(1947)3Craig ButlerIf you can forget the silly story that Carnegie Hall has been saddled with and just concentrate on the musical performances, chances are you will have a pretty good time. It helps, of course, if you are not averse to classical music, for the scales are heavily tilted in that direction, despite the film's "swing and classics are both good stuff" resolution. In between the performances, you have to put up with a lot of nonsense that you've seen in plenty of other pictures, stuff about a son breaking his mother's heart by playing "low" music when she's been grooming him for the heights. You also have to be willing to believe that the titular musical establishment has a very liberal attitude toward career advancement among its employees and that the biggest names in classical music are pretty much just "reg'lar fellas." But stick with it, so that you can thrill to Bruno Walter (in a lovingly shot sequence), Artur Rubinstein's incredible artistry, the unique Leopold Stokowski, Lily Pons' scintillating coloratura, and many other classical giants of the day. The jazz musicians come off less well, with neither Vaughn Monroe nor Harry James seen at his best. Of the non-musicians, Mary O'Driscoll comes off well in a nothing part, and Marsha Hunt as the thread that ties it all together is generally effective. Edgar G. Ulmer's direction is a little staid for him, although he does make good use of the environment afforded by the Hall.