The Jolson Story

[poormadpeter2]

During wet school holidays, there were a small group of films that we owned on VHS that me and mum would watch time and again and always seem to get the same pleasure out of. The Student Prince, Goodbye Mr Chips, Meet Me in St Louis and, probably more than any other, The Jolson Story and Jolson Sings Again. I haven't seen them all the way through for several years - I keep waiting for a blu-ray upgrade to come along and give me a good excuse, but it has yet to happen. The two Jolson films are probably the most preposterous, and yet best, biopics ever made by Hollywood. Preposterous because most of the story is untrue, and best because of the wonderful warm nature of the films, the brilliant cast of Larry Parks and Scotty Beckett as Jolson, and the perfect matching of Parks with Al Jolson's singing voice. What's more, Jolson re-recorded the songs for the film and probably never sounded better.

This is my favourite moment. Jolson, according to the film, has retired from singing in order to placate his wife, but his manager and parents know he's not happy and encourage him to sing at their wedding anniversary. As he reluctantly begins, thanks to the wonderful direction by Alfred E. Green, we know that his wife now realises he is unhappy and that the inevitable return to showbusiness is going to happen.

It's a brilliant piece of filmmaking (as is the entire film), all the more surprising due to director Green not exactly being known as being at the helm of great classics. indeed, this is his best movie - and also the best movie of Parks. Parks played Jolson as an adult, and the two films were his greatest triumph. But after that disaster struck as he was blacklisted by Hollywood in 1951 and made very few films afterwards - although he had a strong supporting role in 1961's Freud. He died aged just 60. Life was also cruel for Scotty Beckett who played Jolson as a boy, dying of a suicide following a beating at the age of just 38.

..

[mike edwards66]

Preposterous because most of the story is untrue, and best because of the wonderful warm nature of the films, the brilliant cast of Larry Parks and Scotty Beckett as Jolson, and the perfect matching of Parks with Al Jolson's singing voice. What's more, Jolson re-recorded the songs for the film and probably never sounded better.

I agree. There is a real warmth to his voice in the re-recordings. Try this. In Jolson Sings Again, we see Jolson (played by Larry Parks) watching an imitation of himself on screen (Larry Parks playing Larry Parks playing Jolson). Jolson (Larry Parks) then meets Larry Parks (Larry Parks playing himself)!

[drjohncarpenter]

Some claim Jolson's phrasing is a bit off in the re-recordings. Take a close listen to "My Mammy."

[drjohncarpenter]

I'm very, very fond of The Jolson Story and Jolson Sings Again, despite the latter being a bit of a rehash. Although its own qualities are apparent. But they are such well-made and affectionate movies, despite their fanciful nature. Which was typical of Hollywood biopics at the time. Even the best ones, amongst which I would include The Jolson Story.

Larry Parks is terrific as Jolson, despite the fact that Jolson, himself, didn't want Parks to play him. But he genuinely excelled in a role that required personality in spades, even though he wouldn't actually be singing. Which can cause a disconnect in films of this nature (La Vie en Rose being one of the most glaring examples), both with regards to audibly dissimilar voices being heard (between talking and singing), but also the quality and vintage of recordings used. Thankfully, as you've mentioned, new recordings were made for The Jolson Story, and they work so very well. Thanks also to Jospeh H. Lewis's excellent staging. Which is tremendously invigorating in places. Although The Anniversary Song is undoubtedly a highlight and perhaps the film's most memorable scene. Parks, however, had to bring something special to this movie becuase he wasn't singing. Else he may have been overshadowed by that magnificent voice.

But the entire cast is very good, including Scotty Beckett, who you've mentioned. And William Demarest, who plays Jolson`s mentor, Steve Martin. Whilst there's such warmth between Jolson and his parents, played wonderfully by Ludwig Donath and Tamara Shayne. Not to mention Evelyn Keyes, who plays Julie Benson, Al`s love interest and wife. She gets the character just right, finding genuine pathos in ways that are very moving. Still. And after seeing the movie many, many times.

