- 9 hours ago
Enjoy The Dorsey Brothers Story (1947), a timeless classic musical film inspired by the lives and careers of the legendary Dorsey brothers. Featuring unforgettable big band performances, swing music, and classic Hollywood entertainment, this vintage film captures the spirit of America's golden era of jazz and dance music.
This classic movie is perfect for fans of vintage cinema, musical films, jazz, swing, and old Hollywood. Sit back and enjoy this memorable journey through one of the most influential periods in American music history.
This classic movie is perfect for fans of vintage cinema, musical films, jazz, swing, and old Hollywood. Sit back and enjoy this memorable journey through one of the most influential periods in American music history.
Category
π₯
Short filmTranscript
00:00:00The End
00:01:47This is our home in Shenandoah, Pennsylvania, where Pop works in the coal mines.
00:02:31It's not very good, Homer.
00:02:33You keep flatting.
00:02:35Maybe I should give up, Mr. Dorsey.
00:02:37I told your father I was going to teach you how to play a musical instrument, and that I am.
00:02:42Give it to me.
00:02:54That's not a musical instrument, Homer, and what you've just played is not music.
00:02:59Now pay attention.
00:03:14Good afternoon.
00:03:16Hi, Pop.
00:03:18I thought I told you two to get to your practicing.
00:03:21Jimmy and I was just getting a breath of air, Pop.
00:03:24Get back into the house and put some of that air into your horns.
00:03:35Come on.
00:03:36In here.
00:03:37You know where you're all wanted.
00:03:39Come on.
00:03:40Off with them.
00:03:40Off with your shoes.
00:03:42If you're through with me, Mr. Dorsey, I'll be getting along now.
00:03:45Yes, Homer.
00:03:46Same time tomorrow.
00:03:50That'll do, Homer.
00:03:51That'll do.
00:03:52Never mind.
00:03:53Gee, Pop.
00:03:54We already rehearsed two hours this afternoon.
00:03:57You put in another two hours, you get your shoes back.
00:04:00Why is it you two always got to outsmart your old man?
00:04:03Other kids don't have to practice all the time, and most of them don't even take music lessons.
00:04:08Give me their names.
00:04:08I'll speak to their parents about them.
00:04:10I don't see why I got to play saxophone anyhow.
00:04:13I'm the only kid in Shenandoah has to lug one of these things around.
00:04:16That's why I picked it for you, Jimmy.
00:04:18Nobody else plays them.
00:04:20You got a chance to make a name for yourself.
00:04:22Same with Tommy's trombone.
00:04:24Come on, ready now.
00:04:25Get your trombone.
00:04:26And no flatting, mind.
00:04:27No flatting.
00:04:29Ready?
00:04:30One.
00:04:31Two.
00:04:48Here are the apples, Mrs. Dorsey.
00:04:50Thank you, Janie.
00:04:51And tell your mother thanks too.
00:04:53Could I stay a while, Mrs. Dorsey?
00:04:54Sure, Janie.
00:04:55Always glad to have you.
00:04:56But the boys still have some practicing to do.
00:04:59I like to listen.
00:05:00You may call that music, but I don't.
00:05:03Now take it again.
00:05:04From the beginning.
00:05:05Ah, Pop.
00:05:07From the beginning, but the beginning was right.
00:05:10You heard me.
00:05:10I don't know.
00:05:10I'm sorry.
00:05:11When it comes to music, I'll have none of your lip.
00:05:13When it comes to music, I'll have none of your lip.
00:05:16Hey, Pop, you're a comedian.
00:05:18Ah, ha, ha.
00:05:19A comedian, am I?
00:05:25What are you sniffling about?
00:05:27I'm next, ain't I?
00:05:28No, Tom, they're but lads.
00:05:30If you two don't let your father get along down to the mine now, I'll take a hand to you
00:05:32myself.
00:05:34And no back talk from you either.
00:05:36I don't recollect you'll learn to play the coronet in one lesson.
00:05:39Well, you two keep right at it.
00:05:41Oh, sure, Pop.
00:05:43We will.
00:05:46Be sure that they keep us up practicing.
00:05:48I will, Dad.
00:05:48Don't worry.
00:05:51Goodbye, Tess.
00:05:52Goodbye, Tom.
00:06:06Janey, would you watch the poison men of where I run next door?
00:06:08They're nearly done.
00:06:09Sure, Mrs. Darcy.
00:06:10I'll watch them.
00:06:23There you go again.
00:06:25Why don't you play it the way Pop told you?
00:06:27How about when you take off?
00:06:28I'm older.
00:06:29Now listen, this is the way it's supposed to go.
00:06:37And what's wrong with playing it this way?
00:06:44You wouldn't play it that way if Pop was around.
00:06:46It couldn't be your getting too big for your britches, Mr. Conductor.
00:06:50You want to make something of it?
00:06:52Sure.
00:06:52Sure.
00:06:53All right, outside.
00:07:07You listen to me.
00:07:08Tommy.
00:07:09Not a bike in me.
00:07:11Ouch.
00:07:12Stop it.
00:07:13Ooh.
00:07:14Ooh.
00:07:16Ooh.
00:07:17Mrs. Dorsey.
00:07:17Oh.
00:07:18You asked for it.
00:07:19Not in the lift.
00:07:20Ooh.
00:07:21Ooh.
00:07:21Ooh.
00:07:22You listen to me and like Pop.
00:07:23I can help if you will if I make him.
00:07:26Ow.
00:07:27Ow.
00:07:28Stop it.
00:07:30All right.
00:07:31You won't stop.
00:07:32There are two pies in the oven.
00:07:34And I'll just stand here and let the bird.
00:07:37Apple pies.
00:07:41Apple pies.
00:07:41I'll just stand here and let those apple pies burn.
00:07:44Apple pies, Tommy.
00:07:48Well, who played it wrong this time?
00:07:52You want something, Mom?
00:07:56I ought to tar the both of you.
00:07:59But I won't.
00:08:01You've been practicing enough for one day.
00:08:03Which hand are we to take?
00:08:04The left.
00:08:04The right, Mom.
00:08:05Clean up now.
00:08:06Scoot into your shoes and get along down to the picture show and take Jane with you.
00:08:09Thanks, Mom.
00:08:10Thanks, Mom.
00:08:11It's Tom Mix.
00:08:11But remember, not a word to your father or he'll skin the lot of us.
00:08:15Oh, we won't.
00:08:15Come on, Jimmy.
00:08:18The pies were all right, Jane.
00:08:20You did a good job at peacemaking.
00:08:22They weren't really fighting, Mrs. Dorsey.
00:08:24Just arguing.
00:08:26Hard, I know.
00:08:27They're Irish.
00:08:28Jane, there's only one thing worse than being Irish.
00:08:30And that's not being Irish.
00:08:33Come along to the boys now.
00:08:48Come along.
00:08:50And then, Tom Mix must have caught the rustlar as early.
00:08:57Tom, what's happened?
00:08:59Bad news, Tess. We've all been laid off of the mine.
00:09:03Every last one of us.
00:09:04Ah, Tom, and just when things were looking up a little,
00:09:06will it be for long?
00:09:07Long enough to stay broke, Tess.
00:09:09The operators ain't getting enough price, I guess.
00:09:12Any coffee left?
00:09:13You poor fella, of course there is.
00:09:15It will do you good to have a nice hot supper at home for once.
00:09:18Where's the boys, Tess?
00:09:20Why, I...
00:09:22I let them go out for a minute.
00:09:24So that's all this talk about Tom makes.
00:09:27It's my fault, Tom.
