Le roman d'Al Jolson

Al Jolson, along with Frank Sinatra, were perhaps the two greatest singer/entertainers of the 20th Century. This film, made in 1946, was both the launching pad and "ball and chain" for Larry Parks. His performance was so good it earned him an Academy Award nomination. He spent countless hours perfecting the Jolson mannerisms and lip-syncing the songs that the great Jolson recorded for the movie. Unfortunately he became so typecast in the role that his reprise of the role in the sequel in 1949 was his only other claim to fame. That, and his admission and subsequent subliminal blacklist from Hollywood for being a member of the Communist Party between 1941-1951, stopped his career before it ever really had a chance to bloom.

My father had me watch this movie as a kid on Million Dollar Movie and I was taken by the personality, drive, energy, and talent of this great entertainer. Hearing about, and seeing, silent movies made me all the more in awe of the talent Jolson must have been since Hollywood banked it's future on talkies with "The Jazz Singer".

Besides Parks excellent performances are also put in by William Demerest, who many of us remember as Uncle Charlie in My Three Sons, Evelyn Keyes as Julie Benson (Jolson's first wife) and the rest of the cast. The 1949 making of Jolson Sings Again is also worthwhile, if for no other reason than watching Parks do the masterful lip-sync and the incredible vocals of Jolson.

THE JOLSON STORY (Columbia, 1946), directed by Alfred E. Green, is a nostalgic tribute to the "world's greatest entertainer," Al Jolson, the man who loved to sing, as portrayed by Larry Parks, covering his life and career from the turn of the century to about 1940.

This Technicolor production opens in Washington, DC, at the turn of the century where a young teenage boy named Asa Yoelson (Scotty Beckett) and his girlfriend, Ann Murray (Ann E. Todd) are seated in the audience at Kernan's Burlesque House watching Steve Martin (William Demarest) doing his comedy act. He asks for the audience to sing along as he plays his cello, but it is Asa who's the only one brave enough to stand up and start singing. Amazed by this young lad's natural talent, Martin locates Asa's home asking permission of his parents, Cantor and Mrs. Yoelson (Ludwig Donath and Tamara Shayne) to have him as part of his act. Papa Yoelson says no to the idea, and feels that the only place where his son should be singing is not in a theater, but in a Synagogue. Respecting the Cantor's wishes, Martin leaves for his tour. However, Asa leaves home, hopping on a freight car to find Martin, ending up in the residence of a Catholic Church run by a Father McGee (Ernest Cossart). Learning about the boy's background and purpose, the priest sends for both Steve and the Yoelsons, who arrive to find Asa singing in the choir. Not wanting Asa to be constantly running away from home, Mama Yoelson's convinces Papa to have their boy pursue his dream. Years pass. The act of Martin and Yoelson prove successful. Because Asa, now Al Jolson, wants to advance himself, it is Steve who breaks up the act by sending him over to perform in Lew Dockstader's (John Alexander) minstrels. With Steve's help once more, he arranges for Al to start his long and successful career at the Winter Garden on Broadway, with former "blackface" singer and friend, Tom Baron (Bill Goodwin) acting as manager. Jolson, who has never forgotten Steve, hires him as his agent. Now the biggest name in show business, Al Jolson's career takes a turn to success, starring in "the first talking picture," THE JAZZ SINGER, his courtship with Florenz Ziegfeld's (Eddie Kane) latest attraction, Julie Benson (Evelyn Keyes), star of the musical show, LIZA, their marriage, screen careers and finally retirement to the country. Problems arise as Julie learns she's competing with a full-time husband who would rather be a full-time entertainer.

The success of THE JOLSON STORY may not necessarily rely on the plot or its leading stars, but mainly the songs long associated with Al Jolson throughout his years in show business. The songs used for this production include: "Let Me Sing and I'm Happy," "On the Banks of the Wabash," "The Sabbath Prayer" (traditional Jewish prayer); Franz Schubert's "Ave Maria," "When You Were Sweet Sixteen," "After the Ball," "By the Light of the Silvery Moon," "Goodbye, My Blue Belle," "Ma Blushin' Rosie," "I Want a Girl, Just Like the Girl That Married Dear Old Dad," "Mammy," "I'm Sitting on Top of the World," "You Made Me Love You," "Swanee," "Toot-Toot Tootsie, Goodbye," "The Spaniard Who Blightened My Life," "April Showers," "California, Here I Come," "Liza," "There's a Rainbow 'Round My Shoulder," "Latin from Manhattan," "Avalon," "About a Quarter to Nine," "The Anniversary Song," "Waiting For the Robert E. Lee," "Rockabye Your Baby With a Dixie Melody," and "April Showers." Trivia: The "Swanee" number is actually performed by the real Al Jolson (in long shot), not Larry Parks.