I would love to see The Jolson Story and Jolson Sings Again released on Blu-ray. They were smash hits in the 1940s, with the former stirring up renewed affection for one of the great entertainers of the 20th Century, and the latter ranking as the top film of 1949 by Variety. Warners` The Jazz Singer Blu-ray is superb, I might add. But these two movies could be wonderful on Blu-ray.

As wonderful as these films may be, modern audiences might have a difficult time accepting those sequences where Jolson (Parks) performs in blackface.


..

[poormadpeter2]

As wonderful as these films may be, modern audiences might have a difficult time accepting those sequences where Jolson (Parks) performs in blackface.

..

No, they would be intelligent enough to understand the film was portraying a period in history when this happened. Heaven knows how you'd cope with Birth of a Nation, where the blackface is done with malice (and is available in at least 3 blu-ray versions).

[poormadpeter2]

I'm very, very fond of The Jolson Story and Jolson Sings Again, despite the latter being a bit of a rehash. Although its own qualities are apparent. But they are such well-made and affectionate movies, despite their fanciful nature. Which was typical of Hollywood biopics at the time. Even the best ones, amongst which I would include The Jolson Story.

Larry Parks is terrific as Jolson, despite the fact that Jolson, himself, didn't want Parks to play him. But he genuinely excelled in a role that required personality in spades, even though he wouldn't actually be singing. Which can cause a disconnect in films of this nature (La Vie en Rose being one of the most glaring examples), both with regards to audibly dissimilar voices being heard (between talking and singing), but also the quality and vintage of recordings used. Thankfully, as you've mentioned, new recordings were made for The Jolson Story, and they work so very well. Thanks also to Jospeh H. Lewis's excellent staging. Which is tremendously invigorating in places. Although The Anniversary Song is undoubtedly a highlight and perhaps the film's most memorable scene. Parks, however, had to bring something special to this movie becuase he wasn't singing. Else he may have been overshadowed by that magnificent voice.

But the entire cast is very good, including Scotty Beckett, who you've mentioned. And William Demarest, who plays Jolson`s mentor, Steve Martin. Whilst there's such warmth between Jolson and his parents, played wonderfully by Ludwig Donath and Tamara Shayne. Not to mention Evelyn Keyes, who plays Julie Benson, Al`s love interest and wife. She gets the character just right, finding genuine pathos in ways that are very moving. Still. And after seeing the movie many, many times.

I would love to see The Jolson Story and Jolson Sings Again released on Blu-ray. They were smash hits in the 1940s, with the former stirring up renewed affection for one of the great entertainers of the 20th Century, and the latter ranking as the top film of 1949 by Variety. Warners` The Jazz Singer Blu-ray is superb, I might add. But these two movies could be wonderful on Blu-ray.

I agree. They are two films where everything just came together perfectly in a way that rarely happens. I'm not sure about Sony/Columbia's record for releasing their old titles on blu ray, but it may well be that finding or restoring good enough prints might be the delay, but sadly I've not heard of any such work under way, which is something of a shame. Luckily, though, the dvd twofer from 2003 is still available and is of good quality.

[poormadpeter2]

I agree. They are two films where everything just came together perfectly in a way that rarely happens. I'm not sure about Sony/Columbia's record for releasing their old titles on blu ray, but it may well be that finding or restoring good enough prints might be the delay, but sadly I've not heard of any such work under way, which is something of a shame. Luckily, though, the dvd twofer from 2003 is still available and is of good quality.

Coincidentally, Sony, who don't have a great track-record in releasing catalogue titles on Blu-ray (despite some excellent releases) have just announced their Choice Collection label. Which is their answer to the (outstanding) Warner Archive Collection. So I guess the possibility of The Jolson Story/Jolson Sings Again being released on Blu-ray has recently increased somewhat.

I thought that had been going for several years? I'm sure a couple of films I have are on that label?

[poormadpeter2]

I agree. They are two films where everything just came together perfectly in a way that rarely happens. I'm not sure about Sony/Columbia's record for releasing their old titles on blu ray, but it may well be that finding or restoring good enough prints might be the delay, but sadly I've not heard of any such work under way, which is something of a shame. Luckily, though, the dvd twofer from 2003 is still available and is of good quality.

