeless classic that becomes more entrancing and enriching with each viewing.

I wouldn't want to put money on it, but I'm willing to say there must be at least 25 Irving Berlin songs in Alexander's Ragtime Band. This was the first of those Irving Berlin extravaganzas where a history of an era was told with his music, the others being Blue Skies and There's No Business Like Show Business.

After what happened to his score in Reaching for the Moon, Berlin demanded and got complete control in every film that he wrote or supplied the music for. And you will not hear one note of any other composer's music. Just listen to the background music and you'll see what I'm talking about.

The song Alexander's Ragtime Band is considered Berlin's first big popular hit and so a story was constructed around a group of itinerant musicians who when they hire girl singer Alice Faye make a huge hit with the selfsame Alexander's Ragtime Band.

So the film is about the lives and loves of Faye, Tyrone Power, Don Ameche, Ethel Merman, Jack Haley, etc. for an over quarter of a century. Except for Power, all these other folks are real talented musically and they contribute vocally with a lot of Irving Berlin old favorites. And Alice Faye and Don Ameche both sang a new tune Berlin wrote for this film, Now It Can Be Told. Faye's version is especially grand, one of her best movie songs.

Tyrone Power one of the finest of leading men in old Hollywood was unfortunately not blessed with a singing voice. Just hear him on a few bars of another Irving Berlin song in Second Fiddle and you'll see what I mean. He leads the band and it looks a bit ridiculous for him to be doing that and watching the others perform.

This film is the reason I've been long convinced that Darryl F. Zanuck hired John Payne, an actor who looked somewhat like Power and could contribute musically in films with Faye, Betty Grable and the rest of Fox female musical ladies.

Of course anyone who really loves Irving Berlin's music will watch this film and won't quibble about Tyrone Power not singing.

20th Century Fox's 1938 Alexander'S RAGTIME BAND, Number 22 in their "Studio Classics" series, is with the exception of there 1927 SUNRISE (which was offered only as a promotional item), the earliest title to be offered and it turns out to be quite delightful!

Like many musicals of the time the story is slight and mainly used to advance the musical portions, but this one boasts a large collection from the pen of one of the best -- IRVING BERLIN!

Fox had wanted to do a biography on Irving Berlin -- instead Berlin worked out the story idea of a fictional bandleader ushering in a whole new era of swing music. Berlin worked with Fox during the two year period that was needed to prepare this lavish musical -- and the results are very entertaining as it presents 28 of his most famous songs. Alfred Newman's handling of the music won him a well deserved Oscar.

The cast, which includes Tyrone Power, the delightful Alice Faye, Don Ameche, Jack Haley (the Tin Woodman in "The Wizard of Oz") and a young and very attractive looking Ethel Merman, soars under the hand of veteran director, Henry King. There really isn't a "false note" in acting department.

Over all the picture rendered on the DVD is quite beautiful (though there are a few side scratches from time to time). The icing on this DVD is found in some marvelous "Extras": First of all there is a very fine A&E Biography, "Alice Faye: The Star Next Door", that gives a wonderful account of this once very popular star. There are dozens of nice clips from her film work at Fox (that make you wish that Fox would put out an Alice Faye Collection of six or so of her films in a package like Universal did with Deanna Durbin). After watching this biography I felt like Miss Faye must have been a very nice person as well as a talented singer and actress.

The big surprise is found in the Commentary Track provided by Film Score Restorationist RAY FIOLA. I had the opportunity to meet this gentleman at a Film Score presentation at Brigham Young University. BYU holds the Max Steiner Collection, which includes a large number of phonograph recordings of sound track music that were used for playback as the scores as they were recorded on the sound stages. BYU has issued a series of sound track CD's made from their holdings. Fiola is one of the world experts on preparing these 78rpm records for transferring to CD's. His commentary on this DVD provides a wealth of information about Berlin, his songs and the actors and other behind-the-scenes people who brought ALEXANDER'S RAGTIME BAND to life. He's more informative then a university film class -- and very interesting. This is one of the best of the Fox commentary tracks. Fiola even gives you information on ordering a CD of the ALEXANDER tracks that he worked on.

There is even more: How about three deleted scenes -- which means three deleted songs (and they are all very nice to see and hear). Also included are shots of Irving Berlin being interviewed at the London premiere of the film in newsreel footage.

All in all, this is a very nice addition to the Fox "Studio Classics" series -- one that is well worth adding to anyones collection who is interested in the history of the movies -- especially the history of film musicals.

