The Jazz Singer (1959 Film)

''The Jazz Singer'' is a 1927 American part-talkie musical drama film directed by Alan Crosland and produced by Warner Bros. Pictures. It is the first feature-length motion picture with both synchronized recorded music and lip-synchronous singing and speech (in several isolated sequences). Its release heralded the commercial ascendance of sound films and effectively marked the end of the silent film era with the Vitaphone sound-on-disc system, featuring six songs performed by Al Jolson. Based on the 1925 play of the same title by Samson Raphaelson, the plot was adapted from his short story "The Day of Atonement".

The film depicts the fictional story of Jakie Rabinowitz, a young man who defies the traditions of his devout Jewish family. After singing popular tunes in a beer garden, he is punished by his father, a hazzan (cantor), prompting Jakie to run away from home. Some years later, now calling himself Jack Robin, he has become a talented jazz singer, performing in blackface. He attempts to build a career as an entertainer, but his professional ambitions ultimately come into conflict with the demands of his home and heritage.

Darryl F. Zanuck won an Academy Honorary Award for producing the film; Alfred A. Cohn was nominated for Best Writing (Adaptation) at the 1st Academy Awards. In 1996, ''The Jazz Singer'' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". In 1998, the film was chosen in voting conducted by the American Film Institute as one of the best American films of all time, ranking at number ninety. The film's copyright expired on January 1, 2023, when all works published in the U.S. in 1927 entered the public domain.

Plot

Cantor Rabinowitz wants his 13-year-old son, Jacob "Jakie" Rabinowitz, to carry on the generations-old family tradition and become a cantor at the synagogue in the Jewish ghetto of Manhattan's Lower East Side. Jakie has instead taken a liking to singing jazz at the local beer garden. Moisha Yudelson spots the boy and tells Jakie's father, who drags him home. Jakie clings to his mother, Sara, as his father declares, "I'll teach him better than to debase the voice God gave him!" Jakie threatens: "If you whip me again, I'll run away—and ''never come back!''" After the whipping, Jakie kisses his mother goodbye and, true to his word, runs away. At the Yom Kippur service, Rabinowitz mournfully tells a fellow celebrant, "My son was to stand at my side and sing tonight—but now I have no son." As the sacred Kol Nidre is sung, Jakie sneaks back home to retrieve a picture of his loving mother.

About ten years later, Jakie has anglicized his name to Jack Robin. Jack is called up from his table at a cabaret to perform on stage ("Dirty Hands, Dirty Face").

Jack wows the crowd with his energized rendition of " Toot, Toot, Tootsie." Afterward, he is introduced to the beautiful Mary Dale, a musical theater dancer. "There are lots of jazz singers, but ''you'' have a tear in your voice," she says, offering to help with his budding career. With her help, Jack eventually gets his big break: a leading part in the new musical ''April Follies''.

Back at the family home Jack left long ago, the elder Rabinowitz is instructing a young student in the traditional cantorial art. Jack appears, attempting to explain his perspective and his love for modern music, but the appalled cantor dismisses him, saying, 'I never want to see you again—you jazz singer!' As Jack leaves, he makes a prediction: 'I came home with a heart full of love, but you don't want to understand. Someday you'll understand, just as Mama does.'

Two weeks after Jack's expulsion from the family home and 24 hours before the opening night of ''April Follies'' on Broadway, Jack's father falls gravely ill. Jack is asked to choose between the show and duty to his family and faith: in order to sing the Kol Nidre for Yom Kippur in his father's place, he will have to miss the big premiere.

That evening, the eve of Yom Kippur, Yudelson tells the Jewish elders, "For the first time, we have no Cantor on the Day of Atonement." Lying in his bed, weak and gaunt, Cantor Rabinowitz tells Sara that he cannot perform on the most sacred of holy days: "My son came to me in my dreams—he sang Kol Nidre so beautifully. If he would only sing like that tonight—surely he would be forgiven."

As Jack prepares for a dress rehearsal by applying blackface makeup, he and Mary discuss his career aspirations and the family pressures they agree he must resist. Sara and Yudelson come to Jack's dressing room to plead for him to come to his father and sing in his stead. Jack is torn. He delivers his blackface performance ("Mother of Mine, I Still Have You"), and Sara sees her son on stage for the first time. She has a tearful revelation: "Here he belongs. If God wanted him in His house, He would have kept him there. He's not ''my'' boy anymore—he belongs to the whole world now."