00:09:28I packed them off to the pictures.
00:09:30The poor little tykes never have any fun.
00:09:31They'll have a lot less when they get home, Tess.
00:09:34Don't talk like that.
00:09:35You're that strict with them.
00:09:36People wouldn't believe how much you love them.
00:09:39Tess, have you knew how much music could mean to them?
00:09:42But Tom, dear...
00:09:43You want them grown up to be coal miners, I suppose.
00:09:45Oh, no, sir.
00:09:47They've got to get their chance, Tess.
00:09:48There's nowhere around this coal town with less and less work each year.
00:09:53I've got to give them more than that.
00:09:55But, dear, if you...
00:09:55Tess, I want our boys to get somewhere.
00:09:59Music's the only thing I know.
00:10:01They've got me to teach them that.
00:10:03I didn't have nobody.
00:10:06And they're going to learn music.
00:10:08If I do nothing else for them, Tess, I'll do that.
00:10:16You don't want them grown up like me, Tess.
00:10:19Tom, I couldn't ask more than they grow up like you.
00:10:23A finer man never lived.
00:10:26It takes more than love in this world, Tess.
00:10:29It takes more than that.
00:10:38Even if Mom does make the candy, what are you going to use for groceries?
00:10:41I'll take the order and then get some credit.
00:10:44Just like the regular stores.
00:10:47Gosh, when Pop out of work, we sure got to help.
00:10:52I know the boys are a bit young, Tess.
00:10:55But I think it'll be a good thing for them.
00:10:57Well, I guess you know best, Tom.
00:11:08Hey, Pop's gone!
00:11:09Yes, but Mom's here.
00:11:11All right, get to us.
00:11:13You'll excuse us, Jane.
00:11:13Now, Mom, you're not going to start treating us like little kids.
00:11:16From now on, if your Pop says you've got to practice,
00:11:18I'm going to see that you do just that.
00:11:20Maybe I've been too easy with you for your own good.
00:11:23Gosh, Mom, you're not letting Pop put ideas in your head.
00:11:26You ever raise a family of your own, you'll find out.
00:11:28Anyhow, I want you to do as your Pop says.
00:11:31Sure, Mom, if it means that much to you.
00:11:33Sure, we promise.
00:11:35Oh, uh, just to be on the safe side.
00:11:38Off with them.
00:11:39But, Mom, we promised.
00:11:41You wouldn't be me own flesh and blood if you didn't want a little fun now and then.
00:11:44So don't be making promises you can't keep.
00:11:46Off with them.
00:11:50Oh, boy. Mom's getting smarter all the time.
00:12:08But, Tom, I always get my bands from out of town.
00:12:11I've been doing it for years.
00:12:12That's just it.
00:12:13I'm offering you something fresh.
00:12:16My band's got a trombone and a saxophone.
00:12:18A saxophone? What's that?
00:12:20Something new for dance bands.
00:12:22Like the calling of angels.
00:12:24You'll like it.
00:12:24But, Tom, you're asking me $5 more than I usually pay.
00:12:28I'm only asking you to give us a try.
00:12:31Well, it might have sort of a local appeal.
00:12:33Okay.
00:12:35Give me their names.
00:12:37Oh, they're all good men.
00:12:38Well, sure, but I've got to have a list.
00:12:41Well...
00:12:42Well, on the drums, there's Christy Matthews.
00:12:44Got a great sense of rhythm.
00:12:45On the fiddle, Fred Burke.
00:12:48On the trumpet, there's meself.
00:12:50Oh, it's a conductor.
00:12:52On the other trumpet, Tom Jeffreys.
00:12:55On the piano, Eddie Hall.
00:12:57Both good men as you must know.
00:12:59On the saxophone, James Dorsey.
00:13:03Your brother?
00:13:04On the trombone, Thomas Dorsey.
00:13:07Thomas Dorsey.
00:13:10Junior.
00:13:11Now, wait him.
00:13:12Not those two kids.
00:13:13Not those two sons of yours.
00:13:16Now, hold on, Tom Dorsey.
00:13:17And I agree to pay you $5 more.
00:13:19Because you are going to double your business.
00:13:21And you will.
00:13:22With those two kids up there hitting a lot of flat notes.
00:13:24Why, the people would...
00:13:25Besides, they're always scrapping.
00:13:27Sure they scrap.
00:13:29Maybe I like me kids to be full of scrap.
00:13:31Because they have to fight for everything they get.
00:13:33And they may as well get used to it now.
00:13:36That's got nothing to do with this.
00:13:38Up there on the bandstand, they do their job.
00:13:41And don't be afraid of any flat notes.
00:13:43They're both fine musicians.
00:13:45I raise them to be.
00:13:48Tell you what.
00:13:49Give us a trial.
00:13:50And if you don't like us, you don't pay us.
00:13:53Not a dime.
00:13:53Not a thin red cent.
00:13:56Okay.
00:13:57Fair enough.
00:13:58That's your promise.
00:14:02Oh, but those two kids.
00:14:04Now, Paddy, go on.
00:14:05Tom, Tom, Tom.
00:14:07Have a glass of beer.
00:14:10Pull yourself down.
00:14:11Do you not.
00:14:28Do you want to know what's a song to do,
00:14:29Yes, sir.
00:14:29Oh, oh.
00:14:30Oh, oh don't, come on.
00:14:37I'll forgive you.
00:14:37Go, sir.
00:14:38Oh, you guys.
00:17:26I'm not so sure about Gorman.
00:17:28He's dead set against the boys.
00:17:30Seems to think I can't turn my back without her always scrapping.
00:17:52Now Tom.
00:17:55Now Tom.
00:18:07You said they were good.
00:18:08Now let them prove it.
00:18:09All by themselves.
00:18:12By golly I will.
00:18:14I will.
00:18:31I'll see.
00:18:41I'll see.
00:18:43I'll see.
00:19:00Well, I think it's a disgrace.
00:19:02Shh.
00:19:03There's Mrs. Dorsey now.
00:19:04She'll hear you.
00:19:05I don't care if she does.
00:19:07She ought to be told.
00:19:09Mrs. Dorsey, maybe with your husband, a musician,
00:19:12your way of life is different from ours.
00:19:15Now, Kate.
00:19:15But it's going to be all over town tomorrow
00:19:18that those two poor little helpless boys
00:19:20were forced to make a public exhibition of themselves
00:19:22playing in a dance band in Gorman's Hall.
00:19:26And what's wrong with Gorman's Hall?
00:19:28What's wrong?
00:19:30Well, in a town like ours, Mrs. Dorsey,
00:19:33a public dance hall is hardly regarded as the place
00:19:36in which an average mother would want her children to grow up.
00:19:38And whoever told you I was average?
00:19:41I'm so different from most women.
00:19:42I even go around minding me own business.
00:19:44I told you it wouldn't do any good, Kate.
00:19:57Why those old busybodies?
00:20:00Don't cry, Mom.
00:20:02Oh, Mom, you're not going to let those two old Budinskis upset you.
00:20:06Of course not.
00:20:07I'm proud of you now.
00:20:09And I know I'll always feel that way about the both of you.
00:20:12That's right, Mom.
00:20:13We'll show them, won't we, Tommy?
00:20:14You bet your life we will.
00:20:22They were in earnest, and the boys meant every word they said.
00:20:26The years blew by, and the first thing I knew,
00:20:30they were men starting out with their own jazz band.
00:20:34Janie Howard went along as their singer,
00:20:37and it was like a part of my life had ended.
00:20:48Oh, there it goes.
