The Jazz Singer (1927)
The Jazz Singer (1927)
Let’s say that you strike a conversation with a movie buff and you wanted to know a basic history of film. You ask that person, “Say, would you happen to know the first talkie film?” The movie buff would respond, “Yes, that movie would be 1927’s The Jazz Singer. Indeed, the movie buff would be correct in a sense. It is very important to note that the movie is NOT the first sound film, but the first film to use actual dialogue. Audiences in 1927 were shocked by the revelation of consistent sound/talking/music. In retrospect, this film would kill off silent film and change the course of Hollywood as we know it today. Sound pictures would take the center stage less than a year later.
The movie uses sound, but still acts like a silent film. Much of the dialogue is composed using title cards, which was popular during the era of silent film. But when Al Jolson’s voice appeared, that is when the magic begins. Using my eyes of the 21st century, the sound is obviously not good quality and can be painful to listen to at times-but of course this process needed to be refined. And of course, there is a story! There are good themes I could relate to with biggest theme is trying to pursue your own dream and identity when your family expects you to do something else. The story can take predictable turns and of course there is blackface which is central to the film’s story.
Blackface in the 1920’s was commonplace everywhere and generally accepted, even by African Americans. Al Jolson used blackface in many of his narratives. He used it here to help explain the story regarding his Jewish heritage. Despite being central to the story and being widely accepted at the time, I find it troubling to see this and kept cringing during these scenes. Understanding the historical scope, I get it……but still. It was hard to keep an open mind, but I understand why it was used.
As I said earlier, the film tackles themes such as identity and religion. The elderly Cantor Rabinowitz (Warner Oland) is disappointed when he learns his son does not want to follow in his traditional footsteps of being a cantor. Instead, Jakie Rabinowitz (Al Jolson) wants to focus on jazz and ragtime music. After a huge argument, Jakie leaves the household to tackle his career in arts. He takes the stage name Jack Robin….and meets a woman named Mary Dale (May McAvoy) to help further his career. But his career turns full circle when he reunites with his family, and he has some very difficult decisions to make.
Al Jolson was a huge star at the time of the film’s release and this film is actually, in part, based on his life story. He truly is an electrifying presence. He can put on a show as he is quite a performer. He did a great job with the songs, songs that you can listen to over and over again. Blackface or not, his voice allowed songs like “Mammy” and “Toot, Toot, Toosie Goodbye” to shine. It’s ironic that a film about his life was almost not his role in the first place. George Jessel almost had the role, but he felt sound was a risky venture. May have been risky, but it definitely worked.
Sound has been used earlier in Warner Brothers films thanks to the Vitaphone. Jack L. Warner wanted to use a director who had experience with sound-Alan Crosland. Crosland, in 1926, actually directed two films for the studio that incorporated sound. So, it comes as no surprise that he was the director on this revelatory film. When he had him exclaim, “Wait a minute, wait a minute. You ain’t heard nothing yet,” that was the start of something new.
Overall, I did find The Jazz Singer to be an interesting, but mostly entertaining movie. It is known for the introduction of dialogue, but the story is good enough (although predictable) to work in its own right. The blackface, politically correct or not, did give me pause however. Al Jolson is an excellent performer and he shows off here. Perhaps he could tone things down with his mother however (watch the movie and you’ll know. Different times, hooray!).
My Grade: B-
Let’s say that you strike a conversation with a movie buff and you wanted to know a basic history of film. You ask that person, “Say, would you happen to know the first talkie film?” The movie buff would respond, “Yes, that movie would be 1927’s The Jazz Singer. Indeed, the movie buff would be correct in a sense. It is very important to note that the movie is NOT the first sound film, but the first film to use actual dialogue. Audiences in 1927 were shocked by the revelation of consistent sound/talking/music. In retrospect, this film would kill off silent film and change the course of Hollywood as we know it today. Sound pictures would take the center stage less than a year later.
The movie uses sound, but still acts like a silent film. Much of the dialogue is composed using title cards, which was popular during the era of silent film. But when Al Jolson’s voice appeared, that is when the magic begins. Using my eyes of the 21st century, the sound is obviously not good quality and can be painful to listen to at times-but of course this process needed to be refined. And of course, there is a story! There are good themes I could relate to with biggest theme is trying to pursue your own dream and identity when your family expects you to do something else. The story can take predictable turns and of course there is blackface which is central to the film’s story.
Blackface in the 1920’s was commonplace everywhere and generally accepted, even by African Americans. Al Jolson used blackface in many of his narratives. He used it here to help explain the story regarding his Jewish heritage. Despite being central to the story and being widely accepted at the time, I find it troubling to see this and kept cringing during these scenes. Understanding the historical scope, I get it……but still. It was hard to keep an open mind, but I understand why it was used.
As I said earlier, the film tackles themes such as identity and religion. The elderly Cantor Rabinowitz (Warner Oland) is disappointed when he learns his son does not want to follow in his traditional footsteps of being a cantor. Instead, Jakie Rabinowitz (Al Jolson) wants to focus on jazz and ragtime music. After a huge argument, Jakie leaves the household to tackle his career in arts. He takes the stage name Jack Robin….and meets a woman named Mary Dale (May McAvoy) to help further his career. But his career turns full circle when he reunites with his family, and he has some very difficult decisions to make.
Al Jolson was a huge star at the time of the film’s release and this film is actually, in part, based on his life story. He truly is an electrifying presence. He can put on a show as he is quite a performer. He did a great job with the songs, songs that you can listen to over and over again. Blackface or not, his voice allowed songs like “Mammy” and “Toot, Toot, Toosie Goodbye” to shine. It’s ironic that a film about his life was almost not his role in the first place. George Jessel almost had the role, but he felt sound was a risky venture. May have been risky, but it definitely worked.
Sound has been used earlier in Warner Brothers films thanks to the Vitaphone. Jack L. Warner wanted to use a director who had experience with sound-Alan Crosland. Crosland, in 1926, actually directed two films for the studio that incorporated sound. So, it comes as no surprise that he was the director on this revelatory film. When he had him exclaim, “Wait a minute, wait a minute. You ain’t heard nothing yet,” that was the start of something new.
Overall, I did find The Jazz Singer to be an interesting, but mostly entertaining movie. It is known for the introduction of dialogue, but the story is good enough (although predictable) to work in its own right. The blackface, politically correct or not, did give me pause however. Al Jolson is an excellent performer and he shows off here. Perhaps he could tone things down with his mother however (watch the movie and you’ll know. Different times, hooray!).
My Grade: B-
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