Tom Shales

Let’s say a little prayer—or make a little wish if prayer is overdoing it—that when the TV Academy gives out its next mess of Emmys, someone will remember “Tony Bennett: An American Classic,” the musical special that aired way back in November '06.

If nominated, it will probably end up in the same category as the Oscars, the Tonys and the Emmys themselves, those big bow-wow bores that fill up the category because there just aren’t many “musical or variety specials” any more. One big plus for “American Idol” is that, however gimmickly they did it, the producers did bring pop music back to prime-time TV. Of course there’s only one Tony Bennett, last of the great crooner-belters, a man who almost single-handedly keeps a great tradition alive. And it only took him 80 years to get his own special.

Actually, he’s had other specials—and this one wasn’t ALL his own. To plug his new album, “Tony Bennett: Duets,” the show recreated the numbers on the album by reteaming Tony with fellow singers, most of them much younger—though Barbra Streisand was first up, gliding out of the darkness to join Tony in the spotlight (literally, that is) for “Smile,” and everybody did.

Some of the guest artists were of dubious renown. Maybe it’s a generational thing. Michael Bublé? (pronounced Boo-blay, presumably, not “boobul”). The single-named “Juanes”? (pronounced—oh who cares). Even I have heard of Christina Aguilera, but she wasn’t doing Tony, or Irving Berlin, any favors by stomping all over “Steppin’ Out With My Baby.”

And then there were stars who really were worthy: Stevie Wonder on his own beautiful “For Once in My Life” and Elton John joining Tony for one of Bennett’s first big hits, “Rags to Riches.” I assume that the showgirls who decorated, or rather engulfed, this production number, replete with those big white ostrich-feather fan things, were doing a parody of hyper-choreography, because there were times when they completely obliterated the two singers. This did facilitate a funny bit in which John tried to wrestle one of the feather-fans away from a chorus girl. Come on—he must have a whole flock of those at home in his closet already.

Throughout, the choreography was intrusive, the alleged genius behind it being John DeLuca, who did “Chicago.” For all of producer-director Rob Marshall’s messy excesses, however, this was still elegant entertainment—a jewel for the crown at NBC, which has hocked most of its other jewels by now. Adding still more class to the program: Catherine Zeta-Jones, Robert DeNiro, Bruce Willis, John Travolta and Billy Crystal popping up to recite the salient facts of Bennett’s first 80 years on this lucky old planet.

An Emmy or two would be more than appropriate and less than adequate.

Whenever he does his great Tony Bennett impression on “Saturday Night Live,” Alec Baldwin sings a made-up signature tune for Tony called “I Like Things That Are Great.” It spoofs his indomitable innocuousness, gently. The fact is, anybody who does like things that are great, and missed the Bennett special when it aired, should grab one the minute it appears on DVD.

And yes, Tony did get to sing one song with no other singer horning in—his real signature tune, “I Left My Heart in San Francisco,” with piano accompaniment only. Tony stood alone in the spotlight’s glow that he wears so well and sang of the “golden sun” that shines just for him. It should be a national priority—official, by Congressional mandate or presidential proclamation—to keep this man alive and singing as long as possible.