00:20:51Jane, why didn't you keep your foot on the gas?
00:20:54Well, I did, Tommy.
00:20:56Well, try it again.
00:21:00Oh, I can't figure it out.
00:21:03I wonder what would happen if you press down on that gimmick.
00:21:06You get your weight, your fortune, and a picture of the wild canaries.
00:21:12Find out anything, Jimmy?
00:21:14The farmer back there said there's a town two miles further on.
00:21:17What is it this time?
00:21:18Oh, I don't know.
00:21:19It just won't go.
00:21:20Well, we guessed that when it stopped.
00:21:25Oh, 50, 60 bucks, fix it up like new.
00:21:2850 or 60 dollars, huh?
00:21:29Just like that.
00:21:30Don't worry.
00:21:31We'll get the dough.
00:21:33What are we, the Dorsey brothers or the James boys?
00:21:36Why don't you laughing boys lay off?
00:21:39Yeah, just because it's a little tough right now
00:21:41don't mean it's going to stay that way.
00:21:43A little tough?
00:21:44I remember in Indianapolis.
00:21:45We lasted four days.
00:21:47That's all we were booked for.
00:21:49In Steubenville, we lasted one day.
00:21:51Who stayed there any longer?
00:21:53Remember, fellas, into each life some rain must...
00:22:04You're not saying very much.
00:22:06Looks like the boys have said it all.
00:22:08Another week of this and we're all better off back in the mines.
00:22:11Oh, another joy boy.
00:22:13It's about time somebody around here made some sense.
00:22:16What's the matter?
00:22:17Doesn't this royal nibs like the way I'm running things?
00:22:20No, I don't.
00:22:20Oh, you don't.
00:22:24Tommy, Jimmy!
00:22:27Hey, it's running!
00:22:29Hurry up!
00:22:29Come on, get in!
00:22:31Hurry up!
00:22:32Get in the car!
00:22:41Grand Hotel.
00:22:42I wonder if they're kidding.
00:22:43It's about in that trap we stayed in last night.
00:22:46Lobby looks nice.
00:22:47We only stay here overnight, then head for Jefferson City.
00:22:54Good evening.
00:22:55Good evening.
00:22:56Got any rooms?
00:22:57Orchestra, huh?
00:22:58Sticks and stones may break our bones, but names will never harm us.
00:23:04Let's see.
00:23:05There's seven of them.
00:23:06Six.
00:23:07Seven.
00:23:08I know there's a train out of here for Chicago in about an hour.
00:23:11I'm taking it while I still got the fare.
00:23:13Now, wait a minute, Joe.
00:23:14You can't walk on us like this.
00:23:15Who's got to play piano for me?
00:23:16I know how you feel, Joe.
00:23:18But we've got a booking in Jefferson City tomorrow night, and a date is a date.
00:23:21All of Jane's arrangements are filled around you, Joe.
00:23:23We've got to have you on piano.
00:23:25I'm sorry, Jimmy, but my mind's made up.
00:23:27So long, fellas.
00:23:28So long, Joe.
00:23:30Anybody else?
00:23:32We are due in Jefferson City tomorrow night, aren't we?
00:23:34Sure.
00:23:35So we stay.
00:23:37Well, that's a relief.
00:23:39But we still don't have a piano player.
00:23:41Yeah.
00:23:42Say, mister, know anybody in this town that plays piano?
00:23:46In the dining room there, we've got a player piano.
00:23:49No, this is a small band.
00:23:50We couldn't carry it.
00:23:53Well, there is a...
00:23:54Oh, but he's dead.
00:23:56Well, he belongs to...
00:23:57Quiet.
00:23:58There's a fella down at the movie house plays for the pictures.
00:24:01That's just down the street.
00:24:02Is he a young fella?
00:24:03Yeah.
00:24:04Foggy, check us in and take care of the instruments.
00:24:07Jane, you come along with us.
00:24:08What's for?
00:24:10Moral support.
00:24:11Little bait for the hook.
00:24:34He's not bad.
00:24:36You think we can sell him?
00:24:38What do you mean, we?
00:24:40Well, you can help us make a pitch.
00:25:00Are you going to go through life doing this sort of thing?
00:25:05What's it do you?
00:25:07It hurts here, the way you're throwing away your talent.
00:25:27How would you like to join a red-hot jazz combo?
00:25:30I'm doing all right.
00:25:31We're a professional outfit, fella.
00:25:33Headed right up the ladder of fame and fortune.
00:25:35No stops till we hit the sky.
00:25:37Boy, what a future.
00:25:49They mean New York.
00:25:51Bright lights.
00:25:53You know.
00:25:55Tell you the truth, I don't.
00:25:56Tell you the truth, I don't.
00:25:56She means the big time.
00:25:58Where this outfit's headed, you'll be with a band of school places.
00:26:07Give him another pitch.
00:26:09I'm helping.
00:26:11Well, smile at him.
00:26:17What time do you get through tonight?
00:26:19About a heaven-heart.
00:26:21But I have to put up the seats.
00:26:24Well, love.
00:26:25The boys will be very glad to help you.
00:26:29Excuse me.
00:26:30This is the chase.
00:26:31This is the chase.
00:27:13This is the chase.
00:27:13I have to put up thegins.
00:27:34You'll love the gang, Bob.
00:27:35It's a well bunch of fellas.
00:27:36What I've seen so far is okay.
00:27:38Boys, meet our new piano player, Bob Burton.
00:27:41All right, Bob.
00:27:42Hello, Bob.
00:27:42One rehearsal and we're all set for Jefferson City.
00:27:45You can forget about Jefferson City.
00:27:46The date's canceled.
00:27:48Canceled?
00:27:48That's right.
00:27:48We just talked to them on the phone.
00:27:50Uh-oh.
00:27:50Here we go again.
00:27:51I don't know what we've got, but they sure can leave it alone.
00:27:54Oh, well, what's a canceled date or two?
00:27:56Every new band has its ups and downs.
00:27:58Oh, sure.
00:27:59I'll wire Artie tonight.
00:28:01He won't let us down.
00:28:02He'll have his book by tomorrow morning.
00:28:04I'll check with you then, Bob.
00:28:05I'm sure we'll have some news.
00:28:07Oh, wait a minute.
00:28:08Bob, it looks like we've built you up to a letdown.
00:28:11The date's been canceled and all we have left is hope and a prayer.
00:28:15Maybe you ought to go back to that steady job.
00:28:18Yeah, I guess he's right, Bob.
00:28:20Not that we wouldn't like to have you with us.
00:28:22Well, if you don't mind, fellas, I think I'd like to stick around.
00:28:25I have some great ideas for Miss Howard.
00:28:28Oh, in the line of song arrangements, I mean.
00:28:30Oh, sure.
00:28:31Sure, sure.
00:28:31You can rehearse tomorrow.
00:28:33Oh, fine.
00:28:34Good night.
00:28:35Good night.
00:28:37Good night.
00:28:37Good night.
00:28:46In this part, you'll work with the piano alone.
00:28:49It'll, well, it'll sort of give the number a lift.
00:28:53I wrote this song with someone like you in mind.
00:28:56Well, I do hope I do it justice, Mr. Burton.
00:28:58Oh, you will.
00:28:59I'll be coaching you.
00:29:00Jane, as long as you're not doing anything, would you wash out a couple of things for me?
00:29:04It's only some socks.
00:29:04Sure, Eddie.
00:29:05Put it over there.
00:29:09Glamorous, isn't it?
00:29:09Yeah.
00:29:12Now, look.
00:29:13Come in this way.
00:29:16When the trombone picks up...
