Customer Reviews

The Glenn Miller Story [VHS]

5 star:		(51)
4 star:		(24)
3 star:		(4)
2 star:		(2)
1 star:		(4)

 

 

Hollywoods 1954 version of "The Glenn Miller Story" is a great story, with outstanding music & WideScreen gorgeous Technicolor. Starring James Stewart as an outstanding Glenn Miller and June Allison as his devoted wife/fan.

This Universals Movie has been digitally remastered picture and sound. With a Anamorphic WideScreen (automatically adjust to your tv picture size) & enhanced for 16:9 HDTV's. This TECHNICOLOR Cinamscope picture is beautiful to watch.

Summary: The story covers his early years as struggling musician & musical arranger, his obsession with finding the unique Miller Band sound and marrying his favorite girl, Helen (Allison). With an AllStar cast and numerous cameos by Louis Armstrong, Gene Krupa, Frances Langford and more this music based life story is a pure joy. Millers songs include: Little Brown Jug (his wifes favorite song), Pennsylvania 6 - 5000 (His phone number when he proposed to his wife), String 0f Pearls (his engagement gift to his wife - the necklace!! not the song), Moonlight Serenade (the song that launched his career), Tuxedo Junction (his first movie song), In the Mood, and Chatanooga Choo Choo (World War II song sung by Frances Langford).

There are no extras on this DVD, but the movie says it all. This delightful film is worth an encore family viewing. Stewart & Allison have genuine screen chemistry and the music is awesome. Swing at its best. Get out the popcorn for you'll be "IN THE MOOD" for "The Glenn Miller Story" Hollywood style. Enjoy.

First I must take gentle exception to the post below stating that there were no widescreen (anamorphic) movies in the US prior to 1955. Uh-uhh! Fox imported a French anamorphic system, christened it CinemaScope, and used it beginning in 1953 (How to Marry a Millionaire and the Robe, for example). By 1954 'scope was spreading to other studios, as witness MGM's Seven Brides for Seven Brothers and Brigadoon. OK, the transfer onto DVD of THE GLENN MILLER STORY is a little flat--but blame that on the production standards of 1954, when Technicolor and the other colors were still quite picky--often to the point where cinematographer and director had to use compromise lenses to make sure the film wasn't underexposed.

That having been said, and all technical stuff aside, THE GLENN MILLER STORY is a fine movie. Jimmy Stewart brings his patented aw-shucks manner to a bandleader who was firmly in control of himself and knew what he wanted--to the point of proposing to his belle if that isn't too elevated a word--after they had had only one real date! June Allyson is charming and fun and the film, especially in the last reel, gives her the chance to dig in and act. While Allyson wasn't the most talented dancer out of MGM, and her breath control when singing was a sometimes thing, she remains beguiling, a fully fleshed-out figure well beyond "cute" or "fresh."

The film covers the period from the early depression until the waning days of World War II. Glenn Miller's rise as a player, later bandleader, even later composer/arrangement, was not swift. I think of this as a kind of "rags to rags to riches story," of the kind that were so sadly numerous during the 1930s.

My only real gripe about this tuneful and well-crafted film is that it has a bad case of Eureka-itis. I mean, the songs that the fictional Glenn would be writing in the future are telegraphed to us, the audience, way ahead of time and usually not subtly, either. (The first scene in the movie has Stewart in an L.A. pawn shop enquiring about the cost of a string of pearls; later on he complains that the really hot swing is worth playing only when people are in the mood. That sort of thing.)

Nonetheless, at this low price I think most people will be happy to overlook the occasional bits of staginess and enjoy this musical biopic for what it is. By the way, the music for the movie was re-recorded by the postwar incarnation of Miller's band, and not only is the playing excellent the sound reproduction is not bad considering the film's Fifties origin.

