Second Chorus

Plot

Danny O'Neill and Hank Taylor are rival trumpet players who have intentionally been failing their college exams for seven years to remain members of the Perennials college band. During a performance, Danny spots Ellen Miller and immediately becomes smitten, only to discover she's been appointed as the band's new manager. Both musicians engage in fierce competition for Ellen's affections while simultaneously plotting to get each other fired from the band. When Artie Shaw's orchestra offers a coveted position, the rivalry intensifies, leading to a series of comedic misunderstandings, musical performances, and romantic complications as the three navigate their complex personal and professional relationships in the world of big band music.

Historical Background

'Second Chorus' was released in November 1940, during a pivotal period in American history. The United States was still recovering from the Great Depression while maintaining neutrality in the growing conflict in Europe. The big band era was at its zenith, with swing music dominating American popular culture and radio airwaves. Hollywood was in its Golden Age, with musicals being one of the most popular genres. The film's college setting reflected the growing importance of higher education in American society, while its themes of rivalry and romance resonated with audiences seeking escapist entertainment during uncertain times. The movie also captured the transition in Hollywood as major stars like Astaire moved between studios, changing the power dynamics of the film industry.

Making Of

The production of 'Second Chorus' was marked by tension between Fred Astaire and director H.C. Potter, as Astaire was accustomed to having significant creative control over his films at RKO. Artie Shaw, known for his difficult personality, frequently clashed with studio executives and other cast members during filming. Paulette Goddard, recently divorced from Charlie Chaplin, was at the height of her career and brought star power to the production. The musical numbers required extensive rehearsal, with Astaire insisting on multiple takes to perfect his choreography. Shaw's orchestra members were actual professional musicians, not actors, which added authenticity to the musical performances but required special handling on set. The film's modest budget meant several planned production numbers had to be scaled back, and some location shooting was replaced by studio work.

Visual Style

The cinematography by Charles Lang was characterized by elegant camera movements that complemented Fred Astaire's dance sequences. Lang employed long takes during musical numbers to showcase the performers' talents without interruption. The film used sophisticated lighting techniques to create atmosphere in both the college and nightclub settings. The black and white photography emphasized the glamour of the period while maintaining clarity during complex dance sequences. Lang's experience with musicals allowed him to balance the needs of both the dramatic and musical elements, creating a visually cohesive film that served both the story and the performances.

Innovations

The film pioneered the integration of authentic big band performances into a Hollywood musical narrative, using actual musicians rather than actors miming to recordings. The recording techniques employed for the musical numbers were advanced for their time, capturing the full sound of Shaw's orchestra with clarity. The choreography by Fred Astaire incorporated elements of swing dancing, creating a fusion of his signature style with contemporary dance trends. The film's production design successfully created convincing college and nightclub environments within studio constraints. The seamless integration of live performance and narrative elements set a standard for subsequent musical films featuring real musicians.

Music

The film's soundtrack featured Artie Shaw and his orchestra performing several of their hits, including 'Frenesi,' 'Would You Like to Be the Love of My Life,' and 'I Ain't Got Nobody.' The musical numbers were arranged by Shaw himself, maintaining the authentic swing sound that made his orchestra famous. The score was nominated for an Academy Award, with 'Would You Like to Be the Love of My Life' receiving particular acclaim. The soundtrack successfully blended popular swing music with traditional Hollywood musical elements, creating a bridge between commercial jazz and film music. The recordings made for the film became popular releases on 78 RPM records, extending the film's musical impact beyond the cinema.

Memorable Scenes

• The opening number where the Perennials perform at the college dance, introducing the rivalry between Danny and Hank
• The scene where Artie Shaw's orchestra performs 'Frenesi' with elaborate choreography and staging
• The comedic sequence where Danny and Hank attempt to sabotage each other during rehearsal
• The romantic moonlit scene where Danny plays his trumpet to serenade Ellen
• The final performance number where all three leads come together for a spectacular musical finale

What Critics Said

Contemporary critics gave mixed reviews to 'Second Chorus.' The New York Times praised the musical numbers and Artie Shaw's performances but criticized the thin plot. Variety noted that while Astaire was 'as charming as ever,' the film suffered from an uninspired script. Modern critics have been somewhat kinder, acknowledging the film's historical value as a document of the swing era. The film is often cited as a lesser but still enjoyable entry in Fred Astaire's filmography, with particular appreciation for the authentic big band performances. Critics generally agree that while the plot is predictable, the musical sequences and the chemistry between the leads make the film worthwhile for fans of 1940s musicals.

What Audiences Thought

Audiences in 1940 responded positively to 'Second Chorus,' particularly enjoying the combination of Fred Astaire's dancing and Artie Shaw's music. The film performed respectably at the box office, though it didn't match the success of Astaire's earlier RKO productions. Modern audiences often discover the film through its public domain status and appreciate it as a time capsule of the swing era. Musical enthusiasts particularly value the film for its authentic performances by Artie Shaw and his orchestra. While not considered among the greatest musicals of the era, the film has maintained a steady following among classic film fans and big band aficionados who appreciate its historical significance and entertaining performances.

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