The main reason to watch this movie is to enjoy the great music of Irving Berlin (né Israel Baline). Anyone who is responsive to good music will enjoy his compositions. The dance numbers are not spectacular but they do add to the music. As for the story, well it's nothing more than to tide the viewer over from song to song. Tyrone Power, Alice Haye and Don Ameche are all more than competent in their roles though they really aren't asked to do too much given the triteness of the plot. They are all very photogenic. A great film for any fan of swing music, 7/10.

ALEXANDER'S RAGTIME BAND (20th Century-Fox, 1938), directed by Henry King, reunites the lead performers of Tyrone Power, Alice Faye and Don Ameche from the blockbuster success of IN OLD CHICAGO (1937) in a musical cavalcade of Irving Berlin songs spanning two decades. One of the first in a long cycle of 20th/Fox musicals focusing on the "as time goes by" theme, keeping the story together through the mixture of old and new song standards. Fox would recycle such stories similar to this over the years, with imitations done by other studios as well, with ALEXANDER'S RAGTIME BAND, the one that started it all, musically ranks one the best of its kind.

The story begins in San Francisco's Barbary Coast, circa 1911, where young aristocratic Roger Grant (Tyrone Power) disappoints his strong-willed Aunt Sophie (Helen Westley) and Professor Heinrich (Jean Hersholt) by abandoning classical music for something on a more popular level. Forming a band consisting of Charlie Dwyer (Don Ameche), composer and pianist, and Davey Lane (Jack Haley), a drummer, they go to audition at a bar called Dirty Eddie's. Charlie misplaces their song sheet and at the last minute acquire one belonging to another. They play the new composition of "Alexander's Ragtime Band," but when Stella Kirby (Alice Faye), mixing with some friends, hears her borrowed music being played, she immediately heads towards the platform singing the lyrics. They become an immediate hit and Roger becomes Alexander and his Ragtime Band. In spite of Alexander and Stella constantly bickering and misunderstanding each other, it is Charlie who acts as their referee. As time passes on, Charlie, who now loves Stella, learns, while she sings one of his original compositions, that she really loves Alex. After Stella gets a job offer from Broadway producer Charles Dillingham (Joseph King), she accepts, forgetting about the band. In doing this, Alex and Stella part company, as does Charlie during a heated argument. Charlie marries Stella,and realizing she's still in love with Alex, decides to grant her a divorce for her sake. As for Alex, he prospers with Jerry Allen (Ethel Merman), as his new vocalist, while Stella leaves Dillingham and fades away to obscurity, causing Alex, now world renowned and performing at Carnegie Hall, to wonder whatever became of her. 

The motion picture soundtrack is as follows: "Alexander's Ragtime Band" (sung by Alice Faye); "Ragtime Violin" (sung by Jane Jones, Otto Fries and Mel Kalish); "International Rag" (Alice Faye, Jack Haley and Chick Chandler); "Everybody's Doing It" (Alice Faye, Wally Vernon and Dixie Dunbar); "Now It Can Be Told" (Don Ameche); "Now It Can Be Told" (reprize/Alice Faye); "This is the Life" (Wally Vernon); "When the Midnight Choo-Choo Leaves for Alabam'" (Alice Faye); "For Your Country and My Country" (Don Douglas); "In the Y.M.C.A." (The Kings Men); "Oh, How I Hate to Get Up in the Morning" (Jack Haley/chorus); "We're on Our Way to France" (sung by soldiers); "Say It With Music" and "A Pretty Girl is Like a Melody" and "Blue Skies" (all sung by Ethel Merman); "Blue Skies" (reprize, Alice Faye and Merman); "Pack Up Your Sins and Go to the Devil" (Ethel Merman); "What'll I Do?" (The Kings Men); "My Walking Stick" (Ethel Merman); "Remember?" (Alice Faye); "Everybody Step" (Ethel Merman); "I'm All Alone" (Alice Faye); "Marie" (instrumental); "Easter Parade" (sung by Don Ameche); "Heat Wave" (Ethel Merman, chorus); "Alexander's Ragtime Band" (reprize, Alice Faye).

With such an impressive cast headed by the up-and-coming Tyrone Power, who spends more time waving his stick, and in true Hollywood storytelling, arguing and making love with his female vocalist(s), it's easy to see its initial popularity, earning several Academy Award nominations, including Best Picture, with the music keeping much the scenario together. A personal favorite of Alice Faye's, it not only allows her to sing one hit song after another, but to challenge herself as both vocalist and actress, whose character starts off as a tough gal sporting flashy clothes and plenty of facial make-up before changing through the passage of time to a more softer persona moderately dressed. While much of the principal players remaining physically the same throughout its 106 minutes of screen time, with the exception of costumes reflecting the changing of times, Don Ameche's only major change is sporting a mustache during the film's second half.

