THE GLENN MILLER STORY

by Anthony Mann
THE GLENN MILLER STORY - LA STORIA DI GLENN MILLER

Informations

Nation: USA

Year: 1954

Length: 115'

36° TORINO FILM FESTIVAL

Section:

Synopsis

Glenn Miller has the ambition to establish itself thanks to the creation of a new style of jazz. To live he plays the trombone in different orchestras. When he arrives in New York he leaves his concert career to deepen his musical studies and marries Helen. The latter will convince him to found his own orchestra, with which Miller will finally succeed in shaping the new and original sound that has been searching for years. His music gets a resounding success and, after the Second World War broke out, Miller went to Europe, where he played for the troops.

Director

Anthony Mann

Anthony Mann

Anthony Mann (San Diego, CA, USA, 1906 - Berlin, Germany, 1967), born Emil Anton Bundmann, began his career, after having been an actor and theater manager, in 1938 as a collaborator of David O. Selznick. After making a low-budget noir and crime director, he became popular in the 1950s with some westerns starring James Stewart. He then dedicated himself to other genres with films The Glenn Miller Story (1954). In the 1960s he worked in Europe, creating blockbusters such as El Cid (id., 1961) and The Fall of the Roman Empire (1964).

Filmography:
The Great Flamarion (La fine della signora Wallace, 1945), T-Men (T-Men contro i fuorilegge, 1947), Raw Deal (Schiavo della furia, 1948), He Walked by Night (Egli camminava nella notte, 1948), The Furies (Le furie, 1950), Devil’s Doorway (Il passo del diavolo, 1950), Winchester ‘73 (1950), The Tall Target (Bersaglio eccellente, 1951), Bend of the River (Là dove scende il fiume, 1952), Thunder Bay (La baia del tuono, 1953), The Naked Spur (Lo sperone nudo, 1953), The Far Country (Terra lontana, 1955), The Man from Laramie (L’uomo di Laramie, 1955), The Last Frontier (L’ultima frontiera, 1955), Man of the West (Dove la terra scotta, 1958), God’s Little Acre (Il piccolo campo, 1958), Cimarron (1960), The Heroes of Telemark (Gli eroi di Telemark, 1965), Dandy in Aspic (Sull’orlo della paura, 1968).

Cast and Credits

regia/director
Anthony Mann
sceneggiatura/screenplay
Valentine Davies, Oscar Brodney
fotografia/cinematography
William Daniels
montaggio/film editing
Russell Schoengarth
scenografia/production design
Bernard Herzbrun, Alexander Golitzen
costumi/costume design
Jay Morley Jr.
musica/music
Joseph Gershenson, Henry Mancini, Glenn Miller
suono/sound
Leslie I. Carey, Joe Lapis
interpreti e personaggi/cast and characters
James Stewart (Glenn Miller), June Allyson (Helen Miller), Charles Drake (Don Haynes), Goerge Tobias (Si Schribman), Louis Amstrong, Gene Krupa
produttore/producer
Aaron Rosenberg
produzione/production
Universal-International

**
contatti/contacts
Park Circus
www.parkcircus.com

Director statement

“I made the film because I wanted to dramatize a music. And the film is the search for a new sound. Sure, Jimmy Stewart. A great professional, disciplined, pleasant. I had no problem with him. Our aim was to make Miller’s music visible. I saw the film again and find it full of nostalgia and that’s what I like.”

Synopsis Learn more

Glenn Miller has the ambition to establish itself thanks to the creation of a new style of jazz. To live he plays the trombone in different orchestras. When he arrives in New York he leaves his concert career to deepen his musical studies and marries Helen. The latter will convince him to found his own orchestra, with which Miller will finally succeed in shaping the new and original sound that has been searching for years. His music gets a resounding success and, after the Second World War broke out, Miller went to Europe, where he played for the troops.

Director All about direction

Anthony Mann

Anthony Mann

Anthony Mann (San Diego, CA, USA, 1906 - Berlin, Germany, 1967), born Emil Anton Bundmann, began his career, after having been an actor and theater manager, in 1938 as a collaborator of David O. Selznick. After making a low-budget noir and crime director, he became popular in the 1950s with some westerns starring James Stewart. He then dedicated himself to other genres with films The Glenn Miller Story (1954). In the 1960s he worked in Europe, creating blockbusters such as El Cid (id., 1961) and The Fall of the Roman Empire (1964).

Filmography:
The Great Flamarion (La fine della signora Wallace, 1945), T-Men (T-Men contro i fuorilegge, 1947), Raw Deal (Schiavo della furia, 1948), He Walked by Night (Egli camminava nella notte, 1948), The Furies (Le furie, 1950), Devil’s Doorway (Il passo del diavolo, 1950), Winchester ‘73 (1950), The Tall Target (Bersaglio eccellente, 1951), Bend of the River (Là dove scende il fiume, 1952), Thunder Bay (La baia del tuono, 1953), The Naked Spur (Lo sperone nudo, 1953), The Far Country (Terra lontana, 1955), The Man from Laramie (L’uomo di Laramie, 1955), The Last Frontier (L’ultima frontiera, 1955), Man of the West (Dove la terra scotta, 1958), God’s Little Acre (Il piccolo campo, 1958), Cimarron (1960), The Heroes of Telemark (Gli eroi di Telemark, 1965), Dandy in Aspic (Sull’orlo della paura, 1968).

Cast and Credits Discover the cast of the film

regia/director
Anthony Mann
sceneggiatura/screenplay
Valentine Davies, Oscar Brodney
fotografia/cinematography
William Daniels
montaggio/film editing
Russell Schoengarth
scenografia/production design
Bernard Herzbrun, Alexander Golitzen
costumi/costume design
Jay Morley Jr.
musica/music
Joseph Gershenson, Henry Mancini, Glenn Miller
suono/sound
Leslie I. Carey, Joe Lapis
interpreti e personaggi/cast and characters
James Stewart (Glenn Miller), June Allyson (Helen Miller), Charles Drake (Don Haynes), Goerge Tobias (Si Schribman), Louis Amstrong, Gene Krupa
produttore/producer
Aaron Rosenberg
produzione/production
Universal-International

**
contatti/contacts
Park Circus
www.parkcircus.com

Director statement Read more

“I made the film because I wanted to dramatize a music. And the film is the search for a new sound. Sure, Jimmy Stewart. A great professional, disciplined, pleasant. I had no problem with him. Our aim was to make Miller’s music visible. I saw the film again and find it full of nostalgia and that’s what I like.”