IMDb > Hallelujah I'm a Bum (1933)
Hallelujah I'm a Bum
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Hallelujah I'm a Bum (1933) More at IMDbPro »

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Up 11% in popularity this week. See why on IMDbPro.
Ben Hecht (original story)
S.N. Behrman (adaptation)
View company contact information for Hallelujah I'm a Bum on IMDbPro.
Release Date:
3 February 1933 (USA) See more »
The First Picture Ever Done in "Rhythmic Dialogue!" (original poster) See more »
A New York tramp (Jolson) falls in love with the mayor's amnesiac girlfriend after rescuing her from a suicide attempt | Add synopsis »
User Reviews:
A Depression Cinematic Oddity See more (27 total) »


  (in credits order) (complete, awaiting verification)

Al Jolson ... Bumper

Madge Evans ... June Marcher

Frank Morgan ... Mayor John Hastings

Harry Langdon ... Egghead

Chester Conklin ... Sunday
Tyler Brooke ... Mayor's Secretary
Tammany Young ... Orlando
Bert Roach ... John
Edgar Connor ... Acorn
Dorothea Wolbert ... Apple Mary
Louise Carver ... Ma Sunday
rest of cast listed alphabetically:
Ernie Adams ... Man Thrown out of Apartment Building (uncredited)
Vince Barnett ... Undetermined Secondary Role (uncredited) (unconfirmed)
Ted Billings ... Bum with Violin (uncredited)
Heinie Conklin ... Undetermined Secondary Role (uncredited) (unconfirmed)

Gino Corrado ... Undetermined Secondary Role (uncredited) (unconfirmed)
John George ... Bum (uncredited)
Harold Goodwin ... Len (uncredited)
Lorenz Hart ... Bank Teller (uncredited)
Robert Homans ... Cop (uncredited)
Burr McIntosh ... Dignitary at Laying of Cornerstone (uncredited)
William H. O'Brien ... Waiter (uncredited)
Victor Potel ... The General (uncredited)
Richard Rodgers ... Photograper's Assistant (uncredited)
Bodil Rosing ... Undetermined Secondary Role (uncredited) (unconfirmed)
Sidney Skolsky ... Undetermined Secondary Role (uncredited) (unconfirmed)
Billy West ... Bum (uncredited)

Directed by
Lewis Milestone 
Writing credits
Ben Hecht (original story)

S.N. Behrman (adaptation)

Produced by
Joseph M. Schenck .... executive producer
Original Music by
Alfred Newman (uncredited)
Cinematography by
Lucien N. Andriot  (as Lucien Andriot)
Film Editing by
Duncan Mansfield  (as W. Duncan Mansfield)
Art Direction by
Richard Day 
Costume Design by
Milo Anderson 
Second Unit Director or Assistant Director
Nate Watt .... assistant director
Sound Department
Oscar Lagerstrom .... sound
Music Department
Alfred Newman .... musical director
Ray Heindorf .... orchestrator (uncredited)
Other crew
V.L. McFadden .... technical director
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
"Lazy Bones" - USA (reissue title)
"The Heart of New York" - USA (reissue title)
See more »
82 min | USA:68 min (re-release)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Noiseless Recording)
USA:Passed | USA:TV-PG (TV Rating) | USA:Approved (certificate #1317-R)

Did You Know?

Lewis Milestone was originally supposed to produce the film but not direct it. His first choice for director, Harry d'Abbadie d'Arrast, lost the job when on the first day of rehearsal he told Milestone he couldn't work with Al Jolson and wanted to replace him with Fred Astaire, who hadn't yet made a movie. The second director, Chester Erskine, actually finished a rough cut that was previewed in October 1932, but studio head Joseph M. Schenck hated it so much he assigned Milestone to direct extensive retakes that turned it into an almost totally different film.See more »
Crew or equipment visible: A cameraman's arm is reflected in the partially opened window of the Mayor's limousine when the Mayor meets Bumper at the casino.See more »
I Gotta Get Back to New YorkSee more »


This FAQ is empty. Add the first question.
19 out of 25 people found the following review useful.
A Depression Cinematic Oddity, 28 February 2000
Author: harry-76 from Cleveland, Ohio USA

The best way to appreciate this odd film is to put one's self back in the early 30's, the "Depression era." The drama glamorizes life on the streets and parks, probably to make the ordinary hard-up person feel better about his own financially depressed plight. It also played into the prevailing poverty consciousness of the mass public. Making money seem like something bad, and life on the park bench something wonderful probably appeased and distracted attention from those who were the power-people, calling- the-shots of society. No matter about the lack of human conveniences, just pick a spot in the park and enjoy communing with the birds, squirrels, flowers and trees. Forget about the storms, the cold, the inclimates, it's always fair weather in this film's world. As for Al Jolson, he was a one-of-a-kind entertainer. Sometimes sappy, sometimes, hammy, and other times, sweet and kind--at least in his screen persona. Like him or not, Jolson remains one of the greatest entertainers of the 20th century. Statistics alone prove his status. After knocking 'em dead in hit after hit on Broadway, he was the first to take an entire Broadway production on the road across the country. He was the first to employ a walkway ramp down the center of the theater, cutting out scores of expensive seats. He was the first to make a "talking picture." Then years after being retired and almost forgotten, with loads of young newcomers taking the spotlight -- Jolson came back, making not just a respectable showing, but to the very top of the charts, for two years over Crosby, Como and Sinatra. Never in the history of showbiz has there ever been such an unprecedented comeback. His voice deeper, richer, and more beautiful than ever before, he reigned supreme. And, we dare say, were he to somehow come back today--singing exactly the same songs--he'd be equally as popular and beloved. As his saying goes, "You ain't heard nothin' yet!" The film itself has two lovely songs by Rodgers and Hart: the title song and "You Are Too Beautiful," neither of which is given its full due in the movie. The rest of the film is an oddity, with the charismatic Jolson playing at about half-effort. The legendary Lewis Milestone is the director.

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