Coincidentally, Sony, who don't have a great track-record in releasing catalogue titles on Blu-ray (despite some excellent releases) have just announced their Choice Collection label. Which is their answer to the (outstanding) Warner Archive Collection. So I guess the possibility of The Jolson Story/Jolson Sings Again being released on Blu-ray has recently increased somewhat.

I thought that had been going for several years? I'm sure a couple of films I have are on that label?

On Blu-ray?! There was a DVD Choice Collection, but this will be Blu-rays manufactured-on-demand, although, I'm not sure if they will be BD-Rs or pressed discs. Hopefully the latter, as per Warner Archive.

Ah ok. Didn't realise they were doing it on blu-ray now. Bet they'll region code them!!! Just seen the press release, and it says manufactured on demand

for immediate release

sphe launches new blu-ray™

manufacture-on-demand program

blu-ray “choice collection” kicks off with long-awaited debuts

of the karate kid part iii (1989) & the next karate kid (1994)

on september 6

culver city, calif. (august 19, 2016) – on september 6, sony pictures home entertainment (sphe) launches the blu-ray™ “choice collection,” the newest format offering from sphe’s successful manufacture-on-demand (mod) program. The “choice collection” offers a diverse slate of titles, encompassing something for every taste, with a curated flow continuing throughout this year and into next.

The collection kicks off with the long awaited blu-ray debuts of fan favorites the karate kid part iii (1989) and the next karate kid (1994). In october, the slate includes brian de palma’s edge-of-your-seat thriller body double (1984), marie antoinette (2006), which is celebrating its 10th anniversary, and the acclaimed music documentary the devil and daniel johnston (2005). All features are presented in full high definition with lossless audio.

Blu-ray mod is an exciting expansion of the existing dvd mod program, which has seen a variety of the studio’s fan favorites, cult classics and hidden gems come to market with a seamless consumer experience, via retailers such as amazon.

[drjohncarpenter]

As wonderful as these films may be, modern audiences might have a difficult time accepting those sequences where Jolson (Parks) performs in blackface.

..

No, they would be intelligent enough to understand the film was portraying a period in history when this happened. Heaven knows how you'd cope with Birth of a Nation, where the blackface is done with malice (and is available in at least 3 blu-ray versions).

Your condescension is unsurprising, and uncalled for, but something you clearly cannot ever leave behind in an adult discussion. It's one of your conversational crutches when you cannot respond with something of value.

Your naiveté regarding the reception by a 21st-century audience of Jolson's blackface performances is also unsurprising. Perhaps you need to experience a screening in a U.S. cinema to understand better. Note I also said "might," not "will." Nuance is also something you miss in these discussions.

Finally, I long ago saw "The Birth of A Nation" at a screening where film historian Kevin Brownlow spoke afterwards. A shame you weren't around to appreciate his intelligent observations.

[jetblack]

As mentioned in the initial post 'The Jolson Story' and 'Meet Me In St. Louis' are amongst my favourite non-Elvis musicals.

To round up my top 5 I also rate 'Gentlemen Prefer Blondes', 'The Sound Of Music' and of course 'Grease'.

Andy

[poormadpeter2]

As wonderful as these films may be, modern audiences might have a difficult time accepting those sequences where Jolson (Parks) performs in blackface.

..

No, they would be intelligent enough to understand the film was portraying a period in history when this happened. Heaven knows how you'd cope with Birth of a Nation, where the blackface is done with malice (and is available in at least 3 blu-ray versions).

Your condescension is unsurprising, and uncalled for, but something you clearly cannot ever leave behind in an adult discussion. It's one of your conversational crutches when you cannot respond with something of value.

Your naiveté regarding the reception by a 21st-century audience of Jolson's blackface performances is also unsurprising. Perhaps you need to experience a screening in a U.S. cinema to understand better. Note I also said "might," not "will." Nuance is also something you miss in these discussions.

Finally, I long ago saw "The Birth of A Nation" at a screening where film historian Kevin Brownlow spoke afterwards. A shame you weren't around to appreciate his intelligent observations.