At one point in television history, ALEXANDER'S RAGTIME BAND did enjoy frequent revivals until the mid 1970s when some legal entanglement kept it off the TV markets for quite some time. Then in 1991, it was brought back to the airwaves, on commercial television, and notably on cable television's American Movie Classics in 1991-92 before distribution on video cassette in 1992, and later onto DVD, Fox Movie Channel and Turner Classic Movies where it premiered February 11, 2010. In 1997, AMC presented a the well documented special titled "Hidden Hollywood: From the Vaults of 20th Century-Fox" narrated by Joan Collins, presenting musical outtakes, several from ALEXANDER'S RAGTIME BAND, including Ameche's singing "Some Sunny Day," and Merman in fine voice as always singing "Marching Along With Time," the tune that underscores the opening and closing credits. These outtakes are used as added attractions on DVD. Other victims of the editors ax might be those of Jean Hersholt and Helen Westley, whose characters are seen to the limit. Of the supporting players, many are too numerous to pen their individual attention, are Paul Hurst, best known for playing villains or gangster stooges, ideally cast in a sympathetic role as Bill Mulligan, and John Carradine, appearing briefly as a taxi driver and avid fan of Stella Kirby.

With Power and Faye constantly settling the score with one another, ALEXANDER'S RAGTIME BAND swings into action hitting many high notes, with much of its melody lingering on. (****)

The plot is really nothing more than boy meets girl, boy loses girl, boy gets girl, but it's enough of a framework to present an almost non-stop catalogue of great Irving Berlin songs. The music itself is all that is needed to make this a grand entertainment; the litany of classic Berlin standards includes the title song, "Now It Can Be Told", "Everybody's Doing It Now", "Easter Parade" and many others, performed by Twentieth-Century Fox's stock musical players Tyrone Power, Alice Faye and Don Ameche, as well as Jack Haley (who does a great comic rendition of "Oh How I Hate To Get Up In The Morning") and a young, vibrant Ethel Merman, singing, amongst others, "Blue Skies" and "My Walking Stick". All in all, a wonderful "escape" film.

The last time I saw this movie was probably the late '60s, when I watched it on television with a group of friends. I just saw it again on DVD, and it's as much fun as I remember it. In 108 minutes, I wouldn't be surprised if 90 minutes was music, and what music! One Irving Berlin song after another, sung by either Alice Faye, Don Ameche, Ethel Merman, or Jack Haley. A young Merman, with a sexy figure, really pops in this film with her exciting belt voice.

A thinnish plot surrounds the songs. It's the story of a classical musician (Tyrone Power) who forms a swing band and, because of the song "Alexander's Ragtime Band" takes the name Alexander for himself and the Ragtime Band for his group. The movie takes us loving, losing, and playing music through World War I and into the swing era, though there's not a gray hair to be found among our heroes.

Ameche and Power were friends before either one of them was signed by 20th Century Fox, and with Faye, they made "In Old Chicago" together plus this film - and both Faye/Ameche and Faye/Power made other films together as well. The three work very well as an ensemble. Faye is especially lovely in this. She sings in a commanding contralto, wears some great fashions, and is appropriately feisty, low-class, or classy as the part demands.

As lovely as she was, though, she's no competition for the most gorgeous one in the movie, Tyrone Power. He's pretty darn breathtaking in that tuxedo of his. He could have conducted me anywhere.

Monumentally entertaining music and plenty of eye candy - highly recommended.

This film starred the top talent at Twentieth-Century Fox. Tyrone Power (who could not sing or play music), Alice Faye and Don Ameche star in this film directed by Henry King and featuring the music of Irving Berlin. Clearly it was a prestige film for the studio--a large budget film with high expectations for success.

The film begins with Power playing sophisticated music for a crowd of high-class folks. Only moments later, however, he's playing Ragtime music for a crowd in a bar--and it's obvious that he's torn between the world of society and popular music. Quite by Hollywood accident, the feisty Alice Faye is pulled into Power's band and the way she and Power meet and get along is very clichéd--you know, the misunderstanding that results in them becoming enemies and you KNOW they'll be in love sooner or later! She is a low-class dame and over time, Power is able to polish her image and make her a success--along with his band. On hand is another cliché--the nice-guy friend (Ameche) who loves the girl but demurs when his friend and the dame become a pair. You almost feel sorry for Ameche getting such a thankless role as the 'nice' friend...though I am sure his enormous checks from the studio more than made up for this! And then there's the final big cliché when Faye and Power break up--only, naturally, to be reunited by the film's conclusion. The only question is what, exactly, will happen in between--and there are certainly a lot of twists that occur in the interim in their parallel journeys. WWI, another woman (a younger and amazingly pretty Ethel Merman), marriage and bootlegging all are among the things the film explores during this portion. And if all this seems familiar, it is if you've seen many Fox musicals. This plot, with a few changes, was used in "King of Burlesque" and many other films with Alice Faye.

