Rhapsody in Blue is a 1945 fictionalized screen biography of the American composer and musician George Gershwin (1898–1937), released by Warner Brothers. Production background Starring Robert Alda as Gershwin, the film features a few of Gershwin's acquaintances (including Paul Whiteman, Al Jolson, and Oscar Levant) playing themselves. Alexis Smith and Joan Leslie play fictional women in Gershwin's life, Morris Carnovsky and Rosemary De Camp play Gershwin's parents, and Herbert Rudley portrays his brother, Ira Gershwin. Levant also recorded most of the piano playing in the movie, and also dubbed Alda's piano playing. Both Rhapsody in Blue and An American in Paris are performed nearly completely, with the "Rhapsody in Blue" debut of 1924 orchestrated by Ferde Grofe and conducted, as it was originally, by Whiteman himself. The film introduces two fictional romances into the story, one with a woman named Julie Adams, played by Leslie, and the other a near-romance with a rich society woman played by Smith. The film notably features performances of Gershwin music by two African-American musicians/singers, Anne Brown and Hazel Scott. Both were child prodigies whose training included study at the Juilliard School. Brown, a soprano, created the role of "Bess" in the original production of Gershwin's opera Porgy and Bess in 1935. In the film, she sings the aria Summertime from Porgy and Bess, albeit rearranged, with the first verse sung by chorus only. Scott, who became known as a jazz and classical pianist and singer, was one of the first African-American women to have a career in Hollywood as well as television. She plays herself in the film, performing in a Paris nightclub. Cast Production Irving Rapper felt it was "a rambling story, a little too sentimental at times, although written by some wonderful people, mainly Clifford Odets with far, far too much music." Rapper wanted Tyrone Power to play the lead but had to use Robert Alda. The director says apart from Alda's casting he was happy with the film. Reception Contemporary reviews praised the music but had more mixed opinions about the plot. Bosley Crowther of The New York Times called the film a "standard biography," explaining: "There is never any true clarification of what makes the gentleman run, no interior grasp of his nature, no dramatic continuity to his life. The whole thing unfolds in fleeting episodes, with characters viewing the genius with anxiety or awe, and the progression is not