Afterward, Jack returns to the Rabinowitz home. He kneels at his father's bedside and the two converse fondly: "My son—I love you." Sara suggests that it may help heal his father if Jack takes his place at the Yom Kippur service. Mary arrives with the producer, who warns Jack that he'll never work on Broadway again if he fails to appear on opening night. Jack can not decide. Mary challenges him: "Were you lying when you said your career came before ''everything?''" Jack is unsure if he even can replace his father: "I haven't sung Kol Nidre since I was a little boy." His mother tells him, "Do what is in your heart, Jakie—if you sing and God is not in your voice—your father will know." The producer cajoles Jack: "You're a ''jazz singer'' at heart!"

At the theater, the opening night audience is told that there will be no performance. Jack sings the Kol Nidre in his father's place. His father listens from his deathbed to the nearby ceremony and speaks his last, forgiving words: "Mama, we have our son again." The spirit of Jack's father is shown at his side in the synagogue. Mary has come to listen. She sees how Jack has reconciled the division in his soul: "a jazz singer—singing to his God."

"The season passes—and time heals—the show goes on." Jack, as "The Jazz Singer," is now appearing at the Winter Garden theater, apparently as the featured performer opening for a show called ''Back Room''. In the front row of the packed theater, his mother sits alongside Yudelson. Jack, in blackface, performs the song " My Mammy" for her and the world.

Cast

* Al Jolson as Jacob “Jakie” Rabinowitz (Jack Robin)
** Bobby Gordon as Jakie Rabinowitz (age 13)
* Warner Oland as Cantor Rabinowitz, Jakie Rabinowitz’s (Jack Robin’s) father
* Eugenie Besserer as Sara Rabinowitz, Jakie Rabinowitz’s (Jack Robin’s) mother
* May McAvoy as Mary Dale
* Otto Lederer as Moisha Yudelson
* Richard Tucker as Harry Lee
* Yossele Rosenblatt as himself

Songs

* "My Gal Sal" (music and lyrics by Paul Dresser; dubbed by unknown singer with Bobby Gordon onscreen)Bradley (2004), p. 7.
* " Waiting for the Robert E. Lee" (music by Lewis F. Muir and lyrics by L. Wolfe Gilbert; dubbed by unknown singer with Bobby Gordon onscreen)
* "Yussel, Yussel" (music by Samuel Steinberg and lyrics by Nellie Casman, 1923); heard as background music as Jolson walks through his ghetto neighborhood.
* "Kol Nidre" (traditional; dubbed by Joseph Diskay with Warner Oland onscreen; sung also by Al Jolson)
* "Dirty Hands, Dirty Face" (music by James V. Monaco and lyrics by Edgar Leslie and Grant Clarke; sung by Al Jolson)
* " Toot, Toot, Tootsie (Goo' Bye)" (music and lyrics by Gus Kahn, Ernie Erdman, and Dan Russo itle orthography and songwriting credits per original sheet music cover; some other sources do not mention Russo and some also name either or both Ted Fio Rito and Robert A. King">Ted Fio Rito">itle orthography and songwriting credits per original sheet music cover; some other sources do not mention Russo and some also name either or both Ted Fio Rito and Robert A. King sung by Al Jolson)
* "Kaddish" (traditional; sung by Cantor Yossele Rosenblatt)
* "Yahrzeit Licht"; sung by Cantor Yossele Rosenblatt
* " Blue Skies" (music and lyrics by Irving Berlin; sung by Al Jolson)
* "Mother of Mine, I Still Have You" (music by Louis Silvers and lyrics by Grant Clarke olson also credited by some sources sung by Al Jolson)
* " My Mammy" (music by Walter Donaldson and lyrics by Sam M. Lewis and Joe Young; sung by Al Jolson)

Production

Concept and development

On April 25, 1917, Samson Raphaelson, a native of New York City's Lower East Side and a University of Illinois undergraduate, attended a performance of the musical ''Robinson Crusoe, Jr.'' in Champaign, Illinois. The star of the show was a thirty-year-old singer, Al Jolson, a Lithuanian-born Jew who performed in blackface.Carringer (1979), p. 11; Eyman (1997), p. 129. In a 1927 interview, Raphaelson described the experience: "I shall never forget the first five minutes of Jolson—his velocity, the amazing fluidity with which he shifted from a tremendous absorption in his audience to a tremendous absorption in his song." He explained that he had seen emotional intensity like Jolson's only among synagogue cantors.