00:29:17Hey, Jane, do you mind?
00:29:18It's just a few handkerchiefs and things, as long as you're not busy.
00:29:21What do they mean, as long as you're not busy?
00:29:23Not doing anything?
00:29:24Are you any good at ironing?
00:29:26I'm simply devastating on Afghans and Doyle.
00:29:28He's just trying me sometime.
00:29:30If you don't mind, let's get back to work.
00:29:34Well, well.
00:29:34A little close harmony, huh?
00:29:35How's it going?
00:29:36Oh, fine.
00:29:37Fine.
00:29:38I knew you two would get along.
00:29:39By the way, have you seen Tommy?
00:29:41Oh, he's down at the telegraph office, checking on any answer from Artie.
00:29:45Oh, yes.
00:29:46Say, Jane, as long as you've got a few minutes, I've got some shirts and...
00:29:50Oh, absolutely.
00:29:51Bring them right down.
00:29:52Just pile them over there.
00:29:53Thanks.
00:29:54Don't mention it.
00:29:56Shut the door on the way out.
00:29:58Okay.
00:30:00Let's see if we can get all the way through this thing just once.
00:30:13To me, you're the rose of a rosary,
00:30:22The rise of a rising sea, the glow of a star.
00:30:35To me, you're the core of a coral sky.
00:31:00To you, I'm a mask in a masquerade, one of the unfinished symphonies.
00:31:15That's never been played, still to me.
00:31:28You're the rose of a rosary, you're the rose of a rosary, you are and you'll always be so precious
00:31:45to me.
00:31:58Do you like it?
00:31:59It's nice, Bob.
00:32:01Very nice.
00:32:06No bookings for Wild Canaries now or in future.
00:32:10Have jobs for you and brother with Paul Whiteman band if you come immediately.
00:32:15Answer, Artie.
00:32:16Paul Whiteman, huh?
00:32:17Gee, that's a break for you and Jimmy.
00:32:19I know a lot of guys who give their right arm to play with Whiteman.
00:32:21I'd give both.
00:32:22Oh, but that means I have to play the banjo off my feet.
00:32:28Sure, working with Paul Whiteman might be the chance of a lifetime.
00:32:31My brother and I want a band of our own.
00:32:34Not just a job.
00:32:36Look, Foggy, not a word of this.
00:32:38No talk.
00:32:39Compared to me, the Sphinx is a chatterbox.
00:32:44Pardon me.
00:32:46You're the fellow with the orchestra, aren't you?
00:32:48Dorsey?
00:32:49Yeah.
00:32:50I've been looking for you.
00:32:52Let me handle this, Tommy.
00:32:54Let's say you're a warrant.
00:32:56Do I need a warrant to talk to you fellas?
00:32:58This is about a radio date.
00:32:59You ever heard of radio?
00:33:01Oh, you mean that thing without wires that makes like...
00:33:05You'd be surprised how it's developed.
00:33:07Well, you can hear 50 or 60 miles.
00:33:08Anyway, we want to try a little experiment.
00:33:10Put an orchestra on the air.
00:33:12It's never been done before.
00:33:13Not around here, anyway.
00:33:14Oh, haven't you got something else?
00:33:16Thanks, chum.
00:33:17But when we work, we get paid.
00:33:18Oh, we pay all right.
00:33:21Fifty dollars.
00:33:22Well, of course, it's not much.
00:33:24But then there's no telling how far you might go.
00:33:26I don't know how the fellas will take it.
00:33:28You see, we're professionals.
00:33:30We got a reputation.
00:33:31Well, you don't have to use your right name.
00:33:32Nobody will hear you anyway.
00:33:33That is nobody important.
00:33:36Well, where do you want us and when?
00:33:37Bannock Building.
00:33:38That's in Cedar Springs, about 10 miles down.
00:33:408.30 tonight.
00:33:41Okay, Mr...
00:33:42DeWitt.
00:33:43The band will be there.
00:33:45I'll have to break it to them gently.
00:34:06I don't understand, Artie, booking us into a spot like this.
00:34:09That's like Tommy said.
00:34:10A job's a job.
00:34:11Why do we care as long as we get paid?
00:34:13Now, this is so important, I've added two men to the band.
00:34:15I want to make it big.
00:34:17But they've never rehearsed with us.
00:34:18Oh, don't worry.
00:34:19These fellas read music.
00:34:20Now, when I give you the signal through the glass, that's when you start playing.
00:34:23And above all, don't forget, this is the microphone.
00:34:25With that, you'll be heard all over two states.
00:34:30Two states.
00:34:31We better play loud.
00:34:32Yeah, especially you fellas in the back.
00:34:37Don't forget, in this part, you'll phrase right along with the piano.
00:34:40Maestro, it shall be done.
00:34:46Get ready.
00:34:52Let's go.
00:35:40Louder! Louder!
00:35:47What's this?
00:35:51I can't hear you!
00:36:05Shut down!
00:36:29What's the matter with you?
00:36:30Who told you you could take a solo?
00:36:32I felt like it.
00:36:33Nobody else is trying a solo.
00:36:35Tommy, Jimmy!
00:36:37We're gonna need windshields and earmuffs if you don't lay off that loud stuff.
00:36:40You're blowing us all down!
00:36:42Gentlemen, gentlemen, please!
00:36:44Do you realize that everything you're doing is going over the air?
00:36:49Okay, okay.
00:36:51Let's hit it, boys.
00:36:52And this time get in your cyclone cellar.
00:36:54Oh, is that true?
00:36:56Help!
00:36:56Please!
00:36:57Throw them out!
00:36:58Throw them all out!
00:36:59Get your hands off, my brother!
00:37:02Stop it!
00:37:03Stop it!
00:37:05Help! Please!
00:37:11Hey, you!
00:37:22I'll go away.
00:37:25Help!
00:37:25Police!
00:37:27That's all, folks.
00:37:34Hey, what about our door?
00:37:36We were promised a half a c-note, 50 bucks.
00:37:38You blow hard enough, you ought to get a half a c-note out of this musical present.
00:37:42Well, how do you like that?
00:37:44Inb TVs.
00:37:44Where's Eddie and Phil?
00:37:45They told me to tell you they're through.
00:37:47Oh, let them go.
00:37:48We'd round up two more guys, and we'll be rolling again in no time.
00:37:51Look, I've got a suggestion for you.
00:37:53Makes sense, so you'll probably pay no attention.
00:37:56Why don't we all head for New York right now?
00:37:58And give up this tour just when we're beginning to click?
00:38:01Why, that wire from Marty raved about our prospects.
00:38:05That's nice to know.
00:38:06By the way, here's a little something you dropped during our last bang-up job.
00:38:11A little reference to Paul Whiteman.
00:38:13Also, no bookings or no prospects of bookings.
00:38:18Signed, Artie.
00:38:19Reading my mail, huh?
00:38:20Uh-oh, they're arguing again. I guess I'd better...
00:38:22Are you always in the middle of those two guys?
00:38:25Artie's a bring-down. A third-degree gloom peddler.
00:38:28Oh, let's face it. We started before we were ready.
00:38:32We'll do better the next try.
00:38:34In the meantime, you and I can be working for Paul Whiteman
00:38:37and helping the other fellas until they can get something.
00:38:39Let's let it go at that.
00:38:41He's right, Tommy.
00:38:43Remember what Mom said. She wants you two together.
00:38:46Okay, you win.
00:38:48But we'll click with our own band yet.
00:38:50Sure we will, Tommy.
00:38:55I'm sorry the way things turned out.
00:38:58Maybe later on when we get started again, we...
