Alexander’s Ragtime Band

Alexander's Ragtime Band

I know what they like down here, and that’s more than you’ll ever know!

Needless to say, when I got my first glimpse of that poster up there and saw the tagline “An American Cavalcade!”, I was hesitantly put on my guard; a film needing to bill itself as an American version of the tepid previous Best Picture winner would, to me, seem to be needing to cover up some self-perceived shortcomings. Well, thankfully this turned out to not be an American historical biopic, but a musical set in the theater and the world of performing bands. Now, there’s plenty of people who will hear the word musical and tense up inadvertently, and I wouldn’t blame them if they did; musicals are both a dime a dozen as well as very pick-and-choose in terms of quality and enjoyment. Where Alexander’s Ragtime Band ends up being a pretty decent piece of entertainment is both in the music – how it’s written and how it’s presented – and in the story surrounding it, which considering musicals of the time was quite the unexpected surprise.

The titular Alexander is actually Roger, a young violinist who winds up orchestrating a band in an effort to make a name for them, and for himself. Thanks to some misplaced music, they end up performing the ragtime swing brought in by a young singer, Stella Kirby, who’s been gunning for the same gig. An immediate hit, Roger takes the name of the titular tune, combines efforts with Stella, and they become Alexander’s Ragtime Band, and their fortunes are on the way. That is, unless an unexpected romance, with two potential suitors for Ms. Kirby, threatens to ruin the happiness of all involved. I’d go more into it than that, but one of the things I liked about this film was how it went about moving the plot through each of the turns that was required of it, though I will definitely say that the third act seemed to be far too extended in apparently an attempt to lengthen the running time and get in as many musical numbers as they can before the film closes proper. Speaking of which, the musical numbers themselves are thankfully pretty decent for the time period, especially thanks to the decision to base the story around a band performing them, and thus the numbers fit within the universe and the film doesn’t break the flow by having people spontaneously break out into song in a jarring manner. All the numbers, both classic tunes and newly written material for the film, are by Irving Berlin, and are actually a highlight for once, toe-tapping at one time and serenely melodious the next.

I went into this expecting it to be a grind-and-a-half, and was frankly shocked to find how enjoyable this was. Now, I won’t say that it’s an absolute must-see, or even that it’s the best of the nominees for Best Picture. But, I can fairly say that it’s worth the time to watch it, at least, which is a heck of a lot more than I thought I’d be saying about a late 1930’s musical. The acting is pretty much par, and the plot exists only to hold together the numbers (and not to win any screenplay awards, for example), but the film’s selling points outweigh its detriments, at least in my opinion. It’s still a musical, though, so it won’t be for everyone, but I was surprised by it, so who knows; maybe a few others will be too.

Arbitrary Rating: 7/10


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