A love triangle develops in a traveling minstrel troupe.

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Cast

Complete credited cast:
...
...
...
Billy West / Westy
...
Mother Fuller
...
Meadows
...
Slats
Mitchell Lewis ...
Hank Smith / Tambo
...
Sheriff Tremble
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Storyline

A love triangle develops in a traveling minstrel troupe.

Plot Summary | Add Synopsis

Genres:

Comedy | Musical

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Details

Country:

Language:

Release Date:

26 March 1930 (USA)  »

Also Known As:

Minha Mãe  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Vitaphone)

Color:

(2-strip Technicolor) (two sequences)|

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Two songs are missing from the existing prints that were in the original release: "The Call of the South" and "Knights of the Road." They were written by Irving Berlin and sung by Al Jolson. See more »

Connections

Referenced in The Fisher King (1991) See more »

Soundtracks

Yes! We Have No Bananas
(uncredited)
Written by Frank Silver and Irving Cohn
Performed by Al Jolson and a minstrel chorus
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User Reviews

 
Let Me Sing and I'm Happy
4 July 2005 | by (Buffalo, New York) – See all my reviews

If Mammy is remembered for anything it is for providing Al Jolson with one of his biggest song hits, definitely the biggest song hit he had written especially for the screen. Irving Berlin wrote this number for Jolson and he does it three times in his usual bravura style and on two of those occasions without black-face.

Al Jolson got his start in minstrel shows which were still popular at the turn of the 20th century. He's Al Fuller in this show, lead singer in this troupe and a man with a case of unrequited love for the owner of the show. From there springs the plot.

It's unfortunate for Jolson's current reputation that he did not abandon the black-face which was a carryover from his minstrel days. It's considered offensive now and rightly so. But listen to him sing Let Me Sing and I'm Happy and the rest of the score and you're hearing one of the great song stylists ever.

Irving Berlin wrote some original material for this film which was interpolated with some other standards. It is also good to hear Jolson do two of his comedy numbers, Who Paid the Rent for Mrs. Rip Van Winkle and Why Do They All Take the Night Boat to Albany. It's his ballads that he's remembered for today, but these numbers give you an idea of more of the kind of material he did on stage.

A lot of people will be rightly offended in seeing Mammy now, but like Bing Crosby's Dixie, it's an interesting piece of cinema history.


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