As for the film overall, it's pretty much what you expect from the studio--a lot of music (way too much, actually), a lot of polish and the best sets money can buy (Twentieth-Century Fox and MGM were the kings of such lavish productions). But, beneath all the polish, it is all formula and clichés--the sort of film that is pleasant but certainly not a must-see. Plus, oddly, the music, for the most part, isn't exactly Ragtime--often it's more the typical sort of musical numbers you'd see in just about any Fox production of the day.

By the way, in the WWI portion, I noticed that some of the soldiers were amazingly old and fat. Were we THAT desperate for men?! And get a load of those devil-girl dancers at about the 75 minute mark!

Tyrone Power gorgeous, and scrumptious, etc. Alice Faye with her wonderful, throaty voice, is always a reminder of her signature voice range. A youngish Ethel Merman was a surprise to see here, and a wonder that they kept her to the second part of the movie. Don Ameche is just gorgeous, too.

Jack Haley a fabulous dancer, and I know that the next year he performed as the Tin Woodman in "Wizard of Oz", also an ensemble picture like this one.

I really liked the constant barrage of songs written by Irving Berlin. That boy was really a prolific composer.

Power was good as an actor when his character went to World War I, later coming home with a changed demeanor and denying that his walking cane was from any war injury. He seemed to be more serious than before. In the beginning of the movie, he was a classical music performer who later lightened up and began playing the newly-popular pre-war ragtime music.

I did enjoy seeing Alice Faye and Ethel Merman singing together toward the end of the movie. This was a treat that I do not recall seeing in any other movie. Their low and higher voices actually complemented each other. That they were each interested in the same man did not seem to really matter.

In this movie, Ethel was not as recognizable as in later movies in which she would appear, full-figured, in such song-belting movies as "There's No Business Like Show Business" and "Call Me Madam". She was great in those movies, as well as this one, however.

I do enjoy seeing this movie, over and over again. I see different nuances every time.

Half a century ago, when I was 10, I wanted to dance my way home after seeing this film at the old Princess Theater in Urbana, Illinois, the theater where Roger Ebert said he fell in love with movies. In August, 1999, I rediscovered the film on a rented video cassette. Two days ago I bought the video. Irving Berlin wrote so many great songs that they carry the narrative of star-crossed lovers in the years before and after World War I as well.

For viewers who like Irving Berlin music, this is a film to watch. His songs are really the main attraction. But the story, which encompasses a group of musicians and their career changes, has an interesting series of romantic plot twists that is intriguing.

The main character is Roger (Tyrone Power), a man who starts his career in a highbrow musical setting, but changes to more popular ragtime. The story is fictional, but Roger's character arc is inspired by the life of Irving Berlin.

A big-budget film that was in production for almost two years, "Alexander's Ragtime Band" received a huge promotional build-up in 1938. And it was well received by audiences. Sets are lavish. B&W cinematography is competent. Casting and acting are acceptable overall. However, Tyrone Power is the only major actor who lacks musical talent, and it shows. Both Don Ameche and Jack Haley add luster. Alice Faye is adequate.

The film is less constricted by plot than other musicals. But there's still a lot of dialogue. And, except for the title song and a quick version of "Easter Parade", the music is somewhat bland and uninteresting. I would have preferred more evocative music. The film's tone ranges from semi-bawdy to mushy romanticism.

This is a large-scale, Americana period piece film, with an accent on the music of Irving Berlin. It is old fashioned, both in plot and in style. It's technically well made. But to me it's too removed in time from current culture to be anything other than historically quaint.

My personal favorite and not just for the great selection of Berlin songs but because of its extraordinary storytelling. For some reason Henry King's work is often undervalued. At his best, as he is here, he has a marvelous way of staging big spectacles combined with an uncommon ability to focus the story. The scene of all the men marching off to war is worth the price of the DVD. Indeed the whole first 30 mins are perhaps the summit of the classic movie musical. The director embraces all the clichés and turns them inside out to make something shiny and new. The movie is packed full of people working at the very top of their talent. Don't miss it.