The condescension comes because we have been here oh so many times before with your faux political correctness attitude when actually what you are telling us is that you have a problem with this kind of material. If you have a problem with a seventy year old film which, in turn, is portraying a period of American history, then that's your own problem and nobody else's. And it's worth remembering that 21st century audiences didn't go running for the hills when the two films were released on DVD in 2003, or when the Jazz Singer was released on blu ray, or when a whole series of Jolson flicks were released on DVD by Warner archive just a few years ago.

Indeed, the people who are most likely to watch these films are likely to have a full understanding of what blackface was actually all about, and that, certainly in Jolson's case, no racism was ever intended - THAT was read into the performances in our so-called "enlightened" age. You could do worse than educating yourself about Jolson and the tradition rather than trying to intimate that Americans can't and won't cope with their own cultural history. Just as us Brits have to accept that the literature of the British Empire is part of our heritage, so Americans have to accept that blackface is part of theirs - and "whitewashing" over the parts of history and trying to pretend it doesn't exist does no one any favours.

Performing in blackface

Performing in blackface makeup was a theatrical convention of many entertainers at the beginning of the 20th century, having its origin in the minstrel show.[28] Working behind a blackface mask gave the performer "a sense of freedom and spontaneity that he had never known".[14] According to film historian Eric Lott, for the white minstrel man "to put on the cultural forms of 'blackness' was to engage in a complex affair of manly mimicry.... To wear or even enjoy blackface was literally, for a time, to become black, to inherit the cool, virility, humility, abandon, or gaité de coeur that were the prime components of white ideologies of black manhood."[29]

As metaphor of mutual suffering
Jazz historians have described Jolson's blackface and singing style as metaphors for Jewish and black suffering throughout history. Jolson's first film, The Jazz Singer, for instance, is described by historian Michael Alexander as an expression of the liturgical music of Jews with the "imagined music of African Americans," noting that "prayer and jazz become metaphors for Jews and blacks." [30] Playwright Samson Raphaelson, after seeing Jolson perform his stage show Robinson Crusoe, stated that "he had an epiphany: 'My God, this isn't a jazz singer', he said. 'This is a cantor!'" The image of the blackfaced cantor remained in Raphaelson's mind when he conceived of the story which led to The Jazz Singer.[31]

Upon the film's release, the first full-length sound picture, film reviewers saw the symbolism and metaphors portrayed by Jolson in his role as the son of a cantor wanting to become a "jazz singer":

"Is there any incongruity in this Jewish boy with his face painted like a Southern Negro singing in the Negro dialect? No, there is not. Indeed, I detected again and again the minor key of Jewish music, the wail of the Chazan, the cry of anguish of a people who had suffered. The son of a line of rabbis well knows how to sing the songs of the most cruelly wronged people in the world's history."[31] According to Alexander, Eastern European Jews were uniquely qualified to understand the music, noting how Jolson himself made the comparison of Jewish and African-American suffering in a new land in his film Big Boy: In a blackface portrayal of a former slave, he leads a group of recently freed slaves, played by black actors, in verses of the classic slave spiritual "Go Down Moses." One reviewer of the film expressed how Jolson's blackface added significance to his role:

"When one hears Jolson's jazz songs, one realizes that jazz is the new prayer of the American masses, and Al Jolson is their cantor. The Negro makeup in which he expresses his misery is the appropriate talis [prayer shawl] for such a communal leader."[30] Many in the black community welcomed The Jazz Singer, and saw it as a vehicle to gain access to the stage. Audiences at Harlem's Lafayette Theater cried during the film, and Harlem's newspaper, Amsterdam News, called it "one of the greatest pictures ever produced." For Jolson, it wrote: "Every colored performer is proud of him."[32]