As a musical, THE JOLSON STORY is grand entertainment. As a biography, it plays too much with the facts, adding inaccuracies to the screenplay. For example, a scene where preview audiences attend THE JAZZ SINGER (1927), hearing Jolson singing "There's a Rainbow Round My Shoulder," that was actually introduced in his second movie, THE SINGING FOOL (1928). Or one where Julie Benson (based on Ruby Keeler) in her movie debut, 42nd STREET (1933) performing a dance number, "Latin From Manhattan," that was really introduced in her latter musical, GO INTO YOUR DANCE (1935). One fact the writers got right is that Jolson and Benson (a/k/a Keeler) collaborated on screen in GO INTO YOUR DANCE, and the number, "About a Quarter to Nine," that accompanies the film, is true to life. Other titles involving Benson's career, SHIPMATES FOREVER, DAMES and GOLD DIGGERS, are used in the montage, but not presented in the order of their release. The costumes and hairstyles acquired by Evelyn Keyes and other actresses are strictly 1946 modern, not fitting into the period for which it is set. The same can be said for the orchestration, sounding more like the Big-Band-era than 1920s or 30s. Larry Park's lip sync recording of Jolson's voice is deeper and softer than the recording of decades ago. Parks, a Columbia contract player since 1941, earned him an Academy Award nomination. So successful was THE JOLSON STORY that Al Jolson, then a forgotten entertainer, was rediscovered again, winning the admiration and charm of a new and younger audience.THE JOLSON STORY, as it stands, fully deserves its place in motion picture history as one of the finest and most entertaining bio-pics ever produced.

Thanks to cable television's Turner Classic Movies, where THE JOLSON STORY premiered November 13, 2006, the Jolson legend can be seen and rediscovered again, along with the original Al Jolson musicals produced at Warner Brothers period (1927-1936), especially his best known and historical film, THE JAZZ SINGER. THE JOLSON STORY, available on video cassette and DVD formats, formerly presented on the Disney Channel in the mid 1990s, and occasionally on other commercial free cable channels, is pleasing both to the eye as well as to the ear. (****)

"Let me sing a funny song, with crazy words that roll along, and if my song can make you happy, I'm happy.....I'm happy....." Al Jolson sang those words of the song, ' Let me sing and I'm happy,' in the opening of The Jolson Story, words that epitomized the passion and energy in his music. The Jolson Story does a magnificent job in giving us a taste of Jolson's magic that spellbound America in the twenties and early thirties, most of his songs are in the show, April Showers, Swanee, Mammy, California Here I Come and , the incomparable, The Anniversary Song, sang as only Jolson can. And, due to some enterprising technology at the time we also hear more of his voice in the Movie that perhaps his fans did in those days with Film Studio microphones capturing and accentuating a deep resonance that is solely Jolson's. The Film doesn't attempt to factually explore his life, although we do get a chance to see some truths of the relationship with his real life wife, Ruby Keeler, who in the Movie was known as Julie Benson, played by Evelyn Keys. Interesting to note was the fact that Columbia Pictures, who released the Movie failed to give Warner Bros.the Film company responsible for giving Jolson the role in The Jazz Singer, any recognition whatsoever, presenting further evidence of the Producer's and Jolson's desire to give us some entertainment, as opposed to a lesson in history. And, entertained we are, as Larry Parks, with his unbelievable miming to Jolson's songs......apart from a cameo from Jolson singing Swanee....takes us from Vaudeville days in the twenties with all Jolson's great songs and routines, to his semi retirement in the thirties. The Jolson Story is a wonderful experience, full of songs we still sing today more than fifty years after they were released, and sung by the man most of us remember as the greatest entertainer of them all......Al Jolson.