Alexander's Ragtime Band is a combination musical/drama with Alice Faye belting out Irving Berlin songs and making eyes at her leading man, Tyrone Power. Young Power is far more beautiful than his leading lady and is good as the wealthy classic musician turned band leader who shapes a cheap Faye into a classy performer. Worthwhile to see because of the song Faye sings "to" Power and the kiss they share afterward.

Otherwise, the movie is melodramatic with its storyline stretching over many years, rivalry, and World War I. But what else do you expect from a musical? A classic worthy to be seen.

This is an extremely fun musical romantic comedy-drama which features the songs of Irving Berlin and stars Don Ameche (one of my absolute favourite actors), Tyrone Power and Alice Faye, three of Fox's biggest stars of the day. The screenplay was co-written by Berlin himself and features some of his best songs such as "Heat Wave", "Easter Parade" and "Blue Skies" (my personal favourite of those featured). It has a great supporting cast including future Tin Man Jack Haley, Ethel Merman, Jean Hersholt and Ruth Terry (who is still alive) as well as brief appearances by future horror icons Lon Chaney, Jr. as a photographer and John Carradine as the most unintentionally creepy taxi driver in film history.

The film tells the story of a privileged young man named Roger Grant (played by Power), who takes the stage name Alexander and eventually becomes a bigwig on the swing scene, and his relationship with the initially unsophisticated "platinum loudmouth" Stella Kirby (played by Faye). After months of fighting, they realise that they love each other and become a couple but break up when Stella chooses to go to Broadway without Alexander and his band. After going to and returning from World War I, Alexander realises that he has been unfair to her and wants to get back together, only to find that she is married to his best friend Charlie Dwyer (played by Ameche, who gives the best performance in the film). However, everything turns out perfectly fine in the end and there is a happy ending of a kind that only Classic Hollywood could deliver!

The second half of the film is far stronger than the first but it's a great feel good film. They don't make them like this anymore, I'm afraid. It's the kind of film that my grandmother loved.

For a long time, it has been said, in our family (the Watzkes), especially in New Orleans, and in the New Orleans jazz/ragtime community, that this movie, and the 1911 Irving Berlin song that inspired it, were based on a real person, the New Orleans band-leader Alexander Constantin Watzke Jr. (also known as "Alex" or "King" Watzke), whose band, popular c. 1904-11 or later, actually was known as Alexander's Ragtime Band! He was in fact, the only known ragtime/jazz band leader of the time named Alexander! The movie itself was an awesome period piece, and the music was excellent! The previous reviewers have described it in so much detail, there's little we can add of relevance. The story line does closely parallel the real Alexander Watzke's story, in that too, he was the son of a wealthy merchant & politician (Alexander Sr.), and that Junior's decision to play ragtime (an African- American genre at the time), deeply scandalized his conservative New Orleans family,and he was considered a "black sheep" It is unclear why his name and the city were changed in the movie, but it is believed that may have been as a result of pressure from the family; Alexander Jr.'s final years and death are shrouded in controversy. Anyway, I heartily recommend this fine movie about my famous relation!

One composer stands above the rest in his plethora of famous songs still sung today. Mr. Irving Berlin's tunes are sung at Christmas, Easter, baseball games, Fourth of July ceremonies and award shows. His Broadway book shows are few, but even though the voice has been silenced, the melody still lingers on. Half a dozen movies catalog his various hits, and this is the best. It covers the early 20th Century through pre-World War II, and even though the stars never age throughout, they are a metaphor for each song of Berlin's that do not age, either.

The handsome Tyrone Power is the leader of a ragtime band, and Alice Faye is the rough-and-tough broad who becomes their star before moving onto Broadway where as a lady, she is the biggest diva on the boards. After a mistake of a marriage to their pal Don Ameche, she strikes out on her own while Power goes onto entertaining in World War I in Berlin's real Broadway revue "Yip Yip Yaphank", a pre-cursor to "This is the Army". While Berlin sang that song's "Oh How I Hate to Get Up in the Morning" in the movie version of his second all-soldier revue, it is Jack Haley (The Tin Man) who sings it here.

Power's success as a ragtime band leader continues when he brings on the brassy but lovely Ethel Merman to replace Faye, and briefly considers replacing her as the woman he loves. Merman's character, a true "good egg", realizes she can never truly have his love, and gracefully bows out while continuing to sing many of Berlin's more obscure hits.

