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King of Jazz

King of Jazz

Music · 1930

A large-scale revue musical built around Paul Whiteman and his orchestra, presenting a series of musical performances, sketches, and staged tableaux in early two-color Technicolor, emblematic of Hollywood’s early sound-era “all-star” musical productions.

Movie details

King of Jazz

“A NEW ERA in sound and color entertainment!”

1930 Music 1h 40m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

A large-scale revue musical built around Paul Whiteman and his orchestra, presenting a series of musical performances, sketches, and staged tableaux in early two-color Technicolor, emblematic of Hollywood’s early sound-era “all-star” musical productions.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over King of Jazz?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

John Murray Anderson

Written by

Harry Ruskin

Paul Whiteman

Paul Whiteman

Paul Whiteman

John Boles

John Boles

Vocalist ('Song of the Dawn' / 'It Happened in Monterey')

Jeanie Lang

Jeanie Lang

Vocalist ('I'd Like To Do Things For You' / 'Ragamuffin Romeo')

Laura La Plante

Laura La Plante

Editor ('Ladies of the Press') / Stenographer ('In Conference') / Quartet Member, 'Nellie'

Jeanette Loff

Jeanette Loff

Vocalist ('It Happened in Monterey' / 'Bridal Veil' / 'A Bench in the Park')

Glenn Tryon

Glenn Tryon

Executive ('In Conference') / Unmarried Husband

W

William Kent

General ('All Noisy on the Eastern Front') / Goldfish Owner ('Oh! Forevermore!') / Unmarried Couple's Offspring / Vocal ('Do Things For You')

Court is in session

Put King of Jazz on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.