The Five Pennies (1959)

Director:

Melville Shavelson

Writers:

Robert Smith (story)
Jack Rose (writer) ...

Release Date:

August 1959 (USA)

Genre:

Biography | Drama | Music

Plot:

Loring "Red" Nichols is a cornet-playing country boy who goes to New York in the 1920s full of musical ambition and principles...

Awards:

Nominated for 4 Oscars. Another 3 wins & 2 nominations

Cast

Danny Kaye	...	Ernest Loring Nichols aka 'Red' & 'Ernie'
Barbara Bel Geddes	...	Willa Stutsman aka 'Bobbie Meredith'
Louis Armstrong	...	Himself
Harry Guardino	...	Tony Valani
Bob Crosby	...	Wil Paradise
Bobby Troup	...	Arthur Schutt
Susan Gordon	...	Dorothy Nichols, ages 6 to 8
Tuesday Weld	...	Dorothy Nichols, age 12 to 14
Ray Anthony	...	Jimmy Dorsey
Shelly Manne	...	Dave Tough
Ray Daley	...	Glenn Miller
Valerie Allen	...	Tommye - Tony's date with Red&Bobbie
rest of cast listed alphabetically:
Henry Beau
Ned Glass	...	Murray, delicatessen waiter

Runtime:

117 min | Germany:112 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Finland:S

Filming Locations:

San Francisco, California, USA

Company:

Dena Productions

Trivia:

While Danny Kaye worked hard to be able to accurately fake playing cornet, it was the real Red Nichols who provided all of the cornet playing for Kaye in this movie.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): When Red leaves the club with Willa (after seeing Louis Armstrong the first time), he takes his cornet with him but has neglected to put it back in its case.

Movie Connections:

Featured in "American Masters: Danny Kaye: A Legacy of Laughter" (1996)

Soundtrack:

After You've Gone

Can be appreciated on two levels

This little gem can be appreciated on two levels. Non-jazz fans who have never heard of Red Nichols will find a fine little "family movie," which despite its 192O's-speakeasy milieu offers up nothing seamier than the observation by Red's wife, Bobbi (Barbara Bel Geddes in a performance of remarkable warmth) that their daughter has come to believe that "breakfast is a cup of coffee and an aspirin." The story of the daughter's attack of polio and her fight to walk again is unflinching and the first-time viewer should pack sufficient Kleenex. Fans of Danny Kaye will find plenty of examples of his trademark clowning, but they'll also find moments of wonderful dramatic and introspective acting.

The most remarkable scene in the movie: a guilty Nichols/Kaye, feeling that his daughter's polio is the direct result of his neglect of her in favor of jazz, promises God that if she survives, he will give up music and devote himself to her care. Sound hokey? Could have been. But the scene where Kaye throws his cornet into the river is absolutely spine-chilling. He stops, tenderly caressing the cornet keys, allowing the happy memories to pass wistfully over his features...then coldly, abruptly, tosses the instrument into the waters below. When Kaye straightens up, he seems to have aged twenty years and gained fifty pounds...a remarkable scene.

The second level on which the film can be appreciated: an introduction to a wonderful musician. Like "The Glenn Miller Story" and "The Benny Goodman Story," "The Five Pennies" makes little attempt to give an accurate portrayal of its subject. Ernest Loring Nichols, from all accounts, was a cool, calculating businessman, nothing like the madcap, freewheeling character played by Danny Kaye. As a cornetist he stood willingly in the shadow of his idol Bix Beiderbecke, whose playing style he strove (with some success) to duplicate. Despite the fact that Bix was the major personal and professional influence on Red, he is mentioned only once, toward the end of the film: "(in those early days) there was Louis (Armstrong), Bix and me--and that was it!"

Biographical inaccuracies aside, the pure tone of the real Nichols' cornet shines through brilliantly, and reaches out to grab the ear of the traditional jazz fan--at least it did mine. When I first saw the film in '81, I was a Glenn Miller and Benny Goodman fan, and knew Nichols only as a bandleader they had played with early on. The movie was a springboard, leading me to search out the albums, and the real biographical details, of the very real Red Nichols.

Incidentally, the film benefited the by-then largely forgotten Nichols greatly: just as the late-5O's dixieland-revival was gathering steam, he landed a Columbia contract, and recorded some wonderful stereo albums of his past hits--and of the music specially written for the film by Silvia Fine (Mrs. Danny Kaye). Though he died in '65 (while in Vegas to play a gig), his music lives on through these wonderful albums --and through the soundtrack on Decca, featuring not only Nichols but Louis Armstrong. Their duets, through placed in fictionalized scenes, stand as a legitimate audio document of two of the earliest and most influential cornetist/trumpeters in history playing together--in glorious, analog stereo. I'll join the others who've commented on this film in wishing that this wonderful soundtrack would be released on CD. (Not outside the realm of possibility: the soundtrack of "Pete Kelly's Blues, from the same time period, has just appeared on CD...so who knows?)

For both traditional jazz fans, and those who appreciate wholesomely uplifting (but NOT goody-goody) film, this movie is a treasure.