Everybody sings and shines in the most acclaimed Fox musical of the 1930's, and Faye expresses the two sides of her Fox characterization-the Harlow like bombshell and the dignified lady in which she ended her film career with. Power and Ameche are romantic, Merman sings up a storm, and Haley clowns. Ethel, the future Queen of Broadway, photographs oddly at times, but once she sings and dances, her personality defies the camera and she becomes not only beautiful but sexy as well with her amazing legs in several of the big production numbers.

It's not only the performers who share the star here. Berlin's songs are among his best, whether familiar gems as "Heat Wave" or "Blue Skies" or obscure finds like "My Walking Stick". In smaller roles, Helen Westley, Jean Hersholt and John Carradine offer memorable characterizations. Anybody wanting to familiarize themselves with the great American Songbook should start off by watching this movie. Then, you will understand one great American contribution to this crazy world of ours.

I thought this movie started out with a bang, with rousing ragtime numbers, but then drifted into dull ballads and slower music. I kept on wondering what happened to the peppy ragtime! And surely the songs played after the boys returned from WWI were not from the 1920s? Didn't sound like it.

The story got a bit dull after the promising beginning, but the stars Powers, Faye, Ameche, and Haley were all entertaining in their ways and great to look at.

Also, I was distracted by the inappropriate costumes, which again started out correct for the turn of the century, but for some mysterious reason became 1930s fashion after WWI. The skirts were too short, the jackets had shoulder pads and nipped in waists, and the women's hairstyles and hats were totally wrong for the 1920s. I kept wondering how many years had passed!

All in all, a good movie, but could have been better in some ways.

What a wonderful musical for Tyrone Power, age 24, to appear in 1938.

When fate brings Miss Kirby to the band, the 3 become instant pals. The 3 being Don Ameche, Power and the wonderful Alice Faye. Faye gives by far her best performance in pictures. At the beginning, she shows depth in playing a loud mouth common person in the way of Stella Dallas. She matures beautifully as the film develops.

Fate also intervenes when Stella Kirby is offered a role on Broadway, but she must leave the band. Power is bitter, but it's just in time for World War 1 and he goes into the army. Upon his discharge, he learns that Charlie (Ameche) has married Stella.

While the marriage doesn't last, Power has made a name for himself with the band and Stella discovers that he has a new love interest in his life- Ethel Merman. While Merman has the voice, she is not exactly the other woman type in films. She sings her songs in timely fashion but she doesn't belt them out as she would do years later.

How Alexander (Power) and Stella come back to each other is the rest of the movie. Done with lovely musical fanfare, "Alexander's Ragtime Band" must rate as one of the best musicals that Hollywood ever turned out.

Roger Grant, a classically trained violinist, is leading a small band in turn of the century San Francisco with little success. One fateful night, Stella Kirby, brings sheet music of Irving Berlin's new song, Alexander's Ragtime Band. Stella sings while Roger plays the song, and all three are a hit, despite the friction between Roger (who now is the Alexander from the song) and Stella. Obviously there is hints of romance between the two, but fellow band member Charlie Dwyer completes the love triangle, and is the one who captures Stella's hand in marriage. Roger/Alexander and his band tour the country and entertain the troops overseas in World War I, and returns to the US a sensation, while the marriage between Stella and Charlie falls apart because the two realize they are not the ones meant for each other. Stella tries to rekindle the romance with Roger, but singer Jerry Allen has fallen for the band leader, despite being somewhat indifferent towards her. Roger, Charlie, and the rest of the band perform a concert reuniting everyone, while Stella feels on the outside thinking she has no part in Roger's life. The film's story line is predictable, full of holes, and mushy and the performances are enjoyable at best, but the film carries such an energy thanks to Berlin's music, as well as the singing from both Faye and Merman (who does stand out in this early role). The musical numbers are quite different from the ones preceding it, which does keep the movie fresh. Rating, 7.

The involvement of a talented cast (Tyrone Power, Don Ameche, Alice Faye, Ethel Merman, Jack Haley) and director (the undervalued Henry King) and with songs penned by one of the greatest song-writers of all time Irving Berlin were reasons enough to see 'Alexander's Ragtime Band' in the first place.

And on the most part it did not disappoint. Its only primary fault really is the thin-on-the-ground (merely an excuse to string along songs together) and old-hat (with a concept that has been done to death and much better) story, that is even further advantaged by that it's pure sappy hokum, that it's rather perfunctorily paced at the beginning and that the First World War stuff is dispatched rather too quickly, almost like a throwaway.

It is constantly mentioned that one shouldn't see musicals for their stories, but it always depends on how well done everything else is, if other elements are not very well executed or if the story is the only element not so well executed that it sticks out like a sore thumb it is more noticeable and does sort of matter. The latter is the case here.

