The Singing Kid

Even though I admit to being an Al Jolson fan, I never expected to see an Al Jolson film that's not rubbish. This however wasn't - what a revelation! It's actually good! It's not too dissimilar in feel to those old Busby Berkeley movies.

Honestly, as hard as it is to believe, it's an Al Jolson movie that's actually good - well quite good. Some people are offended by the old 'blacking up' practice and there is some of that in this so some of you might not feel comfortable watching this. Apart from that, if you enjoy 1930s movies, particularly from the pre-code era, this is almost as much fun as a lot of those pre 1934 pictures were.

I'd also say that it's much better than a lot of the bland, cloned musicals the studios were churning out in the mid thirties. Being directed by the same guy who did FOOTLIGHT PARADE, you can feel that same sense of fun here. It's not brilliant - the first part, set in New York is a lot livelier than the second half which really slows down as it evolves into a rather mushy (but still amusing) sentimental drama set in the countryside with a 'cute' child and annoying mother.

The 'cute' child, Sybil Jason is surprisingly tolerable but that annoying mother is not. She is Beverly Roberts, not a name you'll be familiar with and that's because she's awful. She's got a terribly affected accent and zero stage presence - utterly lacking in any believability. Al Jolson however along with his two mates: Allen Jenkins and E E Horton have more than enough personality to keep you engaged.

The songs are ok but a bit forgettable however Al Jolson gave his friend, the immensely popular black jazz performer, Cab Calloway quite a lot of exposure in this which adds something different. I don't know whether it was just because I didn't expect it not to be terrible but I really enjoyed non pre-code, pre-code cheerful chunk of happiness.

THE SINGING KID (Warner Brothers, 1936), directed by William Keighley, with choreography by Bobby Connelly, became Al Jolson's final lead in a musical film, and the movie debut of Beverly Roberts. Although cast as Al Jackson, Al Jackson is definitely Al Jolson. As Jackson, or Jolson, or whatever, Al Jackson is America's favorite stage and radio star living in a New York City penthouse. While good-natured with a heart of gold, he is irresponsible with women, forgetful, selfish and forever breaking promises, this time to his fiancée, Dana Lawrence (Claire Dodd). In turn, Dana is a gold digger who not only takes advantage of Al's trusting nature, but is carrying on with his business manager, Bob Carey (Lyle Talbot). Eventually she calls off her engagement and goes away with Bob, leaving Al with a half-a-million dollar debt with the Internal Revenue for five years of back taxes, compliments of Mr. Carey. After he clears himself with the government, Al has further troubles when, after taking a few drinks, goes on stage and is unable to finish his song, "Here's Looking at You," due to he slowly losing his voice. Deciding to quit show business, Al and his cronies, Davenport Rogers (Edward Everett Horton) and Joe Eddy (Allen Jenkins), head for Indian Lakes, Maine, and rent a cottage in the country for a rest cure. While there, Al encounters his landlady, Ruth Haines (Beverly Roberts), and her precious little orphaned niece, Sybil (Sybil Jason), who add some happiness to his empty life.

The title, THE SINGING KID is something of a misnomer, making the viewer wonder whether the "Kid" in question is either Jolson, who sings plenty but being too old to be playing a kid, or Sybil Jason, a talented seven-year-old actress who sings only one song. The movie itself, is a showcase for Jolson, but the highlight is Sybil Jason, who appears rather late (45 minutes) into the story. While on screen, she manages to delight, especially when reading a bedtime story to "Uncle Al" instead of the other way around, or a little musical number by the lake in which little Sybil plays doctor to patient Al. This plays cute rather than corny. Jolson usually plays well on screen with children, and the chemistry between him and Jason are most rewarding. Unlike Jolson's previous efforts, this film focuses more on comedy, but when dramatic moments set in, the sentiment doesn't come off as thick. The movie itself hints several times on trying to bring Jolson's entertainment style up to date, having the Mammy singer surrounded by the swing band of Cab Calloway along with swing music. On and all, times are changing but many prefer to remember the Jolson of old. It's almost like trying to place 1940s crooner Bing Crosby in a coming of age 1960s rock-and-roll musical surrounded by long-haired, jive talk hippies.

For THE SINGING KID, age has caught up with Al Jolson, who physically looks a bit heavier with his hair thinning. Beverly Roberts, who was possibly in her 20s, not only looks a bit older than her true age, but talks a little like actress Frances Farmer. Roberts even gets to have a couple of kissing scenes with Jolson.

The musical program includes: Montage Opening: "Mammy," "Swanee," "Rock-a-Bye Your Baby With a Dixie Melody," "California, Here I Come," "April Showers," "About a Quarter to Nine," and "Sonny Boy." Following the montage of old songs, the story begins with new tunes by Harold Arlen and E.Y. Harburg: "I Love to Sing-A" (sung by Jolson and Cab Calloway); "My How This Country's Changed" (sung by the wild and wacky The Yacht Club Boys); "Keep That Hi-De-Ho in Your Soul" (written and sung by Calloway); "Who's the Swingin'est Man in Town?" "Save Me, Sister" (sung by minstrels, with Jolson and Winifred Shaw in black-face); "Here's Looking at You" (incomplete); "You're the Cure for What Ails Me" (sung by Jolson and Sybil Jason); "I Love to Sing-A vs. Mammy Songs" (with Jolson and in which The Yacht Club Boys try to show Al that it's 1936 and that Mammy songs are passé); "You're the Cure for What Ails Me" (reprise by Calloway); and "I Love to Sing-A."

Also in the cast are Frank Mitchell and Jack Durant, a comedy team who rely mostly on violent gags, but are no threat to The Three Stooges; Hattie McDaniel in an unbilled bit; and Jonathan Hale, the future Mr. Dithers in the "Blondie" movie series, playing Doctor Fulton.

THE SINGING KID has its share of songs, but there is hardly any dancing involved. While this may not be the very best of the Jolson musicals, it does come across as entertaining. It can be seen from time to time on cable's Turner Classic Movies. For the record, Al Jolson would return to films playing supporting roles in two 20th Century-Fox musicals in 1939, along with a third, a cameo appearance. But the Jolson legend doesn't end there. (***)

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.

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.

I think the singing kid is a great film and my favorite musical numbers in the film Were save me sister you're the cure for what ails me and I love to singa reprised oh by the Busby Berkeley did more of the numbers than bobby Connolly' oh And wonderful cast members Al Jolson sybil Jason bravely Roberts allen Jenkins Edward horton and and the yacht club boys wini shaw Cab Calloway but 8/10 for blackface