00:39:00I thought I got started.
00:39:02Come on, let's go.
00:39:10They went into New York then.
00:39:12Radio was just beginning to take hold,
00:39:14and the big new bands were taking hold with it.
00:39:17The Valleys, the Lombardos, and the King of the Moor.
00:39:22The Valleys, the land of the Moor.
00:39:24And the King of the Moor.
00:39:45The HΕecz and the King of the Moor.
00:42:00Oh, here. Song pluggers loaded me down with some new numbers.
00:42:04You might as well look them over just in case.
00:42:06Just in case.
00:42:07As if we didn't have enough of this stuff.
00:42:19To me, you're the rose of a rosary
00:42:28The rise of a rising sea The glow of a star
00:42:41To me, you're the core of a coral sky The lull of a lullaby
00:42:55You know that you are To you, I'm a mask in a masquerade
00:43:11One of the unfinished symphonies That's never been played
00:43:23Still to me, you're the rose of a rosary You are and you'll always be
00:43:38So precious to me
00:43:59You're in splendid voice tonight, Miss Howard.
00:44:02Oh, thank you, maestro It must be that new gargle
00:44:05Oh, that's a very unromantic remark
00:44:07I had hoped that that lovely throb was due to a certain stirring of the heartstrings
00:44:13Yes, it must be
00:44:14The gargle
00:44:17Ah, you two are in lovely voice tonight, Gertie dear
00:44:20Since Tommy and I got you out of Uncle's Three-Ball Hotel
00:44:24Come, leave us go serenade a duck
00:44:31I don't mean this to be a guardian angel routine
00:44:33But don't you think you're wasting your talent on a joint like this?
00:44:36Why don't we take that Chicago offer?
00:44:38Oh, did they call back?
00:44:39Sure, they still want us
00:44:41It's a swell offer
00:44:42It could lead to something big
00:44:44Yes, I know, Bob
00:44:45Well, you see, it's just that
00:44:48It's just that you don't want to leave Tommy and Jimmy
00:44:51We've all been patient, but you can't wait forever, Janie
00:44:54All the boys are bound to get started again soon
00:44:57And they'll need me, they'll need us, Bob
00:45:00You sure think a lot of those two, don't you?
00:45:02Gosh, we grew up together
00:45:04They're like my own brothers
00:45:06I want them to be a big success
00:45:10And when they are, we'll share that success
00:45:13Ah, good evening, Captain
00:45:14Good evening
00:45:15Madam never looked lovelier
00:45:16I'll thank you to keep a civil tongue, James
00:45:18It's not on the menu, Your Excellency
00:45:20Oh, too bad, too bad
00:45:21Well, perhaps, shall we start with caviar, mock turtle soup for two?
00:45:25Oh, that would be too, too divine
00:45:26Yes, it would
00:45:27How is the press duck this evening?
00:45:29Oh, it has a beautiful crease
00:45:33No, no, I think I would like the roast guinean under glass
00:45:37Under glass, hmm
00:45:39And do you have any wild rice?
00:45:41No, we only have tamed rice
00:45:43But, uh, we can irritate some
00:45:47I'll have the crease, uh, uh, press duck and, uh, pigmiata chokes and caper dressing
00:45:51And for dessert, uh, parfait with fresh strawberries
00:45:54Perfect
00:45:55And a dimitasse with just a dash of brandy
00:45:59Yes
00:46:01In other words, the same as usual
00:46:04Hmm
00:46:04Two hamburgers with all the works
00:46:08Hmm
00:46:11You know, Janie, just because you were bought up
00:46:13Of those two
00:46:14You know, before I forget about it
00:46:15I want to tell you about that phrase in the to me number
00:46:18You know where I
00:46:20Well, pardon me if I'm boring you
00:46:22Oh, no
00:46:23Go ahead, I'm listening
00:46:25Well, as I started to say
00:46:29Okay, maestro, let's make this a duet
00:46:37Jenny, do that again
00:46:38What?
00:46:39Please, please, I'm serious
00:46:40Do it again in the same order
00:46:42What is this, a command performance?
00:46:56I think that I've been staying awake and nightsticking for that phrase
00:46:58Well, I'm thrilled, but I don't know what you're talking about
00:47:03Well, if you must know, I'm writing a concerto
00:47:05A concerto?
00:47:06Uh-huh
00:47:06Oh, Bob, that's wonderful
00:47:08But I didn't know you were interested in
00:47:10Serious music?
00:47:12Yes
00:47:12Janie, don't you know that every comedian has a hankering to play Hamlet?
00:47:16A very profound observation, Mr. Burton
00:47:18And all too wonderful
00:47:19But do you mean to tell me that my water glass serenade actually helped?
00:47:23Oh, it sure did
00:47:25You know how it is when you're a genius
00:47:26You pick up your inspiration where you find it
00:47:30I wrote this part for trombone and sax
00:47:33It's modern and thoroughly American
00:47:36Oh, it's beautiful, Bob
00:47:38And you must stick with it
00:47:40Right down to the last bar
00:47:43Nothing, no
00:47:45Aren't you a little surprised?
00:47:47Why should I be?
00:47:49You do beautiful things with music, Bob
00:47:51And there's no reason why you shouldn't continue to do them on a higher plane
00:47:55I think maybe I could
00:47:57If what?
00:48:00If I had you around permanently
00:48:11Hold the onions
00:48:17Even in Joe's, that was moonlight and orchids
00:48:20You know you'd make a beautiful bride
00:48:22This is the season for them
00:48:24I love you, Janie
00:48:27No echo
00:48:31I'd like to, Bob
00:48:32Really, but
00:48:33I know
00:48:34Tommy and Jimmy
00:48:35You know, if we went to Chicago
00:48:37Jane, Bob
00:48:37We're in
00:48:38We made it
00:48:39I just talked to Jimmy on the phone
00:48:40We open at Sands Point next week
00:48:41All of us
00:48:42Oh, wonderful
00:48:44Oh, Bob, isn't that marvelous
00:48:45I wonder
00:49:03Pardon me
00:49:04I forgot the onions
00:49:12This time
00:49:14Well, it was the right time
00:49:15They called themselves the Dorsey Brothers Orchestra
00:49:18And Sands Point was just a stepping stone to the Island Casino
00:49:23Where they had their first real success
00:49:26It should have stayed that way
00:49:49What is this, a wake?
00:49:51Let's get a little life in this thing
00:49:53Now look, fellas
00:49:53We're gonna get this right if it takes all night
00:49:56You mean all morning
00:49:57Yes, all morning
00:50:01Let's take it again
00:50:02Here we go
00:50:02One, two
00:50:11You're still not playing it right
00:50:13It's too fast
00:50:14That's the way the numbers should be played
00:50:16That's the way you think the numbers should be played
00:50:18When it's your turn to lead
00:50:20You can do it your way
00:50:21Well, I think I'll take over right now
00:50:24Look, you've been arguing about this tune
00:50:26Ever since you first rehearsed it
00:50:27Now, why not drop it all together, Tommy?
00:50:30Okay
00:50:32Rehearsal tomorrow at twelve
00:50:34Make it three o'clock, fellas
00:50:35We've been working too hard
00:50:37The band's getting stale
00:50:39It's my band, too, you know
00:50:40Hey, are you guys gonna take me to the jam session
00:50:42At our stadiums tonight, or aren't you?