However, the main reason to see 'Alexander's Ragtime Band' is the music. It is literally an Irving Berlin song-fest and what a glorious one it is too, not hard at all to see why the musical is considered his first big popular hit. Some of the songs are among his most well-known and best, especially "Blue Skies", "Easter Parade" and "Heat Wave".

The title song, "This is the Life", "My Walking Stick" and "All Alone" are similarly wonderful, but really there isn't a bad song in the bunch. They are very nicely staged too, with the most note-worthy being "My Walking Stick", a lot of fun, and the Faye and Merman rendition of "Blue Skies", which admittedly made me tear up.

'Alexander's Ragtime Band' looks good too, being handsomely shot and with elegant costume design. The sets, while not lavish or expansive, are still very easy on the eye. The script crackles, amuses and affects, and despite the perfunctory beginning once the film picks up and it does so very quickly the energy is non-stop. King directs with panache and class.

Power's gorgeously handsome looks, immense likability and magnetic charisma film are so winning here that I was willing to forgive his reasonably limited singing ability and lack of rhythm, things usually not really that forgivable personally when watching musicals. Faye sings beautifully, especially in "Remember" and "All Alone" that are also sung with heartfelt emotion, the camera clearly loves her and she is impossible to resist or dislike.

Ameche completes the love triangle charmingly in the most effortless of ways, and is every bit as likable as Power. Merman steals scenes with her boundless energy and big brassy voice that soars in songs like "My Walking Stick", "Everybody Step" and particularly "Pack Up Your Sins and Go to the Devil" while also softening in "Blue Skies" and "A Pretty Girl is Like a Melody". Haley, in a pre-Tin Man role, dances with energetic athleticism and has a very appealing presence on film.

In summary, with the sole exception of the story a winner all round, with the biggest joy being the songs. Essentially a must watch for Berlin fanatics, because they will be in heaven.

Power, Ameche, Faye and King also worked together in 'In Old Chicago', and while it had a riveting final twenty minutes, with terrific visuals for back then and now, and the cast acquit themselves very well it is nowhere near as good a film. 8/10 Bethany Cox

Sorry to disagree with the other reviewers. This movie is trash. There are so many wonderful Irving Berlin musicals. Astaire Rogers. White Christmas, Holiday Inn, Easter Parade and one of my favorites, Call Me Madam. This last one is Ethel Merman at her best. Alexanders Ragtime Band has wonderful actors and singers, too bad they are wasted on such an over sentimentalized story line. At least in the dvd I looked at the sound and picture were not that good either.

Women's fashions. I was looking for flapper hair and dresses in 1920s, but couldn't see much.

The dancing acrobatic man was good and hilarious. He looked clunky for the terpsichory, but was adequate.

If people say Ethel Merman wasn't as good a belter as in later films, I feel that her later bodily heft gave her a way stronger chest and ribcage in order to produce her all-time famous singing extravanganzas. Witness her lead belting in There's No Business Like Show Business. She was also known for good diction and proper forming of the lips, jaw and mouth for excellent song projection - not to mention her legendary mile high pipes. Here, anyway, in this film, she is thinner and her voice would go on later to attain that famed foghorn loveliness.

Creepy: 1936 film San Francisco (two years earlier) was made, about a SF Barbary Coast nightclub called The Paradise, owned by the Clark Gable character. The Paradise's featured singer was the Jeanette MacDonald character. Either Gable or the Spencer Tracy priest character removes MacDonald's trashy flowers from her costume; I can't remember which one. Anyway, this film early on reminded me of the Gable film when we saw the Barbary Coast dive with Alice Faye.

In real life, Tyrone Power fought in World War Two in the Pacific, according to a late friend of mine who fought with him. This is ironic, being that this film shows Power's character going overseas in World War One.

Copyright 11 August 1938 by 20th Century-Fox Film Corp. New York opening at the Roxy, 5 August 1938. U.S. release: 19 August 1938. Australian release: December 1938. 9,569 feet. 106 minutes. (Available on a superb 20th Century Fox DVD).

NOTES: Won the award for Best Adapted Music Score: Alfred Newman (defeating Carefree, Girls School, Goldwyn Follies, Jezebel, Mad About Music, Storm Over Bengal, Sweethearts, There Goes My Heart, Tropic Holiday and The Young In Heart). Although Newman was the one who received the statuette, all he did was conduct the orchestra. The actual scoring was done by a team of eight arrangers, including Herbert Spencer, Gene Rose and Edward B. Powell.

