Say It with Songs

This is the first all-talking movie starring Al Jolson. Although he made two 'talkies' before this, they were both essentially silent films with sound portions added. This one was always intended as a sound film and is a bit more modern in this sense. However, in many ways, the film is very, very old fashioned and plot-wise it's just the same old, same old by Jolson....but even schmaltzier!

The film has a fatal flaw in how it portrays Jolson. He is a married guy with a cute kid (Davey Lee--who played Jolson's adorable son in several films). But he's also a heavy gambler and hot-head-- and a very difficult man for any woman to love. Despite this, she steadfastly stands by her man--even when Al's wicked boss tries to put the moves on her. Her big mistake is telling Al about this, as soon he gets into a fight with the boss and accidentally kills him. Next, Al's in jail and his heart is breaking. The wife STILL refuses to abandon him, but Al is a knuckle-head and somehow comes up with the notion that she'd be better off without him--so he deliberately pushes her away.

Now here is where things get weird. While in prison, Al's great singing ability is discovered and he goes on the radio (I am sure that MOST radio shows of the day originated in prison, right?!). And, even weirder is when Al gets out of prison. He doesn't tell the wife and instead sneaks off to see the kid. Soon (due to the stupidity of the kid), the boy is run over and has one of those mysterious movie ailments. And, Al doesn't tell anyone that the kid is in the hospital. And, when the kid is discharged, Al doesn't bring the child to the mother. Does any of this make any sense? Nope. But neither does what follows.

The bottom line is that the film never makes much sense, is WAY too sentimental and schmaltzy and lacks the usual hit tunes of his other films. Overall, this is a boring and silly little film where Jolson and the filmmakers went to the well too many times--and came up with a syrupy sweet mess.

A very simplistic story, carried by the raw emotions of Al Jolson. The movie is pretty much an easy-read, as most early talking films were. Jolson would go on to make several other films, and be remembered as a talented singer and actor.

Say It with Songs (1929)

** (out of 4)

Radio personality Joe Lane (Al Jolson) is about to get a major break in his career but his wife (Davey Lee) tells him that his best friend hit up on her. Joe ends up punching the man and this punch actually kills him so he is sent to prison where he dreams of returning to his wife and child.

Jolson made Warner a fortune with THE JAZZ SINGER, which was the first blockbuster that used some songs in what was basically a silent movie. From there Jolson scored another hit and the studio rewarded him with a $500,000 contract for this picture. This here would turn out to be Jolson's first full blown talkie and it also turned into his first box office bomb and in all honesty the film is incredibly awful but thankfully it's so bad that you have to watch it.

I guess I should say that Jolson is so awful that it's easy to recommend this movie. Now, to be fair, Jolson was a singer so perhaps his acting shouldn't be judge too harshly but at the same time he was able to make a career in front of the camera. The most shocking thing is just how truly awful his performance is here. There are some really embarrassing moments scattered throughout the film including one scene where Jolson breaks down crying in his jail cell and is consoled by his cell mate. This is certainly one of the worst and most hilarious things I've seen from a movie during this era.

Even without the awful performance you've got a lot of other campy moments as well. The screenplay is about as generic as you can get and this includes some really bad melodrama throughout. This is especially true towards the end of the picture. I won't spoil what happens but you can't help but sit there and laugh at all of the "drama" that is taking place in front of your eyes. The film's direction from Lloyd Bacon isn't much better but at the same time I'm going to guess that he just didn't have too much to work with.

Jolson does sing a few numbers throughout, which range from good to fair but at the same time these certainly weren't enough to save the picture. SAY IT WITH SONGS is a really poor movie but at the same time it's very much entertaining in a bad way.

SAY IT WITH SONGS (Warner Brothers, 1929), directed by Lloyd Bacon, reunites the legendary Al Jolson with little boy wonder, Davey Lee, of 'SINGING FOOL' (1928) fame, in yet another sentimental musical drama that failed to live up to the success of its predecessor. This, Jolson's third feature film, contains several firsts in his movie career: His first full length talkie (with no silent passages); no black-face song numbers; and the first Jolson movie to flop at the box office. It was also one of the few films in his career in which his on-screen character isn't named AL, and the second and last casting him as a married man.

The story involves Joe Lane (Al Jolson), a radio singer with a loving wife, Katherine (Marion Nixon) and five-year-old son he calls Little Pal (Davey Lee), sent to prison for accidentally murdering Arthur Phillips (Kenneth Thompson) his friend and manager for making advances on his wife. Upon his release, Joe meets with his son at a private school ground during recess. When son is struck by a passing truck, Joe takes him to Doctor Arthur Phillips (Holmes Herbert), a specialist and Katherine's former beau now working for him as his private nurse. Phillips agrees to perform the delicate operation on the condition that Joe goes away, grants Katherine a divorce so he can marry her, or else pay the high fee of $5,000.

