The Singing Kid

The man who gave movies its voice, not only speaking but singing voice wound up his career at Warner Brothers with The Singing Kid. Although he did not intend to be so, this was Al Jolson's last film with Warner Brothers and also his last starring film as well.

In The Singing Kid, Al Jolson plays Al Jackson an entertainer who was not unlike the real Al Jolson in some respects. He's rather free with his money, Jolson was legendary for that, especially since he trusts his lawyer and business manager Lyle Talbot who is stealing from him and two timing him with Claire Dodd who usually played bad girls over at Warner Brothers in the Thirties.

When things go bad for Jolson and he loses his money, his girl, and his voice, he takes a long vacation at a cabin in Maine with two of his retainers Edward Everett Horton and Allen Jenkins. In real life Jolson had many of those, not unlike Frank Sinatra. He meets and falls for Beverly Roberts who has a real cute niece she has custody of, Sybil Jason. Jolson together with Jason have some Sonny girl moments on the screen hearkening back to The Singing Fool with Davey Lee.

Harold Arlen and E.Y. Harburg wrote the score which also interpolated some Jolson standards. Nothing memorable from the official composers and they must have felt like the songwriters from many of Jolson's Broadway shows who always had Al interpolate his own material in the show.

Cab Calloway and his orchestra appeared and Calloway did a typical Cab Calloway number in the film. It must have been really strange on that set with the entertainer who made his mark first in minstrel shows in blackface and who wouldn't leave it and one of the best entertainers who happened to be black around. Jolson does about half of his songs in blackface and half au natural.

As a grown woman Sybil Jason said she had fond memories of Jolson who threw her a birthday party on the set and gave her a bicycle.

The Singing Kid is a must for Jolson fans, but I doubt that too many other people would really be interested in it.

This movie begins with a montage of Al Jolson's most famous tunes. This will no doubt shock many, as he's in his signature black-face during this sequence and during several other numbers. While today this would be clearly seen as patently racist, this was how it was back in the day. Plus, the film also had several numbers by Cab Calloway....and he was a black performer. My advice about all this is watch the movie and just understand the context....otherwise, your head might explode!

In "The Singing Kid", Al Jolson plays a guy who's practically a living saint...and he hits hard times. His agent has cheated him out of his fortune and things only get worse. Due to stress and overwork, he loses his voice and must quit show business...at least temporarily. Fortunately, his two sidekicks (Allen Jenkins and Edward Everett Horton) stick by his side...paycheck or no paycheck. Can Al possibly pull himself out of this rut and make something of himself once again?

Aside from the blackface, the film also has another strike against it....they make Jolson's character seem too nice to be real. First, his wife leaves him. Second, he gets cheated out of his fortune. Third, he loses his voice. Yet, through all this, he never loses his temper (except for a tiny second) and is so swell and sweet that the character drips of phoniness. I think toning this back a bit would have made the film better. Now I am NOT saying they needed to make him a snarling beast...just not quite to angelic as he is in this one. Plus, combined with Sybil Jason (the too adorable little girl), the movie is high on the saccharine scale!!

So is it still worth seeing? The music is certainly memorable and exciting to hear. And, Jolson isn't bad at all...he can't help it his character is this sickeningly sweet! I also enjoyed the Yacht Club Boys. This singing group was like the Ritz Brothers with talent. Also, the dialog between Jenkins and Horton was great...with Horton delivering a lot of great zingers. Overall, despite the film's strengths easily outweigh the deficits.

Busby Berkeley actually directed at least one section of this film even though he wasn't credited. I have seen a photograph of Berkeley directing Al Jolson and Sybil Jason as they sing "You're the Cure for What Ails Me" on a lakeside dock, as well as home movies shot by composer Harold Arlen showing Berkeley clowning around at that location with Jolson, lyricist EY Harburg and others. According to Harold Arlen biographer Ed Jablonski, Berkeley choreographed the "I Love to Sing-a" reprise in which Jolson and ensemble begin in a radio station, continue through the outer offices, down an elevator, through a lobby and out into a busy street conversing in rhyme all the way. This number seems to me a foreshadowing of the "Munchkinland" sequence in THE WIZARD OF OZ three years later, wherein Judy Garland strolls through the village to the music and lyrics of the same songwriting team (Harold Arlen and E.Y. Harburg) with choreography by SINGING KID's credited choreographer, Bobby Connolly; maybe Connolly was inspired by Berkeley's work here. It is to Jolson's credit that he even agreed to perform in the "I Love to Sing-a" reprise because it's all about how dated and irrelevant his "Mammy" singing was. So at least he had a sense of humor.

I was surprised to discovered that I had not seen this movie before. After all, it was was an Al Jolson starring vehicle in which he is supported by an immense number of supporting comedians and singers -- Edward Everett Horton, Alan Jenkins, Cab Calloway, the Yacht Club Boys acting like the Ritz Brothers -- and an Arlen-Harburg score. Clearly this was a bet-the-house movie. It was Jolson's last under his contract with Warner Brothers.

Al Jolson plays himself, an immensely popular performer who is beloved by all who know him... well, I suppose he had script control. When his fiancee and his financial advisor run off with all the unpaid taxes for the last five years, Al has to break the kitty to pay off the IRS, his voice fails and he has to take a vacation in Maine, where he meets charming would-be playwright Beverly Roberts, and her niece, Sybil Jason. Everyone falls in love with Al and Al phonies up an acceptance of her play with a $500 check. When she finds out he did it, she's mad.

The songwriters were clearly tasked with coming up with "Al Jolson numbers" and they had a limited success. The only one familiar to me was "I Love to Sing-a," which is repeated several times with added verses. I don't think anyone covered this one except Looney Tunes, which is where I know it from.

If this movie were all we knew of Jolson, it would be a bloated and egotistical project. What we know of Jolson justifies the egotism, but not the bloat.

This was the last of eight films that Jolson did for Warner Brothers between 1927 and 1936. Not many people have seen this one, but it is rather addictive with a great parody of Jolson as Jolson.

Jolson plays likable if irresponsible stage and radio star Al Jackson. He's given to trusting the people in his life to handle things for him just a little to much as he runs on overdrive from performance to performance. This gets him in trouble later in the film. Jackson lives at the top of a tall penthouse where he gives his most jubilant performance of "I Wanna Singa" along with Cab Calloway who happens to be practicing on an adjacent rooftop. Just in case you didn't know, that famous song comes from this movie, not the cute little cartoon with the singing Owl in it as most people think. Cab Calloway appears in several numbers with Jolson in this film.

One of the best scenes/numbers in the movie has Jolson rehearsing his radio show, starting out with "I Wanna Singa" and then segueing into "Mammy". At this point The Yacht Club Boys, playing representatives of the sponsor, tunefully interrupt and tell Jolson why he's out of date and can't sing his traditional Mammy songs on their show.

Being Jolson's leading lady didn't really help the film careers of the actresses involved (I'm excluding Mrs. Jolson here, AKA Ruby Keeler). Beverly Roberts - who plays the love interest here - is no exception. She worked for Warner Bros. in 1936 and 1937 and then went back to stage work. Lending strong support here is the ever-confused Edward Everett Hornton as the befuddled gentleman's gentleman to Jolson's character.

Definitely worth it for all Jolson fans. If you don't like Jolson I don't recommend it, as Jolson's films are usually all Jolson all the time, although this one has Jolson interacting with the rest of the cast a little more than his other films usually did.