After all these years, and all my countless viewings, "The Jolson Story" remains the most magical and thrilling of all Hollywood musical biographies. It also stands as testament to "The World's Greatest Entertainer," Al Jolson, and his tremendous impact on show business for all time. Jolie's fantastic voice, filled with warmth, power and soul, will always be heard as long as this wonderful movie is viewed. Larry Parks and his supporting cast are superb, but it is that Jolson voice, electricity-personified, that elevates the film to immortal status.

"The Jolson Story" must be one of the most outstanding musical biographies to ever come out of Hollywood with a multitude of unforgettable popular songs, luxuriant colour photography, and a noteworthy performance by Larry Parks in his most accomplished role as Al Jolson. The stunning Evelyn Keyes sparkled as Julie Benson and the eminent William Demarest was entertainer Steve Martin (later Jolson's manager). "Give that boy a spotlight!!". Ludwig Donath and Tamara Shayne were an inspired choice as Jolson's parents: "Papa, Asa isn't Asa any more!". Bill Goodwin was Jolson's close friend and singer Tom Baron (later theatrical impresario) and talented Scotty Beckett gave an appealing performance playing Jolson as a boy. William Demarest had also appeared with Al Jolson years earlier in "The Jazz Singer" (1927) so it is intriguing to speculate whether they reminisced about that during the production of "The Jolson Story". William Demarest received an Academy Award nomination as Best Supporting Actor for his part in "The Jolson Story" but was beaten by Harold Russell for "The Best Years of Our Lives". Larry Parks was also nominated (as Best Actor) but lost to Fredric March (again for "The Best Years of Our Lives"). As some small consolation the film did win Oscars for the Best Musical Score and the Best Sound Recording. (For some obscure reason it wasn't even nominated for the best picture award much to my surprise).

The film has an absorbing storyline even though it is not entirely accurate and it does take some liberties with the facts. Jolson's mother died when he was eight years old yet in the film she lives on to see him become a big success on Broadway. Many people who played active parts in Jolson's real life story did not even get a mention in the film version. His long time manager Louis Epstein, his dresser/valet Frank Holmes and his brother Harry were all eliminated from the plot! The character Steve Martin played by William Demarest did not actually exist and it has been suggested that this role was probably a composite of the three men referred to above plus several other people. Jolson's first two wives were not even mentioned and Ruby Keeler (Jolson's third wife) would not allow her name to be used in the picture so ravishing Evelyn Keyes had to play the fictitious Julie Benson instead. Ziegfeld: "This is Julie Benson - the star of my next production "Show Girl"." Jolson: "Mr Ziegfeld you will please not advertise on my time!".

Harry Cohn (the notorious head of Columbia Pictures) is to be congratulated for going ahead with this film when all the other major studios had turned it down. Even Warner Bros. (for whom Jolson had starred in several films) were not interested. Filming was started on a small budget and in black and white. However, when Harry Cohn saw the early rushes he decided to film in colour and make "The Jolson Story" a major prestigious production. This certainly paid off for him in a big way as the film became one of Columbia Pictures top money earners. Jolson desperately wanted to play the leading role himself and was opposed to another actor portraying his life. Unfortunately at that stage in his career he was obviously too old (he was 60) but the studio could not have found anyone better than the young Larry Parks (31) who perfectly captured the Jolson style and threw himself into the part with relish. However, Jolson did manage to play himself in one scene singing "Swanee" on the Winter Garden runway (all filmed in longshot with no close-ups). When I saw "The Jolson Story" for the first time it had a major impact on my life and for weeks afterwards I was quoting lines from the film that had stuck in my mind such as these from Jolson to Julie Benson: "Broadway, ha, what a street, you know something baby - it belongs to me. You know something else, if you want it, I'll give it to you!"

The musical numbers were absolutely magnificent and with popular songs like "California Here I Come", "You Made Me Love You", "Toot Toot Tootsie", "April Showers", "Robert E. Lee", "Liza", "Mammy", "Liza", "About a Quarter to Nine", "I'm Sitting on Top of the World" and "Rockabye Your Baby" how could it miss! If there is one film I could take to a desert island it would have to be "The Jolson Story" as I never tire of seeing repeated showings of this timeless classic. As Jolson himself would have said: "Settle back folks, you ain't heard nothin' yet!" (and he would be right about that). 10/10. Clive Roberts.