00:50:44All right
00:50:45I guess we are getting it, old Groggy
00:50:47Let's go hear a real musician
00:50:54I don't like to say anything
00:50:55But I thought you said you were going to the onyx with me
00:50:58Oh, yes, I did, Bob
00:50:59But when you see how it is with Tommy and Jimmy
00:51:02I had to say something to stop them
00:51:04One of these days we're gonna get to go up by ourselves
00:51:07But, Bob, I'm so worried about the boys
00:51:09They're fighting about everything now
00:51:12I hate to see them throw away
00:51:14All the things they've worked so hard to get
00:51:17Just a minute, please
00:51:18Tommy, Jimmy
00:51:20You want it on the phone
00:51:22It's long distance
00:51:23Shenandoah
00:51:23Well, that must be Mom
00:51:26Mrs. Dorsey
00:51:29Is it Mrs. Dorsey?
00:51:32Hello, Mom, this is Janie
00:51:34Hello, Jane
00:51:35We're fine
00:51:37And you?
00:51:39That's good
00:51:40Yes, Pop's right here
00:51:44And how are my boys?
00:51:46Oh, they, uh, couldn't be better
00:51:48It's Mom
00:51:50Hello, Mom
00:51:51You all right?
00:51:54That's good
00:51:55Say, what are you and Pop doing up so late?
00:51:57Well, we wanted to thank you and Tommy
00:51:59For this beautiful anniversary present
00:52:02We've been playing the machine for hours
00:52:05And we don't allow anything on it
00:52:06But records by the Dorsey Brothers Orchestra
00:52:10Jimmy
00:52:10Jimmy, wasn't it awful expensive?
00:52:13She says it's awful expensive
00:52:15Don't worry about what it costs Mom
00:52:17Just go ahead and enjoy it
00:52:18Oh, hello, Pop
00:52:20Say, son, I don't like to mention it
00:52:23But on a couple of those records
00:52:25I noticed the tone was just a shade off on the lower notes
00:52:30That's right, Pop
00:52:32Pop, won't you?
00:52:34Yes, Pop
00:52:36If you take my advice
00:52:38You'll put in four hours of solid practice every day
00:52:43Okay, Pop
00:52:46Yes, Pop
00:52:49Bear that in mind
00:52:51Good night
00:52:53Of course, I wouldn't tell them
00:52:55But the boys are getting so they execute better all the time
00:53:01Oh, dear
00:53:02Just once more
00:53:04Oh, but you've been playing it for hours
00:53:06Just once
00:53:07Oh, for goodness sake
00:53:11You know, Tom
00:53:13Our mother couldn't ask for more
00:53:17We've been so lucky
00:53:19But sometimes
00:53:21Sometimes it kind of scares me
00:53:23Oh, sure, sure
00:53:26But we haven't got anything to worry about anymore, Tess
00:53:30You know, I've been thinking
00:53:32About a surprise for the boys
00:53:35Something we've put off for too long
00:53:38Oh, you like it
00:53:41Expense or no expense
00:53:42But I don't understand
00:53:43Like that
00:53:43I'm glad
00:53:59I love you
00:54:00I love you
00:54:00Oh, I love you
00:54:04And I love you
00:54:09I love you
00:54:11I love you
00:54:13But I love you
00:54:40I hope you're not
00:54:43angry because I brought you here tonight
00:54:45no, but I sort of wish
00:54:47we could have been alone
00:54:48I had something I wanted to tell you
00:54:50what?
00:54:51I finished the concerto
00:54:53oh, Bob, that's wonderful
00:54:56I hope that's what the critics say
00:54:57have you shown it to anyone yet?
00:54:59no, these are a little touching up
00:55:01besides, I wanted to play it for you first
00:55:03you know, it was written for you
00:55:06I, uh
00:55:07I've got an idea for the title page, too
00:55:10I'd like to say
00:55:12Jane
00:55:14my wife
00:55:18how about it, Jane?
00:55:22I guess I should make up my mind
00:55:25I've been on the doorstep a long time
00:55:29I know you're worried about those two guys
00:55:31but darling, you can't do anything more for them
00:55:34they're tops now
00:55:37you do love me, don't you?
00:55:42well
00:55:45you know that title page?
00:55:48to my what?
00:55:51be sure and spell the name right
00:56:06come on, Annette
00:56:07come on
00:56:08I know you're up
00:56:15I know you're up
00:56:21I know you're up
00:56:25I know you're up
00:56:28I know you're up
00:56:31I know you're up
00:56:33I know you're up
00:56:34I know you're up
00:56:35I know you're up
00:56:36I know you're up
00:56:37I know you're up
00:56:37I know you're up
00:56:37I know you're up
00:56:37I know you're up
00:56:37I know you're up
00:56:37I know you're up
00:56:45ΒΆΒΆ
00:57:22ΒΆΒΆ
00:57:55ΒΆΒΆ
00:58:12ΒΆΒΆ
00:58:14ΒΆΒΆ
00:58:14ΒΆΒΆ
00:58:14ΒΆΒΆ
00:58:17ΒΆΒΆ
00:58:20ΒΆΒΆ
00:58:27ΒΆΒΆ
00:58:28ΒΆΒΆ
00:58:28ΒΆΒΆ
00:58:29ΒΆΒΆ
00:58:30ΒΆΒΆ
00:58:38ΒΆΒΆ
00:59:44Good evening, sir.
00:59:46Don't you think we should have told the boys who are coming?
00:59:48Oh, it's more fun to surprise them.
00:59:54There are many boys who thrill me, some who can fill me with dreams of happiness.
01:00:03But I know I'll never rest until he says he's mine.
01:00:11Now, I'm not afraid that he'll leave me, cause he's not the kind of being fair.
01:00:20But instead, I trust him implicitly.
01:00:24He can go where he wants to go, do what he wants to do, I don't care.
01:00:29The object of my affection could change my complexion from white to rosy red.
01:00:37Any time he holds my hand and tells me that he's mine.
01:00:52Tommy, how about playing Never Say Never?
01:00:54Please, Mr. Dorsey.
01:01:03Customer wants, uh, Never Say Never.
01:01:06But, Tommy, remember rehearsal?
01:01:07We never did finish that number.
01:01:09Oh, let's do it, but don't kick it off too fast.
01:01:12Never Say Never, boys.
01:01:34What was that for?
01:01:35That's for playing it too fast.
01:01:37No musician could do that to me in public, not even my own brother.
01:01:40Why don't you lead the band right for a change?
01:01:42When it comes to leading the band, I don't need any advice from you.
01:01:45What's the matter?
01:01:47I don't know.
01:01:48Look, let's play the numbers right, or not play them at all.
01:01:51All right, we won't play them at all.
01:01:54If you walk out now, it's for good.
01:01:57Okay, for good.
01:02:08Tommy.
01:02:17Tommy.
01:02:22Pardon me, please.
01:02:28Jimmy.
01:02:34Stay here.
01:02:34This is going to go on all our lives.
01:02:36I've got to catch Tommy.
01:02:39Jane, please listen to me.
01:02:41Look, I think they're bound to have a showdown, and this might as well be it.
01:02:44Let them have it out.
01:02:44Let me go, Bob.
01:02:45All right.
01:02:46We might as well have a showdown, then.
01:02:48If you can't stay out of this thing, you'll never be able to stay out of anything that has
01:02:51to do with the Dorseys.
01:02:52Whether you were raised with them or not, I've had about all of that that one man can take.
01:02:55If you go now, we're through too.
01:02:57For good.
01:03:07Pop, I'm sorry you were here.
01:03:09Now listen to me, Jimmy.
01:03:10I know what you're going to say, and there's no point in saying it.
01:03:13Nothing will make a bit of difference.
01:03:14There's no use.
