THEY SHALL HAVE MUSIC (United Artists, 1939), directed by Archie Mayo, became producer Samuel Goldwyn's tribute to classical music through the eyes and talent of young children. Headlined by Jascha Heifetz (1901-1987), a celebrated violin virtuoso, with name above the title, ahead of renowned screen veterans Joel McCrea, Andrea Leeds and Walter Brennan, this production might have served as a biographical subject on Heifetz with him enacting his own story up to his legendary status. Instead, it's something completely different, dedicated "To the many schools throughout the world --- devoted to the development and encouragement of great talent among the children of the poor." The main character of the story isn't any of the actors mentioned, but the fourth billed Gene Reynolds, who actually carries the 102 minute film from start to finish.As Frankie Miller, he's a tough New York City slum kid living with his kindhearted mother, Jane (Marjorie Main) and strict stepfather, Ed (Arthur Hohl). He's also leader and treasurer of a group of boys, Limey (Terry Kilburn), Rocks (Walter Tetley) and Fever (Chuck Stubbs), spending much time on the streets getting in trouble with authorities and neighbors. One evening, Frankie and Limey find two unused tickets to a Jascha Heifetz concert. Unable to pawn off the tickets, they attend the recital instead. With Limey bored to tears, Frankie takes much interest in Heifetz. After returning home, he acquires his late father's fiddle to develop his musical talent imitating Heifetz. A heated argument with his stepfather follows, whom he nearly attacks, causing Frankie to run away and avoid being arrested and taken to reform school. Very much on his own, carrying a violin case for food and supplies, the boy earns money shining shoes by day and sleeps in an abandoned car by night. Things start to look better for Frankie after befriending a stray dog he names "Sucker," later leading him into a Third Street music school for poor children. Finding "Frankie Smith" to have an ear for music, and no place to stay, Professor Lawson (Walter Brennan, in fine characterization), the school's founder, offers the teenager room and board and acceptance as one of his pupils. Because the school is six months behind on their rent, and unable to survive on donations alone, Mr. Flower (Porter Hall), whose associate, Peter McCarthy (Joel McCrea), who never bothered to collect due to his love for Lawson's daughter, Ann (Andrea Leeds), threatens to close down the school. Through Frankie's good intentions, he makes efforts to save the school by trying to speak to Mr. Heifetz at his home. Situations become more complex when Heifetz's $70,000 Stradivarius is reported missing and now in Frankie's possession.In a sense of being an original story, the screenplay tends to borrow portions from Goldwyn's own DEAD END (1937), using tough kids from New York's poor district as main attractions, and Universal's ONE HUNDRED MEN AND A GIRL (1937), with talented teenage singer (Deanna Durbin) helping her father's unemployed musicians by getting the sponsorship of musical conductor Leopold Stokowski. Whether intentional or not, THEY SHALL HAVE MUSIC does get by on its own merits, especially with interludes to fine classical pieces consisting of: Peter Tchiakowsky's "Andante Cantabile" from "String Quartet No.1 in D, Opus 11"; "Introduction and Rondo Capriccioso, Opus 28"; Frederic Chopin's "Nocturne in B Flat Minor, Opus.9, No.1"; "Caro Nome" from Giuseppe Verdi's "Rigoletto" (beautifully sung by Jacqueline Nash); Wolfgang Mozart's "Eine Kleine Nachtmusik" "Hora Staccato" and "Estrellita" "The Barber of Seville," "The Minute Waltz in D Flat" (piano played Mary Ruth); "Symphony No.4 in A ('Italian'), Opus. 90," "Casta Diva," and "Violin Concerto in E Minor." Others participants to these compositions aside from Heifetz include the California Junior Symphony Orchestra.In spite of its somewhat contrived screenplay held together through a series of circumstances, THEY SHALL HAVE MUSIC is as entertaining as it is underrated. With McCrea and Leeds having little to do, with Heifetz having even less by way of acting, Gene Reynolds, a fine young actor with sincerity and conviction, on loan out assignment from MGM, never developed into a top teen idol as did box office attraction Mickey Rooney. Nearly forgotten as an actor, Reynolds did become better known in later years as director and producer of TV shows, especially the long running, MASH (CBS, 1972-1983). Tommy Kelly, lead boy actor in 1938's "Adventures of Tom Sawyer," and "Peck's Bad Boy at the Circus," is reduced to minor role as Willie, the kid whom Frankie hounds for membership dues for the club.With this being an overlooked Goldwyn production, THEY SHALL HAVE MUSIC did get plenty of exposure over the years, through its 1986 video cassette distribution; cable television broadcasts on American Movie Classics (1992-94) and Turner Classic Movies (where it premiered March 30, 2007). Anyone seeking for relatively unknown movie, this is one to consider, along with another similar themed production of MUSIC OF THE HEART (Miramax, 1999) featuring Meryl Streep. (***1/2)