Jolson first heard African-American music, such as jazz, blues, and ragtime, played in the back alleys of New Orleans, Louisiana. He enjoyed singing the new jazz-style of music. Often performing in blackface, especially in the songs he made popular, such as "Swanee", "My Mammy", and "Rock-A-Bye Your Baby With A Dixie Melody". Jolson's black stage persona, called "Gus" was a wily and wise-cracking servant who was always smarter than his white masters, frequently helping them out of problems they created for themselves. In this way, Jolson used comedy to poke fun at the prevalent idea of "white supremacy". In most of his movie roles, however, including a singing hobo in Hallelujah, I'm a Bum or a jailed convict in Say It With Songs, he chose to act without using blackface. In the film The Jazz Singer (1927), he performed only a few songs, including "My Mammy", in blackface, but the film is concerned in part with the experience of "donning a mask" that the young Jewish singer embraces in performing popular songs onstage.[citation needed]

As a Jewish immigrant and America's most famous and highest-paid entertainer, he may have had the incentive and resources to help break down racial attitudes. For instance, the Ku Klux Klan (KKK) during its peak in the early 1920s, included about 15% of the nation's eligible voting population, 4–5 million men.[33] While The Birth of a Nation glorified white supremacy and the KKK, Jolson chose to star in The Jazz Singer, which defied racial bigotry by introducing American black music to audiences worldwide.[10]

While growing up, Jolson had many black friends, including Bill "Bojangles" Robinson, who later became a prominent tap dancer.[18] As early as 1911, at the age of 25, Jolson was already noted for fighting discrimination on the Broadway stage and later in his movies:[34]

"at a time when black people were banned from starring on the Broadway stage,"[35] he promoted the play by black playwright Garland Anderson,[36] which became the first production with an all-black cast ever produced on Broadway;
he brought an all-black dance team from San Francisco that he tried to feature in his Broadway show;[34]
he demanded equal treatment for Cab Calloway, with whom he performed a number of duets in his movie The Singing Kid;
he was "the only white man allowed into an all black nightclub in Harlem".[34]

Al Jolson once read in the newspaper that songwriters Eubie Blake and Noble Sissle, neither of whom he had ever heard of, were refused service at a Connecticut restaurant because of their race. He immediately tracked them down and took them out to dinner, "insisting he'd punch anyone in the nose who tried to kick us out!"[37] Subsequent to their meeting, according to biographer Al Rose, Jolson and Blake became friends. Rose writes:

This didn't have anything to do with the theater, because they never worked together. Rather, they both had a love of prize fighting and used to go to boxing matches together, engaging in jocose discussion of the relative merits of Negro with Jewish pugilists. They would occasionally wager a bottle of whisky on these bouts.[38]

Film historian Charles Musser notes that "African Americans' embrace of Jolson was not a spontaneous reaction to his appearance in talking pictures. In an era when African Americans did not have to go looking for enemies, Jolson was perceived a friend."[39]

Jeni LeGon, a black female tap dance star,[40] recalls her life as a film dancer: "But of course, in those times it was a 'black-and-white world.' You didn't associate too much socially with any of the stars. You saw them at the studio, you know, nice—but they didn't invite. The only ones that ever invited us home for a visit was Al Jolson and Ruby Keeler."[41] British performer Brian Conley, former star of the 1995 British play Jolson, stated during an interview, "I found out Jolson was actually a hero to the black people of America. At his funeral, black actors lined the way, they really appreciated what he'd done for them."[42] Noble Sissle, then president of the Negro Actors Guild, represented that organization at his funeral.[43]

Jolson's physical expressiveness also affected the music styles of some black performers. Music historian Bob Gulla writes that "the most critical influence in Jackie Wilson's young life was Al Jolson." He points out that Wilson's ideas of what a stage performer could do to keep their act an "exciting" and "thrilling performance" was shaped by Jolson's acts, "full of wild writhing and excessive theatrics". Wilson felt that Jolson, along with Louis Jordan, another of his idols, "should be considered the stylistic forefathers of rock and roll."[44]

According to the St. James Encyclopedia of Popular Culture: "Almost single-handedly, Jolson helped to introduce African-American musical innovations like jazz, ragtime, and the blues to white audiences.... [and] paved the way for African-American performers like Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters.... to bridge the cultural gap between black and white America."[10] Jazz historian Amiri Baraka wrote, "the entrance of the white man into jazz...did at least bring him much closer to the Negro." He points out that "the acceptance of jazz by whites marks a crucial moment when an aspect of black culture had become an essential part of American culture."[45]

During an interview[when?] Clarence 'Frogman' Henry, one of the most popular and respected jazz singers of New Orleans, said: "Jolson? I loved him. I think he did wonders for the blacks and glorified entertainment."[46]

https://en.wikipedia.org/wiki/Al_Jolson#Performing_in_blackface

[drjohncarpenter]

Your condescension is unsurprising, and uncalled for, but something you clearly cannot ever leave behind in an adult discussion. It's one of your conversational crutches when you cannot respond with something of value.