My parents grew up in the Glenn Miller era. I grew up in the 70's, but have grown very fond of the music my parents enjoyed. After the death of Jimmy Stewart a local television station aired his movies all weekend honoring such a fine actor. One of the movies I watched was the Glenn Miller Story. Not only did I love the story, but thoroughly enjoyed the music. I am now hooked on the Big-Band music and have been keeping an eye out for this particular movie. This is one I would like to add to my movie library. Glad to find it here. Do rent or purchase the movie-- you'll really enjoy. I've even ordered a Glenn Miller cd. I think my parents would be very surprised!

Jimmy Stewart stars as Glenn Miller, the famed band leader from the Thirties and Forties, in a film that charts his rise from his beginnings as trombone player in various bands and orchestras, the various setbacks on his way to the top, to his eventual success as an innovative band leader before and during the War. June Allyson plays his incredibly supportive and understanding wife, and Harry Morgan is his lifelong best friend (and piano player). I don't know enough about Miller's real life to say how accurate this film is, but it seems to hit the highlights. Stewart is very good (as usual), and he has a nice, comfortable chemistry with Allyson. Of course, Miller's music is the prominent feature in the film, and even for me - someone not from that generation - it's great to hear and enjoyable. In fact, I just purchased a CD of Miller's greatest hits to add to my CD collection. Maybe the movie is inspirational!

As one who as a young man stood in front of a bandstand with Glenn Miller Performing . It brings back a lot of fond Memories Only one critisism >To my knowledge there were no blacks intigrated in the reviews of the troops marching together. This does not detract from this fine Movie With the two best actors that could have been chosen. I was serving in England at the time of Glenns dtsapearance and it was a sad day for the GIS and English as well.. A time we will never foget, and we are disapering at a rapid rate .Long live his music

Another reviewer commented on the innaccuracies of this film, and I have to concur. But who cares? This is an absolutely enjoyable, old fashioned, biopic love story, and I don't normally enjoy love stories (though my wife does). In fact, this is one of my favorite movies. You can watch it several times, and still be engaged by the characters and the story. The on-screen chemistry between Allyson (Helen Miller) and Stewart (Glenn Miller) is first rate, and Harry Morgan's "Chummy MacGregor" characterization is the ideal sidekick for this type of movie (highly inaccurate, but flattering to his subject). Big Band fans will enjoy cameos by the likes of the great Louis Armstrong, Ben Pollack (playing some driving drums, too briefly in my opinion), and others. Stewart's Miller is as likeable as any Stewart character, so if you want to know how Glenn really was, then read George T. Simon's book "Glenn Miller and His Orchestra." If you are a big band fan, you'll positively love this movie with all of its factual flaws, because it is positively pro-Miller, and pro-Big Band music all the way. The actors and the director clearly liked their subject, and it is said that Stewart very much wanted this role. This movie is way too good to miss.

"The Glenn Miller Story" is one of those glossy, overly fictionalized real life stories that Hollywood still enjoys making from time to time. It's full of schmaltz, charm, camp and gushy romance - - thoroughly infectious on the big screen. James Stewart stars as the band leader in question. June Allyson plays his loving, devoted girlfriend/later wife.

There's not much in the way of plot - - a series of disjointed vignettes that chart the problematic rise in popularity of Miller's music and his premature death - - but oh, that music, that inescapably captivating sound of swing that sets the heart aflutter and the toes tapping. It's infectious and nostalgic and full of the sort of full bodied thrust and pulsation thoroughly lacking during the romanticized fiction that frames each intimate little tune. A huge hit on its initial release the film seems more of a footnote to film bios than a stand out amongst studio output.

Stewart is, as Stewart always is, a charming, passive and congenial fellow. But here he's just a tad too laconic to ever be believable as the object of any groupee's pop-fascination. Allyson's characterization too is problematic - a cross between the girl next door and Doris Day times a hundred. Her performance has all the sickening sweetness of hacking into a rich chocolate torte only to find crème briolette underneath.

