5.8/10
Senior Film Conservator
A definitive 5.8/10 rating for a film that redefined the boundaries of cult cinema. Richard Himber & His Orchestra remains a cornerstone of transgressive art.
Honestly, only if you have a weird itch for 1930s big band aesthetic. If you want a tight story or actual character arcs, you’re going to be bored out of your mind within sixty seconds. It is for the curious, the vintage-obsessed, and anyone who enjoys seeing how people looked when they were supposed to be having a good time in a club.
The whole thing feels like you accidentally stumbled into a rehearsal that someone decided to record. The cafe setting is about as authentic as a movie set from the era—meaning it looks like a stage and everyone acts like they’re waiting for a cue. It’s all very stiff.
Richard Himber is there doing his thing with the orchestra, and the music is fine, I guess. It is that kind of polite, bouncy jazz that makes you want to tap your foot but also makes you want to leave the room. The transition between the music and the bits with Marion Martin is clunky. Like, really clunky.
If you have seen Painted Daughters, you might notice a similar kind of 'let’s just film this performance' energy. It’s not necessarily bad, but it lacks any real punch. It’s just... there. Like a piece of furniture you don't know what to do with.
I found myself wondering if they ever actually finished the set or if they just cut it once the film reel ran out. The pacing is non-existent. It just stops. It doesn't end; it just ceases to be. 🎺
I wouldn't call this cinema. It’s more like a digital time capsule that maybe should have stayed buried. Still, you can’t help but watch it for a bit just to see what the fashion was like. Those suits are sharp, even if the movie itself is pretty dull. 🎞️