01:03:15You've got to go after.
01:03:17I know, Pop.
01:03:18I've got to conduct this band.
01:03:25When I get those two together...
01:03:28Oh, Pop, believe me.
01:03:30Not even your strap will help this time.
01:03:32The boys just don't think alike.
01:03:34They don't act alike.
01:03:36Well, they don't even play alike.
01:03:37All they've got is the same temper.
01:03:40No, I think this is the finish.
01:03:42But our boys can't just break up.
01:03:45Jane, isn't there something you can do?
01:03:49Well, Mom, I guess I'll go with Tommy.
01:03:52I think he'll need me more.
01:03:54I wanted the boys to have spirit tests, but I...
01:03:58I never expected this.
01:04:01Tom.
01:04:02Tom, dear.
01:04:15Tom, dear.
01:04:22The End
01:04:48The End
01:05:24The End
01:06:12Still pasting things in the scrapbook, Tom?
01:06:14It's a proud collection. Just look at the newest. Dorsey's in tie for top place.
01:06:22Remember how worried we were, thinking they'd never get along without each other.
01:06:26And now look at them, sitting on top of the world.
01:06:30It is nice.
01:06:30I'm very pleased, Tess, very pleased.
01:06:34They're so big now, a lot of papers, I'm just calling them by their initials.
01:06:39T.D. and J.D.
01:06:42Like USA.
01:06:43Are you both ready for dinner, Tom?
01:06:47There's something bothering you, Tess.
01:06:50Are you not happy about the boys?
01:06:53I can't say I'm not happy about them, but I'm not happy about us.
01:07:02Tom, maybe it's something that only a mother would be that bothered by, but, well, the boys are a success.
01:07:10But I can't help feeling that the family is a failure.
01:07:15But, Tess, they've got everything in the world.
01:07:18Why, they're the biggest thing there is in dance bands.
01:07:22Both of them, they, they...
01:07:24Yes, yes, yes, I know.
01:07:26But can I have them home for dinner?
01:07:29Can I walk down the street with both my sons beside me?
01:07:34When Tommy's at home, Jimmy won't come.
01:07:37And when Jimmy's at home, Tommy won't come.
01:07:41And if it's a birthday or anniversary or Christmas, well,
01:07:45we get phone calls and messages and presents.
01:07:49Yes, but the nicest present a mother can have, her family around her.
01:07:56Tom, it just isn't a family anymore.
01:08:00Yes, Tess.
01:08:03I feel just the same.
01:08:07I didn't want to say it to you.
01:08:10I'd put the things on the table.
01:08:19Tess, where did you say the boys are playing now?
01:08:23It's in the letter, Tom.
01:08:46Tess, where did you say the boys are playing now?
01:09:05You're green eyes with their soft love.
01:09:10You're eyes that promise sweet night.
01:09:14Bring to my soul a longing
01:09:18A thirst for love divine
01:09:23In dreams I seem to hold you
01:09:26To find you and unfold you
01:09:31Our lips meet and our hearts
01:09:34With a thrill so sublime
01:09:39Those cool and limpid green eyes
01:09:44Up who were in my love lies
01:09:48So deep that in my searching
01:09:53For happiness I fear
01:09:56That they will ever harm me
01:10:01All through my life they'll taunt me
01:10:05But will they ever want me
01:10:09Green eyes make my dream come true
01:10:15Oh, my God
01:10:17Oh, my God
01:10:19Oh, my God
01:10:21Oh, my God
01:10:45ΒΆΒΆ
01:11:04ΒΆ Soft lights and eyes that promise sweet nights
01:11:11ΒΆ Bring to my soul a longing, a thirst for love divine
01:11:18ΒΆ In dreams I seem to hold you, to find you and enfold you
01:11:26ΒΆ Our lips meet and our hearts too, with a thrill so sublime
01:11:33ΒΆ Those cool and limpid green eyes, a pool wherein my love lies
01:11:41ΒΆ So deep that in my searching for happiness I feel
01:11:47ΒΆ That they will ever haunt me, all through my life they'll taunt me
01:11:55ΒΆ But will they ever want me, green eyes, I love you
01:12:03ΒΆΒΆ
01:12:06ΒΆΒΆ
01:12:08ΒΆ Pretty good lad, did you like it pop?
01:12:37ΒΆ Make you think of Gorman's Hall?
01:12:39ΒΆ Gorman's Hall, you had to be a musician
01:12:42ΒΆ If only you and Tommy could get together and
01:12:46ΒΆ Look, Pop, let's not go into that again
01:12:48ΒΆ I still can't get over your coming up here without Mom
01:12:52ΒΆ How's she doing?
01:12:54ΒΆ Better than I am, I hope
01:12:58ΒΆΒΆ
01:12:59ΒΆ Comm Gewoon
01:13:01ΒΆ
01:13:02ΒΆ
01:13:09ΒΆΒΆ
01:13:34ΒΆΒΆ
01:13:35ΒΆΒΆ
01:13:35ΒΆΒΆ
01:13:35ΒΆΒΆ
01:13:36ΒΆΒΆ
01:13:36ΒΆΒΆ
01:13:36ΒΆΒΆ
01:13:38ΒΆΒΆ
01:13:44ΒΆΒΆ
01:13:49ΒΆΒΆ
01:13:50ΒΆΒΆ
01:13:56ΒΆΒΆ
01:13:57I want you, I need you, I need you, have a little faith in me, your heart is ache, and
01:14:04tears will fall, as you recall the moon, and all its splendor, the kiss, the very end of the world,
01:14:24will you surrender?
01:14:29thulmery
01:14:30living in the great big way
01:14:32mama
01:16:27That, ladies and gentlemen, winds up another broadcast of Tommy Dorsey, that sentimental
01:16:32gentleman of swing.
01:16:33Until next week, this is Frank Robinson Brown saying, good night.
01:16:46Are you ready to eat, Mom?
01:16:48Did you ever know me when I wasn't ready to eat?
01:16:50That a girl.
01:16:51Tommy, I don't want to begin all over again, but if you and Jimmy were only...
01:16:55I'll meet you back here just as soon as I change.
01:17:07You don't have to tell me.
01:17:09You didn't get anyplace.
01:17:10No, Jane.
01:17:11The minute you mentioned it, they just shut off their ears.
01:17:15You know, Mom, the trouble is the boys are too used to saying no to you.
01:17:20You're the old folks.
01:17:22They love you and there isn't anything they wouldn't do for you, but...
01:17:26Well, you know.
01:17:29Maybe what we need is a completely different approach.
01:17:33But we can't even get them together in the same room.
01:17:35Yes, I know.
01:17:36I've been thinking about that.
01:17:39But I believe I know how it might be done.
01:17:49I know how it might be done.
01:18:13Hello, Eddie.
01:18:15Janie, of all people.
01:18:16Gee, I'm glad to see you.
01:18:18How have you been?
01:18:18Come on in.
01:18:22Bob just went out.
01:18:24Yes, I know.
01:18:24But he'll be right back.
01:18:25He went out to get his laundry.
01:18:27Oh, then in that case, we haven't much time.
01:18:29Look, Eddie, I need your help very badly.
01:18:31You remember Bob's concerto?
01:18:33Mm-hmm.
01:18:33Well, I've got to have a copy of it right away.
01:18:35Do you know what he's done with it?
01:18:37I haven't seen anything of it since...
01:18:39Well, he put it away somewhere and...
01:18:41You know.
01:18:42Well, we must find it.
01:18:44Where does he keep his music?
01:18:47Well, it seems as though I have seen it somewhere
01:18:49at the bottom of something.
