I've read several comments here that say "The Jazz Singer" seems biographical about Jolson but that's probably coincidence. No, it's not. Samson Raphelson, who wrote "The Day of Atonement", the short story that "The Jazz Singer" is based on, was inspired to write it by seeing Al Jolson perform on stage in Chicago in the early 1920s. The story is contained in a collection called "No, But I Saw The Movie" edited by David Wheeler ISBN 0140110909.
I get totally into the movie each time I see it and I've seen it dozens of times, sometimes re-winding it and watching it again in the same sitting. I first watched it 40 plus years ago when it shown on the afternoon slot of a local Los Angeles TV station along with commercials. KTTV didn't give it special treatment.
It is kind of fun to look for familiar faces. Roscoe Karns (he played "Believe you me" Shapely in "It Happened One Night") comes to the train station to tell Jakie about his big break and gives him his train tickets.
Jolson was a Broadway star and, from what I've read, had people eating out of his hand. He'd sing encore after encore and audiences would lap it up. Plus he took the time to make a lot of records when most stage stars left that to singers who worked for the recording studios. His recordings (even the acoustic era--pre 1925) are terrific. So people were familiar with him even in the boonies. "The Jazz Singer" came with a ready-made audience, not just to hear sound on film--there had been experimental short films that did that, in addition to the sound track of John Barrymore's "Don Juan"--but to hear JOLSON! I really don't think the film would have been the success it was with anyone else. I couldn't imagine anyone else playing the title role (and that includes remakes). I try to picture George Jessel in the part, even though he played it on Broadway, and I can't.
I adore Yudelson the kibitzer. When the men are gathered trying figure who should sing Kol Nidre since the cantor is unable, is a hoot, each, including Yudelson, thinking *he* should be the one to sing, implying the others couldn't carry a tune in a hand-basket. The scene where each person brings an identical prayer shawl for Papa's birthday is funny, too. Even Jakie, though his is different looking, brings one. Mama, who receives the gifts for Papa, looks as if she could be saying "Oy vey!" I like the change the movie made over the short story. He comes to his Papa before the old man's death. They're estranged but are reconciled before it's too late. In the short story he's summoned after his father's death.
I get totally into the movie each time I see it and I've seen it dozens of times, sometimes re-winding it and watching it again in the same sitting. I first watched it 40 plus years ago when it shown on the afternoon slot of a local Los Angeles TV station along with commercials. KTTV didn't give it special treatment.
It is kind of fun to look for familiar faces. Roscoe Karns (he played "Believe you me" Shapely in "It Happened One Night") comes to the train station to tell Jakie about his big break and gives him his train tickets.
Jolson was a Broadway star and, from what I've read, had people eating out of his hand. He'd sing encore after encore and audiences would lap it up. Plus he took the time to make a lot of records when most stage stars left that to singers who worked for the recording studios. His recordings (even the acoustic era--pre 1925) are terrific. So people were familiar with him even in the boonies. "The Jazz Singer" came with a ready-made audience, not just to hear sound on film--there had been experimental short films that did that, in addition to the sound track of John Barrymore's "Don Juan"--but to hear JOLSON! I really don't think the film would have been the success it was with anyone else. I couldn't imagine anyone else playing the title role (and that includes remakes). I try to picture George Jessel in the part, even though he played it on Broadway, and I can't.
I adore Yudelson the kibitzer. When the men are gathered trying figure who should sing Kol Nidre since the cantor is unable, is a hoot, each, including Yudelson, thinking *he* should be the one to sing, implying the others couldn't carry a tune in a hand-basket. The scene where each person brings an identical prayer shawl for Papa's birthday is funny, too. Even Jakie, though his is different looking, brings one. Mama, who receives the gifts for Papa, looks as if she could be saying "Oy vey!" I like the change the movie made over the short story. He comes to his Papa before the old man's death. They're estranged but are reconciled before it's too late. In the short story he's summoned after his father's death.