As syrupy as the plot sounds, it's even thicker on screen. Relying heavily on the success of THE SINGING FOOL, lightning didn't strike twice for Jolson, Lee and director Bacon. Jolson and Lee even repeated some of the same sentimental gimmicks, including Davey Lee's raising his arms for Daddy to pick him up and give him a kiss. Some heavy melodramatics might have worked somehow had it not been for Jolson's bad acting, hearing scratchiness in his voice, looking back and forth leaving his mouth open as if he were waiting for further instructions from his director. Overacting is evident as Jolson cries in his jail cell after telling his wife he never wants to see her again. Even worse, after he finds that it's his own son who's been struck by a passing truck, he unconvincingly shouts out, "Oh my God, it's MY baby"; or when Jolson sings "One Sweet Kiss" on a coast to coast radio hookup on Christmas day, he does this in such dramatic manner it almost leaves an impression that he was hoping for an Academy Award nomination. Regardless of the results, the finished product is often embarrassing to watch, especially for a story that's supposed to take place in a considerable time frame of several years, only to have its major characters, especially little Davey, not aging a day. As Robert Osborne mentioned in his 1994 commentary on Turner Classic Movies, audiences flocked to theaters to see the film (hoping to get more of that Jolson magic, as he did with THE SINGING FOOL), but business dropped off in a hurry, and movie quickly disappeared. At least it didn't become one of many lost films from the "dawn of sound" era.

SAY IT WITH SONGS, such as it is, does have scenes of some potential, first where Joe sings "Why Can't You" to his fellow prisoners, followed by a montage and split screen of fellow convicts, concluding with Jolson's singing showing his face behind the prison bars; second where little Davey falling asleep, dreaming of his Dad appearing to him while singing "Little Pal"; and another borrowing from the climactic scene of the silent version of STELLA DALLAS (1925) which has Joe looking in on his son from the outside window.

Marion Nixon, in her Janet Gaynor manner, wasn't much help in her partake as Joe's wife through some bad acting, but it's Jolson's performance that bogs down the plot considerably. Aside from the lead actors, Davey Lee has his tender moments on screen, but at times (as his eyes look towards the camera), it's hard to understand what he's saying. One scene where he follows his father down the street comes off funny considering how he's wobbling about either like a puppet or silent film comic Charlie Chaplin.

SAY IT WITH SONGS does have its considerable number of songs, none listed on the hit parade. The songs include: "Used to You," "Little Pal," "I'm in Seventh Heaven," "Why Can't You?" "One Sweet Kiss," "Little Pal," "Little Pal" (reprises) and "I'm in Seventh Heaven." Supposedly distributed in theaters at 95 minutes, TV print that airs on TCM, is 85 minutes, ten minutes shorter. One noticeable cut occurs in the early portion of the story in the radio station where Joe Lane asks one of the visiting sponsors if he wants to hear his new song, "I'm Crazy for You." After Joe goes over to the piano to plug it, the scene that follows is dialog between Katherine and Arthur Phillips in his office. Another reported song, "Back in Your Own Back Yard," supposedly written for the film, is also absent. While both these songs do not exist in the existing print, they are, however, included in a 1980s soundtrack recording titled "Legends of the Musical Stage (Rare Soundtrack Recordings 1928-1930), compliments from Sandy Hook Records. SAY IT WITH SONGS never made it to video cassette but did become part of the Al Jolson film collection when distributed on laser disc in the early 1990s, and a TCM archive collection onto DVD in 2010.

SAY IT WITH SONGS is not the kind of movie one would see for entertainment, but solely as a curiosity to find out how it failed and why it doesn't hold up today. One can be thankful, however, for TCM airing SAY IT WITH SONGS, for that it has satisfied my curiosity. (**)

Say It With Songs is the first all talking film that Al Jolson did on initial Warner Brothers contract and for him the first flop in his Hollywood career.

You can't say that the Brothers Warner didn't follow the usual Hollywood formula in that if something succeeds, copy it as best you can. Jolson had scored well with his second film The Singing Fool and his singing of Sonny Boy to four year old Davey Lee was the big hit. What to do, team them again and you even get the crack songwriting team of DeSylva,Brown&Henderson to write this score as well.

Except for the song Little Pal none of the other songs had any lasting staying power from Say It With Songs. Little Pal did become a Jolson standard though not to the same degree as Sonny Boy. But the score is serviceable for the plot which has Jolson as a radio singer.

Being a radio singer obviated the need for Jolson's usual blackface persona. Say It With Songs became the first of two films he did without the blackface, a fact I hadn't known before. I had assumed and I'd seen it written that Hallelujah, I'm a Bum was the only film he did without the blackface.

More's the pity here because if Say It With Songs had been a hit Jolson might have abandoned the burnt cork and his historic reputation wouldn't have suffered so.

The plot has Jolson a happy go lucky radio singer who unfortunately likes to drink and gamble and generally carouse. A wolfish radio manager has some designs on wife Marian Nixon and offers her an indecent proposal. When Jolie hears of it he kills him when he hits the wolf just a little too hard and his head strikes a cement curb. That lands him in jail.

Marian Nixon has to support herself and goes to work for a doctor who's always had an eye on her as well. Of course when Jolie hears about in prison he's all for it, but not for her taking up their kid as well.

Jolie gets one of the earliest paroles in penal history, even for what probably is a manslaughter 2 conviction because little Davey Lee ages not a bit. But little Davey also gets himself hit by a car while chasing his dad. Davey becomes paralyzed and what's Jolie to do? By coincidence the doctor is a specialist and he offers Jolie the indecent proposal this time.

I think with the general description of this plot you get the idea of the general mawkishness of the plot. Director Lloyd Bacon doesn't try to control Jolson's incredible overacting for the camera. Those two factors were what mainly sank the film.

Yet Jolson's dynamism as an entertainer still shines through and when he's singing you almost forget about the plot. Almost that is.