The Jazz Singer (1927)

The son of a Jewish Cantor must defy the traditions of his religious father in order to pursue his dream of becoming a jazz singer.

Director:

Alan Crosland

Writers:

Samson Raphaelson (play), Alfred A. Cohn (adaptation)

Stars:

Al Jolson, May McAvoy, Warner Oland

Nominated for 1 Oscar. Another 2 wins.

Cast

Complete credited cast:
Al Jolson	...	Jakie Rabinowitz
May McAvoy	...	Mary Dale
Warner Oland	...	The Cantor
Eugenie Besserer	...	Sara Rabinowitz
Otto Lederer	...	Moisha Yudelson
Robert Gordon	...	Jakie Rabinowitz - Age 13 (as Bobby Gordon)
Richard Tucker	...	Harry Lee
Yossele Rosenblatt	...	Cantor Rosenblatt - Concert Recital (as Cantor Joseff Rosenblatt)

Storyline

Cantor Rabinowitz is concerned and upset because his son Jakie shows so little interest in carrying on the family's traditions and heritage. For five generations, men in the family have been cantors in the synagogue, but Jakie is more interested in jazz and ragtime music. One day, they have such a bitter argument that Jakie leaves home for good. After a few years on his own, now calling himself Jack Robin, he gets an important opportunity through the help of well-known stage performer Mary Dale. But Jakie finds that in order to balance his career, his relationship with Mary, and his memories of his family, he will be forced to make some difficult choices.

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Plot Keywords:

blackface | national film registry | afi | cantor | jazz singer | 

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Taglines:

The one and only Al Jolson in "The Jazz Singer".

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Genres:

Drama | Music | Musical | Romance

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Certificate:

Unrated

Details

Country:

USA

Language:

English

Release Date:

6 October 1927 (USA)

Also Known As:

Der Jazzsänger

Filming Locations:

Chatsworth, Los Angeles, California, USA

Box Office

Budget:

$422,000 (estimated)

Gross USA:

$7,630,000

Company Credits

Production Co:

Warner Bros.

Technical Specs

Runtime:

88 min

Sound Mix:

Mono (Vitaphone)

Color:

Black and White

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

George Jessel, star of the stage version, was asked to play the role in the film, but refused over a pay dispute. Eddie Cantor was also asked, and also refused.

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Goofs

Mary recieves a telegram dated August 8, 1927. Later in the film, Jack is seen writing a letter to Mary, dating it August 7, 1927.

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Quotes

The Cantor: Leave my house. I never want to see you again, you Jazz singer!

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Connections

Featured in Okay for Sound (1946)

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Soundtracks

Kol Nidre
(uncredited)
Traditional
Sung by Warner Oland (dubbed by Joseph Diskay)
Also sung later by Al Jolson

User Reviews

Four Angels, Poised

There's not much to say about this other than even today, for this viewer, it is emotionally effective. Yes you know you are being manipulated. Yes, the acting conventions of the silent screen are comically exaggerated. Yes, it is shameless in setting up the ultimate choice. But this is so well structured that even today it escapes cliché. That's so remarkable, because big movies are almost always turned into clichés as bits of them are digested and continuously re-served to us as our visual grammar.

The love interest here is so unusual. He does fall in love with a pretty dancer, but tells her plainly that his career is more important than she is. She later doesn't become part of the choice — as would be the case in nearly every other script — instead she becomes part of the audience, presenting the dramatic quandary: the stage or God.

The presentation of religion is unique in my experience. Everyone here is a Jew, except the performers. They are the "real" and everyone else is "pretend," performing. Though there are many opportunities to fall into obnoxious stereotypes, its avoided over and over. That's despite the dozens of examples they had before.

In fact, there's an amazing engineering of story here. As any viewer will know, this was the first talkie. It was new, and to emphasize its newness a story was created to emphasize the contrast between old and new.

This film is part silent, part "talkie." It shows a struggle between the old (obviously obsolete) and the vital young. It also depicts in a rather subtle but effective way the "old" god, and the new: there's plenty of talk about the performance hall being a modern church. The music as well: we have the implication that it is not only the setting, the performer and the calling, but the music itself that is something new.

Along the way we get street scenes of the Jewish area of New York. These are genuine street scenes and are absolutely phenomenal: there isn't anything I know that compares. There was an attempt of sorts in "The Pawnbroker," which by itself was strong. But nothing compared to this.

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.