The Jazz Singer

I gave this movie a 10 out of respect for the first talkie. Imagine the pressure in Hollywood at the time. Movies were rolling along at a great pace and silent film stars were icons. The technology of putting talking words to film was being developed and Hollywood had to choose the one star that could make it happen. That star...Al Jolson. Already incredibly adored and admired for a great singing and entertaining talent this legend accepted the challenge and forged Hollywood into a brand new era. Until the advent of computers and graphic enhancements with special effects Hollywood just refined that which Jolson brought to the public in 1927.

If ever you want to get a real kick see this movie, if you can find a viewable copy, and revel in the historical significance of it. Also take out your copy, or pick up Singing In The Rain, which pays homage to the advent of talking pictures. Although they goof with the characters, such as the voice of Lina Lamont, the very real challenges of transitioning from a silent world to a talkie world is very evident.

Almost every movie fan knows the historical importance of the Al Jolson version of "The Jazz Singer", even if they've never had the chance to see it from start to finish. Although it's actually not, as it is often described to be, 'the first talking picture', it was the one feature that, more so than any other, captured the public's attention on behalf of sound movies. It's also still worth seeing in its own right, and while it is far from a masterpiece, as a movie it is somewhat better than its reputation.

The movie is actually a hybrid, with some silent sequences and some sound sequences. Successful experiments with sound movies go back to the 1890s, and got closer and closer to the goal during the 1920s. "The Jazz Singer" was really just one of a number of steps on the way towards full-length all-talking pictures becoming commonplace, but it probably would not have caused such a sensation if it did not also have some good material to go along with the new technology. The sound quality and other technical aspects do reflect the limitations of the time, and some of the material does also reflect the perspectives of its era, and thus now seems odd or uncomfortable. But there is still a solid core of the story that is still worthwhile, in the conflict between Jack's talents and dreams on the one hand, and his family and heritage on the other.

In following Jack as he pursues his career and tries to make his family understand, the specific details of the situation and setting aren't really crucial to understanding his position. Anyone whose family or friends want them to do one thing, but who feels called in his or her heart to do something else, can easily identify with this kind of struggle. These themes are handled rather well, although some of the time the story is simply used as a device to set up the musical numbers. Most of these do not seem especially noteworthy now, at least in themselves, but they must have impressed the movie's original audiences.

The year 1927 produced an unusual number of great (silent) movies that have deservedly become highly-regarded classics. This version of "The Jazz Singer" doesn't stand up to those classics on its own merits, but in itself it is still as good as any other movie version of the story, and for anyone who enjoys either classic movies or movie history, it's definitely worth seeing.

George Jessel passed up a chance to star in this movie. he thought sound in film was too risky a venture to try and took a pass. Al Jolson went on to stardom and George became known as a toastmaster at Hollywood roasts. This is an excellent movie that certainly belongs on anyone's list of 100 best movies. The story has been ably told here, I won't repeat it. I do want to add a few observations, however. The movie is very sentimental, especially in it's portrayal of "Mama" and Jolson's devotion to her. Even when it first came out, writers were critical of this, which harked back to the days of broad stage melodramas. The use of the song Kol Nidre and the Jewish day of Atonement at the ending is significant in that forgiveness and reconciliation is what this movie's theme is all about. Recommended highly, many of the scenes are etched in the consciousness of movie-goers whether you have seen this movie or not. Jolson in blackface doing "Mammy" and "Mother Of Mine", singing "Toot, Toot, Toosie Goodbye". Seeing this film will bring back all these images and place them in their proper contexts. The minstrel type show or even blackface solos were still going strong in the 1920s. In the 1930s and even into the 1940s famous Hollywood actors such as Judy Garland and Mickey Rooney among many others would still be doing songs in blackface. This was no isolated case by a long shot. See it and see history. Also see it for what it is, a classic Hollywood story.

I saw this movie for its historial value, but I stayed for its greatness. Because, first talkie or not, this is just a great movie. The 6.3 rating baffled me; didn't everyone else like this interesting story about a boy who abandons tradition and his father who disowns him? I can't think of anything not to like about the movie. It's a fabulous movie, and a filmmaking landmark.

I'd like to comment on someone else's comments now. Someone said this movie was very racist and that's why it was successful, saying, "Would this film have still been successful if it was just Jolson as himself and not black-faced? Probably not. That's because people watched it to make themselves feel better about themselves."

I wonder if this commenter actually saw the movie. Jolson is only wearing blackface for about 15 minutes for a performance. The rest of the movie, Jolson IS himself. Jolson never plays an African-American as his character in the movie, he just sings a song as one. Yes, the song is somewhat racist by today's standards, but most of this comment is not valid at all. In fact, I suspect the comment was written solely based on a glance at the video box cover.

Anyway, if you wanna see a historical landmark in film or if you wanna see a fabulous movie (half-talkie, half-silent), go ahead and see "The Jazz Singer."

Whatever might be the shortcomings of this famous film, it is an uncanny experience to visit it from time to time. As we know, although it's the first 'talki' it's mostly a silent movie with all that entails. Nevertheless, those moments when sound and image are synchronised, often just for one side of the disc used for the soundtrack, are electrifying. The heat is turned up by the fact that Al Jolson improvised some of his lines, much to the horror of his stage mother. And besides, the tale of the errant son making good in the big lights is affecting. The music is superb, and we are rewarded by some haunintg evocations of the Jewish cantor tradition. I love the film.