Your naiveté regarding the reception by a 21st-century audience of Jolson's blackface performances is also unsurprising. Perhaps you need to experience a screening in a U.S. cinema to understand better. Note I also said "might," not "will." Nuance is also something you miss in these discussions.

Finally, I long ago saw "The Birth of A Nation" at a screening where film historian Kevin Brownlow spoke afterwards. A shame you weren't around to appreciate his intelligent observations.

The condescension comes because we have been here oh so many times before with your faux political correctness attitude when actually what you are telling us is that you have a problem with this kind of material. If you have a problem with a seventy year old film which, in turn, is portraying a period of American history, then that's your own problem and nobody else's. And it's worth remembering that 21st century audiences didn't go running for the hills when the two films were released on DVD in 2003, or when the Jazz Singer was released on blu ray, or when a whole series of Jolson flicks were released on DVD by Warner archive just a few years ago.

No one is being fooled by the excuses for your abhorrent forum behavior. It is a consistent trait through all three of your login identities here.

And, no, I don't have a problem with any aspect of the Jolson film. However, my observation is clear and worthy of intelligent discussion.

[poormadpeter2]

Your condescension is unsurprising, and uncalled for, but something you clearly cannot ever leave behind in an adult discussion. It's one of your conversational crutches when you cannot respond with something of value.

Your naiveté regarding the reception by a 21st-century audience of Jolson's blackface performances is also unsurprising. Perhaps you need to experience a screening in a U.S. cinema to understand better. Note I also said "might," not "will." Nuance is also something you miss in these discussions.

Finally, I long ago saw "The Birth of A Nation" at a screening where film historian Kevin Brownlow spoke afterwards. A shame you weren't around to appreciate his intelligent observations.

The condescension comes because we have been here oh so many times before with your faux political correctness attitude when actually what you are telling us is that you have a problem with this kind of material. If you have a problem with a seventy year old film which, in turn, is portraying a period of American history, then that's your own problem and nobody else's. And it's worth remembering that 21st century audiences didn't go running for the hills when the two films were released on DVD in 2003, or when the Jazz Singer was released on blu ray, or when a whole series of Jolson flicks were released on DVD by Warner archive just a few years ago.

No one is being fooled by the excuses for your abhorrent forum behavior. It is a consistent trait through all three of your login identities here.

And, no, I don't have a problem with any aspect of the Jolson film. However, my observation is clear and worthy of intelligent discussion.

No. Your observations is not worthy of intelligent discussion - it is simply a predictable knee jerk reaction to something you clearly don't (want to) understand.

[drjohncarpenter]

No one is being fooled by the excuses for your abhorrent forum behavior. It is a consistent trait through all three of your login identities here.

And, no, I don't have a problem with any aspect of the Jolson film. However, my observation is clear and worthy of intelligent discussion.

No. Your observations is not worthy of intelligent discussion - it is simply a predictable knee jerk reaction to something you clearly don't (want to) understand.

You got me there.

[mike edwards66]

Preposterous because most of the story is untrue, and best because of the wonderful warm nature of the films, the brilliant cast of Larry Parks and Scotty Beckett as Jolson, and the perfect matching of Parks with Al Jolson's singing voice. What's more, Jolson re-recorded the songs for the film and probably never sounded better.

I agree. There is a real warmth to his voice in the re-recordings. Try this. In Jolson Sings Again, we see Jolson (played by Larry Parks) watching an imitation of himself on screen (Larry Parks playing Larry Parks playing Jolson). Jolson (Larry Parks) then meets Larry Parks (Larry Parks playing himself)!

Just me then.