Big Boy

Al Jolson attempted to re-create his hugely successful Broadway show by making this film. Unfortunately, Jolson on film is a pale ghost compared to entertainer referred to as the "World's Greatest." On Broadway in "Big Boy" Al Jolson received what are to this day, the greatest reviews a Broadway stage performer has ever garnered. (see, Herbert Goldman, "The Legend Comes to Life") All who saw him perform knew that Jolson did not work on film, and Jolson knew it himself - - he simply could not put across on film his electrifying and magnetic stage persona through celluloid. Thus his screen performances are stiff and wooden. The media was completely wrong for him. In this film we see only glimpses of what audiences saw on the stage: an extraordinary comedian, singer and "presence." It must, unfortunately, fail to deliver. But it is worth seeing as one might want to see a still photograph of a lost work of art, or magnificent edifice.

Big Boy was a complete shock to me, a 1930 picture that was vibrant, funny,bizarre and very entertaining. I bought it expecting to see a train-wreck,a politically-incorrect minstrel show featuring a white actor performing in black-face. Not just for a scene or two mind you, but for the entire picture(save for the very end)!!! What I got was a fabulous performance by Al Jolson,who is frankly so good here it's almost scary. He's funny, charming, sings wonderfully and performs with a sort of wink-wink to the audience, as if he knows he's in a ridiculous situation as an actor and wants everyone else to know it. His asides are often hilarious,and frankly he is so good overall that if he had chosen to play the part in normal black makeup, without the exaggerated lips common with black-face, I honestly think he would've disappeared into his role completely and truly transcended his makeup. The plot is almost completely beside the point-it exists simply to provide a frame-work for a series of wonderful musical interludes.There is one extended flashback sequence that appears almost out of nowhere, and is so wild and broadly played that I don't think anyone who sees it will ever quite forget it. Print quality is sometimes excellent, and often-times poor. This picture is in definite need of some restoration. I have to applaud those who decided in this sensitive age to release a movie as bizarre and potentially offensive as this one,and I'd like to think that it's because they trust us to be adults and apply some context to what we're watching. If the very idea of black-face portrayals offend you, this picture is to be avoided at all costs. If you can place the use of it into a proper context, this picture might still offend you, but at least you won't keep yourself from watching a wonderfully bizarre and surreal little curio. The ending to my mind is fabulous,by the way.

I was fortunate enough to see this film on the big screen (as all great film stars should be seen) almost 20 years ago and it was one of the most thrilling film experiences I have ever had.

Despite the film being politically incorrect in this day & age it is a great testament to all the performers who appeared in the beginnings of the sound revolution.

Al Jolson appeared as Gus the main character (& the role he actually played on broadway many times in different productions)in this play that was literally filmed on the stage.

If anyone with an open mind sits through a showing of the film, I'm sure that they would appreciate the 'rough' basic performances and the contribution they made to film history.

If faithful Gus can only help the racehorse BIG BOY to win the Kentucky Derby the white folks who employ him will be saved from financial ruin.

Strange, offbeat, bizarre, unique. All of these terms can describe this film which features legendary entertainer Al Jolson in blackface, playing a black man. While acted with tongue very firmly planted in cheek, and meant solely for lighthearted entertainment, this movie will definitely not be to every viewer's taste. Not until the final minutes does Jolson appear as himself, joking with the audience and reprising the film's dullest song yet once again.

The movie obviously has its roots in the minstrel tradition in which a group of musical white men would perform, made-up as blacks. Also, Jolson's own career involved extensive use of blackface routines and he had become quite celebrated for them. For their time, these were all considered quite normal and not offensive (to white audiences). It should also be noted that racial meandering was engaged in routinely in films for decades, with several top white stars (Helen Hayes, Paul Muni, Kate Hepburn, Ramon Novarro, Edward G. Robinson) playing Asian roles, although these were usually done for a serious, and not a comedic, purpose.

Once past the initial oddity, it must be said that Jolson is certainly fun to watch and is obviously having a great time. Singing constantly (none of his big hits, but he does well with a couple of old Spirituals), wisecracking and ad-libbing shamelessly, he is impossible to ignore. In his heyday, he was one of the most popular performers in the world and it's easy to see why.

Although Jolson dominates the film, there are a couple of other performers worth noting. Wonderful old character actress Louise Closser Hale, always a joy to watch, plays the plantation matriarch. In a lengthy & superfluous flashback scene, beefy Noah Beery appears as a bullying braggadocio who harasses Jolson.

It probably goes without saying that there is a fair amount of racism woven into the plot.

Big Boy (1930)

** (out of 4)

Al Jolson was only able to bring two of his Broadway shows to Hollywood and this here was the first of the duo. In the film Jolson plays Gus, a black servant who dreams of one day being able to ride horses. He finally gets his chance when his owner's horse appears to be good enough for the race but of course a few issues are going to break out. Controversy will always follow Jolson since he often appeared in blackface but I've seen so many Hollywood films from this period to where I'm at the point of looking at it as the norm. It was certainly the norm in 1930 so it's doubtful too many went to the theater and saw this film the same way we would today. With that said, appearing in blackface is one thing but having the entire role done in blackface, when viewed today, just seems wrong on so many levels. I'm sure a black actor could have done this part and made for an entertaining movie but due to the times this just wasn't going to happen. The truth of the matter is that Jolson might be hated or looked down by many but I always try to judge things as honest as possible and there's no denying that he's very good in the part. I thought Jolson was very believable in the part of Gus and I think he managed to really bring the character to life as he made us feel for the character and made us want to see him reach his dreams. The "performance" is just fine as are a majority of the music numbers, which he also performs. 'Dixie', 'What Will I Do Without You?' and 'Tomorrow is Another Day' are the highlights of the group as the actor does a terrific job singing them but there are some nice visuals put to them as well. No one in the supporting cast really jumps out at you but then again this movie was made to show off Jolson and Jolson only. I think the biggest problem is the actual screenplay that appears to be missing a lot of footage that might have been in the Broadway play. The "story" appears to be missing quite a bit as the film seems to just want to get to the next music number. Another problem is that the comedy is flatly done and the majority of the jokes just fall flat on their face. Many people will look at BIG BOY is disgust and I understand that but it's one of the few ways to see what type of role Jolson did on stage and for that reason alone this remains an important picture for film buffs.