01:18:51You look through the desk over there
01:18:52and I'll check through the closet and things.
01:19:09There's nothing here.
01:19:10Have you found anything?
01:19:11Not yet.
01:19:12Try the clothes closet next to you.
01:19:14Sometimes you keep the papers in there.
01:19:21I've got it.
01:19:23Here it is.
01:19:25Oh, wonderful, Eddie.
01:19:26Now, look, I'm going to try to do something with this,
01:19:28but Bob mustn't know anything about it.
01:19:29Promise?
01:19:29I won't say anything.
01:19:31But I'm not so sure about Bob not knowing.
01:19:33After all, he's the composer.
01:19:34You won't be able to do much without his say-so.
01:19:36Oh, well, that's all right.
01:19:37I'll change the name on it to, uh, Smith or something.
01:19:39And thanks again, Eddie.
01:19:41If what I have in mind comes off, I'll send you a ticket.
01:19:45Uh-huh.
01:19:46Who?
01:19:47Paul Whiteman?
01:19:49Hello, Paul.
01:19:51Long time no hear.
01:19:52How have you been?
01:19:54What's that?
01:19:55I'm conducting the annual concert for the Musicians' Sick Fund.
01:19:59Going to introduce some new American music.
01:20:01It's a concerto.
01:20:02Oh, I think it's going to be a very exciting night.
01:20:05And you're just a fellow to play that concerto.
01:20:08Well, Paul, if it's good enough for Whiteman,
01:20:10it's good enough for me.
01:20:12Oh, that's wonderful, Tommy.
01:20:14It'll be so swell seeing you again.
01:20:18Well, looks like we're doing all right.
01:20:19We got one.
01:20:20Oh, thank you, Mr. Whiteman.
01:20:22I didn't think he'd say no to you.
01:20:24How do you like that?
01:20:25A concerto.
01:20:26Wouldn't Bob get a kick out of that?
01:20:28Yeah, a Whiteman concerto.
01:20:30Best tops in the trade, brother.
01:20:31Hey, do you suppose I'd be asking Jimmy, too?
01:20:34Are you kidding?
01:20:35Whiteman knows better.
01:20:37Jimmy will wind up leading his band.
01:20:40Yes.
01:20:42Uh-huh.
01:20:43Oh, hello, Paul.
01:20:44You want a job with my band?
01:20:49Uh-huh.
01:20:51Yeah.
01:20:52Sure, even if I have to cancel a date for that.
01:20:56Right.
01:20:57What do you know?
01:20:59Whiteman would like me to help him introduce a new American concerto.
01:21:03American concerto, huh?
01:21:05I had ambitions myself along that line once.
01:21:07Yeah?
01:21:09Say, you don't think he'd want your brother, too, do you?
01:21:12Not if Whiteman wants to keep his baton.
01:21:15Oh, not a chance.
01:21:17Ha, ha, ha, ha.
01:21:34Mr. Whiteman around?
01:21:35He'll be along in a minute.
01:21:37Oh, you must be Mr. Jimmy Dorset.
01:21:39I'm Waters, concertmaster.
01:21:41Won't you sit down?
01:22:02Well, Tommy, just before we start, on bar 29, you'll find that passage has been changed.
01:22:07Uh-huh.
01:22:08But I think you'll find it'll play smoothly.
01:22:10Okay, I'll make that change right now, Paul.
01:22:12Would you like to have the score?
01:22:17Hiya, Jimmy.
01:22:19Gee, it was swell of you to come.
01:22:20How you feeling, partner?
01:22:21Fine, Paul.
01:22:22It's kind of chilly in here.
01:22:24It'll warm up.
01:22:26Say, Paul, is this right?
01:22:29That's right, Tommy.
01:22:30Well, that change makes this part straight trombone and clarinet.
01:22:32That's right, Tommy.
01:22:33Who's on the clarinet?
01:22:34The clarinet.
01:22:35As a matter of fact, your brother, Jimmy.
01:22:44I'm sorry, Paul, but that's out.
01:22:46I said we'd never play together again, and it still goes.
01:22:49I'm glad he said that, Paul.
01:22:51It saved me the trouble.
01:22:52Oh, look, boys.
01:22:53It's such a worthy cause.
01:22:55Let's not let personal differences interfere.
01:22:57You're too big for that.
01:22:59Paul, I'd like to do you this favor, but trying to get us to play together again is something different.
01:23:03You know we've always disagreed over interpretation.
01:23:05Hey, you boys forget I'm conducting, and when it comes to interpretation, I'm kind of a double dorsy.
01:23:10Thanks, Paul, but I think you'll find a double dorsy is just one too many.
01:23:14If you'll excuse me, I'll go.
01:23:16Jimmy, never mind.
01:23:17I'll go.
01:23:19Tommy.
01:23:26Hey, Tommy, Tommy.
01:23:28Now, look, Boggy, don't you start in, too.
01:23:30No, Tommy, I've been trying to reach in for an hour.
01:23:32This is about your father.
01:23:33Pop?
01:23:34What's wrong with him?
01:23:34Well, he's pretty sick in the hospital.
01:23:36Your mother calls.
01:23:37She wants you to come right away.
01:23:38I'll leave right away.
01:23:39I called the airport, and there's a plane leaving in half an hour.
01:23:41If you hurry, you can make it.
01:23:44The brother's in there.
01:23:44You better tell him, too.
01:23:50By the time the boys reached the hospital, Pop was too weak to talk.
01:23:55But he saw Tommy and Jimmy standing together.
01:24:00He smiled.
01:24:01And then closed his eyes.
01:24:12Wait, Mom.
01:24:13You can't do anything now, Mom.
01:24:15None of us can.
01:24:16If I could only be sure he hadn't suffered.
01:24:19He didn't suffer.
01:24:22Nothing much you can say, is there?
01:24:24He gave us kids everything we've got.
01:24:26He gave us all everything we've got.
01:24:29Forty years, I've been wondering what this day would be like.
01:24:32And now I know.
01:24:34Now I know.
01:24:36Mom.
01:24:37It was just one last thing your father wanted.
01:24:42And only you boys could give it to him.
01:24:45We know, Mom.
01:24:46You don't have to ask us.
01:24:50Let's go.
01:24:52Let's go.
01:25:04Let's go.
01:25:06Let's go.
01:25:24See you, Mom.
01:25:38I'm happy you could be here.
01:25:39Yes, Jane.
01:25:41And thanks for everything.
01:25:51Hello.
01:25:52I didn't know you were coming tonight.
01:25:54Eddie gave me this seat.
01:25:55Somebody sent it to him.
01:26:10That sounds like my concerto.
01:26:12It does.
01:26:22It is my concerto.
01:26:26Look at that.
01:26:26I think of the composer D.H. Smith.
01:26:28He's a thief.
01:26:29That's outrageous.
01:26:30I'll find out.
01:26:31Wait a minute, Pop.
01:26:33I've got to find this D.H. Smith.
01:26:35Would you mind?
01:26:36We're trying to hear the music.
01:26:38Oh, my God.
01:27:10Oh, my God.
01:27:12Oh, my God.
01:27:19Oh, my God.
01:27:39You see, Mr. Burton, you are now Mr. Smith, but that's all I know.
01:27:44Mr. Smith will be Mr. Burton in the papers tomorrow morning.
01:27:47What about Mrs. Smith?
01:27:49Well, she prefers Burton.
01:28:03The End
01:28:07The End
01:28:14The End
01:28:20The End
01:28:22The End
01:28:23The End
01:28:23The End
Comments