Although many audio recordings of great musicians like Jascha Heifetz survive, the cinematic or televised record is limited indeed. This is why musical offerings like "They Shall Have Music" are such rare gems. While, with modern eyes and ears, one can quibble about the plot, the perceptive viewer should put this film's unique delights in their proper perspective. The plot was designed to appeal to both young and old audiences of the era, but it remains enjoyable to this day. A important aspect of the experience of watching classic films is to see them through the eyes of the moviegoer of that era.I must take issue with reviewer who complains about a film that is in black and white, or who feel obliged to report that their students express such reservations. These are juvenile complaints which reflect a limited historical perspective. For the teacher, this should offer up an educational opportunity to explain the unique qualities of black and white photography and its place in cinematic history. Color can, in fact, get in the way of a good storyline, or the music. For example, the black and white photography of John Ford's "Stagecoach," is, like the still photographs of Ansel Adams, an artistic masterpiece.As for Heifetz being wooden, I could not disagree more. If you want blatant emotional posturing, go to a rock concert. The role of a classical musician like Heifetz is to move the audience, not him or herself. Heifetz's emotion is conveyed through his playing, not through his body language. He had a rare ability to extract every emotional nuance out of the music and transfer it to his listeners. It is the listener who should be moved, not the artist.Incidentally, one reviewer asked about seeing Heifetz on YouTube playing the 1st movement of the Tchaikovsky Violin Concerto, with Frank McHugh in the audience. This is from the 1947 film "Carnegie Hall," not "They Shall Have Music" "Carnegie Hall" is an even greater treasure of many great classical artists in their prime. We are blessed that there were film producers who, at least in these limited instances, chose to showcase these artists. In was still an era not totally overwhelmed by the lowest common denominator tripe we get today.

I thoroughly enjoyed this movie...and I watch it from time to time still. I've used it in my music classes at the school where I teach. The kids seem to enjoy it, although, they wish it were in color.The best thing about this movie is, for me, who grew up after Heifetz had died, is the chance to actually see the master violinist work his craft! I was surprised at how "up to date" the story line is. Although, references to "reform school" are outdated. A boy, whose father had died, and is being raised by his mom and stepfather....most of our kids today are being raised by stepparents, although the movie makes it seem like most stepparents are cruel. I get VERY angry when his mother doesn't take his side and defend his actions against the step-father.Also, the musical selections are difficult to believe. I find it unbelievable that a child, who looks to be about 8, can play the "Minute Waltz", or that a 13 year old girl could sing an aria from Rigoletto.Other than that, it's a really fun, feel good movie and I do recommend it. I wish it would come out on DVD.

A bright youngster interested in "serious" music (admittedly a vanishing breed--who'll play the fiddle when no one can play the violin??"--could find this an interesting fiction about street kids and great musical stars. Heifitz was indeed the greatest violinist of his generation and the film gives him a rare on-screen chance to display his technique. The kids, especially Gene Reynolds, are fine and, all in all, the pic is a good example of first-rate studio family fare of the late 30's. It doesn't hit the top of the great '39 list, but it's a nice way for an intelligent family to spend a rainy afternoon with AMC or the Video Store--- good luck at Blockbuster!!!!