Also nominated for Best Picture (defeated by You Can't Take It With You), Original Story (lost to Boys Town), Art Direction (lost to The Adventures of Robin Hood), Film Editing (Robin Hood was again the winner), and Best Song (Berlin's "Now It Can Be Told" was edged out by Rainger and Robin's "Thanks For the Memory" from The Big Broadcast of 1938).

Number 3 on the annual poll of U.S. film critics conducted by The Film Daily.

COMMENT: No less than 26 fabulous songs by Irving Berlin, old and new (including "Now It Can Be Told", "My Walking Stick", "Alexander's Ragtime Band", "I'm Marching Along with Time" and the impressive production number, "We're on Our Way to France"), splendidly performed by such mistresses of melody as Alice Faye and Ethel Merman, are ingeniously threaded on a show biz story concocted by Berlin himself. Unfortunately, Mr Berlin's plot is the weakest link in the chain and its corn-ball clichés have an irritating tendency to get in the way of and to over-shadow his wonderful tunes.

Despite the array of writing talent, the script has very little in the way of real dramatic "meat" for the players to get their teeth into, and whilst Alice Faye and company look very decorative, one wishes they had something more substantial to do.

Henry King's direction is capable and Peverell Marley's photography a thing of beauty. The art directors have excelled themselves in creating attractive sets, the costumes are gorgeous and production values are generally lavish (though the choreography of the musical numbers is rather tame, especially to those of us who thrill to the spectacle of a Busby Berkeley production number); but 26 songs are not enough to sustain a story so slight and so silly. Now if it was 36 songs . . . Alfred Newman won a deserved award for his fine scoring of Berlin's music. The film itself was nominated for the Best Picture award, but lost out to "You Can't Take It With You."

OTHER VIEWS: A feast for Irving Berlin fans. And who better to put over his catchy rhythms and sparkling melodies but Ethel Merman and Alice Faye. Both ladies are in top voice. Berlin wrote three new songs for the movie, including one each for Merman ("My Walking Stick") and Faye ("Now It Can Be Told" — which was nominated for a prestigious Hollywood award). He then went on record to compliment Faye by saying, "I'd rather have Alice Faye introduce my songs than any other singer I know." Good on you, Irving! This critic totally agrees. Alice Faye is the most marvelous wonder to hit movies since Georges Melies sent a man to the moon. And Alexander's Ragtime Band is a sensational showcase for her talents. She sings, she dances, she looks absolutely beautiful, she delivers even the most clichéd of lines with such entrancing inflections of voice as to conjure freshness and vitality from the feeblest threads. And when she sings . . . Not all the angels in all the heavens could produce notes so rhapsodic and true. — JHR writing as George Addison.

Tyrone Power, Alice Faye and Don Ameche star in this movie musical, which was nominated for six Oscars at the time, including Best Picture, winning one for Best Music Score. Tyrone has been studying and playing classical music, so when mother hears of him taking up this old ragtime music, she doesn't speak to him. But Tyrone as Roger has had an inner longing for this type of expression. He and his band, which includes Don Ameche, tries to find a job at a restaurant that has floor shows. Of course, Alice Faye is there, trying to get her music heard, played and sold. When they need something to play for an audition, her music is swiped by their bartender friend. They start to play and she fumes. "My music." So, she chimes in, with "Come on and hear, Come on and hear Alexander's ragtime band...." She is a sensation. Or are they? They get the job, but as a package deal, not separately. Neither Alice nor Ty are happy about it, as they fight like a rooster and hen. And, Don Ameche took to her right away. Get the picture! The movie itself is very well made and makes for entertaining melodramatic escapism. While this is certainly more than just a musical, with its three-dimensional characters, the songs are superlative. There were a lot of great songwriters in the early 20th century, like the Gershwins, Mercer, and others. And, they all had their own style. But no one could write 'em like Irving Berlin. "Alexander's Ragtime Band" is one example of how thrilling his songs were. If you've never seen this film, you must see it. It has gotten somewhat overshadowed by "Singin' in the Rain" and other more well-known major movie musicals, but this is an essential to musicals and is time well-spent with good actors.

How sad ....wonderful songs that make you whistle or sing them time after time..as compared to today's garbage. All the accolades mentioned in other reviews were right on, the music, the stars at their pinnacle success. Aside from that, no one mentioned the one skit that really impressed me was the one that Wally Vernon and Dixie Dumbar did...wonderfully performed...It was one of the highlights for me. I could buy the DVD just for that one skit.The scene where Tyrone is insulting Alice with her Plantinium hair wig, must have been a ' dig' at the rage Jean Harlow caused when M-G-M created it for her and the 'penciled' eyebrows.