Universal's transfer leaves something to be desired as well. It's widescreen and anamorphic and that's a start. But the film's original negative has badly worn. Colors are extremely faded, so much so that certain scenes almost register as a muddy B&W rather than color film stock. Certain scenes appear quite sharp while others are horribly out of focus. Fine details are lost. Flesh tones are too pink throughout. Pixelization is evident in many of the scenes.

None of the colors in this palette are particularly engaging. Greens in trees and grass register a pasty brownish mess. Blacks have a soft weak gray tint to them. Shadows and contrast levels are very weak. The audio is stereo but just barely. At times it appears scratchy and strident. The music is well represented but somehow overpowering when compared to the dialogue scenes that buttress them. There's nothing natural sounding about these sound levels. One final insult comes by way of not having a single extra to boot - - not even the film's theatrical trailer.

Honestly, for good ol' Glenn - more should have been done!

This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

I am the first to admit I know next to zilch about the era of swing and big bands, but Anthony Mann retells the life of Glenn Miller through some excellent tunes and great performances by James Stewart and June Allyson. It is just plain difficult not to like a film like this.

James Stewart is great as the late bandleader. Miller is a broke musician, always pawning his trombone in order to make ends meet. He and his piano player buddy Chummy (Harry Morgan, then named "Henry") are always looking for the next gig that will make them famous. Miller is always politely playing the same old stuff, but he would rather do his own arrangements, following the music he hears in his head and never seems to capture onstage.

Behind every great man is a great woman, and June Allyson is Helen, Miller's wife. Their initial encounters are funny, as the affair is one sided. They dated briefly, then parted for a few years, yet Miller still refers to Helen as his girl. After convincing her to marry him spontaneously, the young couple stay in New York City, with Miller playing in the safe shows there.

With Helen's unwavering support, Miller eventually completes "Moonlight Serenade." Watch for a hilarious scene as the melancholy ballad is turned into (Stewart's line) "a hoochie coochie number." Miller starts his own band, but it breaks up after Helen miscarries. Meeting with a ballroom booking agent, the band gets back together, and Miller's sound finally takes off, resulting in huge record sales and unlimited musical success. Of course, things are going too perfectly...

Miller is commissioned as an officer into World War II, and as most people know, was eventually labelled as missing when his plane did not complete a trip over the English Channel. Over the years, a report surfaced that his plane was accidentally destroyed when flying over a bomb dump. Glenn Miller was just 40 when he disappeared.

As I wrote, I do not know much about this field of music, but here is a list of the "special guests" who perform in the film, even I recognized a few names: Frances Langford, Louis Armstrong, Ben Pollack, Gene Krupa, The Modernaires, The Archie Savage Dancers, Barney Bigard, James Young, Marty Napoleon, Arvell Shaw, Cozy Cole, and Babe Russin. Among the numbers featured are "Moonlight Serenade," "String of Pearls," "In the Mood," "Pennsylvania 6-5000," and "Chattanooga Choo Choo." All of these are done well, although I just have never been able to warm up to "Pennsylvania 6-5000."

Director Mann balances the life events and the music well. Allyson is not as annoying here as she was in another Mann-Stewart collaboration- "Strategic Air Command." She holds her own against Stewart's Miller. Both are fine and work well together. Harry Morgan is relegated to the best friend role, but is given a funny car obsession and he is good. The Louis Armstrong number in the jazz club is a standout, no wonder the Beats went in for it, what with the spinning colored gel wheel and all.

The Technicolor and sound are crystal clear. This was a big film aiming to please the audience, so there are a few scenes that seem to be added because this is a biopic. The Millers' lives seem too perfect, but this is a minor qualm. Allyson's tear stained face as she listens to Miller's final arrangement of her favorite song is fantastic.

I always seem to get Benny Goodman and Glenn Miller mixed up, but not anymore. Anthony Mann has realized a story that may not have been too interesting on paper, but is greatly realized on the screen. I highly recommend it, both as a music film and a biographical film.

This 1953 film is rated (G) and contains nothing offensive.