A few years later, pursuing a professional literary career, Raphaelson wrote "The Day of Atonement", a short story about a young Jew named Jakie Rabinowitz, based on Jolson's real life. The story was published in January 1922 in ''Everybody's Magazine''. Raphaelson later adapted the story into a stage play, ''The Jazz Singer''. A straight drama, all the singing in Raphaelson's version takes place offstage. With George Jessel in the lead role, the show premiered at the Warner Theatre in Times Square in September 1925 and became a hit. Warner Bros. acquired the movie rights to the play on June 4, 1926, and signed Jessel to a contract.Bradley (2004), p. 6. ''The Moving Picture World'' published a story in February 1927 announcing that production on the film would begin with Jessel on May 1.Carringer (1979), p. 16.

But the plans to make the film with Jessel would fall through, for multiple reasons. Jessel's contract with Warner Bros. had not anticipated that the movie they had particularly signed him for would be made with sound (he'd made a modestly budgeted, silent comedy in the interim). When Warner had hits with two Vitaphone, though dialogue-less, features in late 1926, ''The Jazz Singer'' production had been reconceived. Jessel asked for a bonus or a new contract, but was rebuffed. According to Jessel's description in his autobiography, Harry Warner "was having a tough time with the financing of the company.... He talked about taking care of me if the picture was a success. I did not feel that was enough." In fact, around the beginning of 1927, Harry Warner—the eldest of the brothers who ran the eponymous studio—had sold $4 million of his personal stock to keep the studio solvent. Then came another major issue. According to Jessel, a first read of screenwriter Alfred A. Cohn's adaptation "threw me into a fit. Instead of the boy's leaving the theatre and following the traditions of his father by singing in the synagogue, as in the play, the picture scenario had him return to the Winter Garden as a blackface comedian, with his mother wildly applauding in the box. I raised hell. Money or no money, I would not do this."

According to performer Eddie Cantor, as negotiations between Warner Bros. and Jessel floundered, Jack L. Warner and the studio's production chief, Darryl Zanuck, called to see if he was interested in the part. Cantor, a friend of Jessel's, responded that he was sure any differences with the actor could be worked out and offered his assistance. Cantor was not invited to participate in the Jessel talks; instead, the role was then offered to Jolson, who had inspired it in the first place. Describing Jolson as the production's best choice for its star, film historian Donald Crafton wrote, "The entertainer, who sang jazzed-up minstrel numbers in blackface, was at the height of his phenomenal popularity. Anticipating the later stardom of crooners and rock stars, Jolson electrified audiences with the vitality and sex appeal of his songs and gestures, which owed much to black american sources." As described by film historian Robert L. Carringer, "Jessel was a vaudeville comedian and master of ceremonies with one successful play and one modestly successful film to his credit. Jolson was a superstar." Jolson took the part, signing a $75,000 contract on May 26, 1927, for eight weeks of services beginning in July. There have been several claims but no proof that Jolson invested some of his own money in the film. Jessel and Jolson, also friends, did not speak for some time after—on the one hand, Jessel had been confiding his problems with the Warners to Jolson; on the other, Jolson had signed with them without telling Jessel of his plans. In his autobiography, Jessel wrote that, in the end, Jolson "must not be blamed, as the Warners had definitely decided that I was out."

Introduction of sound

While many earlier sound films had dialogue, all were short subjects. D. W. Griffith's feature '' Dream Street'' (1921) was shown in New York with a single singing sequence and crowd noises, using the sound-on-disc system Photokinema. The film was preceded by a program of sound shorts, including a sequence with Griffith speaking directly to the audience, but the feature itself had no talking scenes. On April 15, 1923, Lee De Forest introduced the sound-on-film system Phonofilm, which had synchronized sound and dialogue, but the sound quality was poor, and the films produced in this process were short films only.

The first Warner Bros. Vitaphone features, ''Don Juan'' (premiered August 1926) and '' The Better 'Ole'' (premiered October 1926), like three more that followed in early 1927 ('' When a Man Loves'', '' Old San Francisco'', and '' The First Auto''), had only a synchronized instrumental score and sound effects. ''The Jazz Singer'' contains those, as well as numerous synchronized singing sequences and some synchronized speech: Two popular tunes are performed by the young Jakie Rabinowitz, the future Jazz Singer; his father, a cantor, performs the devotional Kol Nidre; the famous cantor Yossele Rosenblatt, appearing as himself, sings an excerpt of another religious melody, Kaddish, and the song "Yahrzeit Licht". As the adult Jack Robin, Jolson performs six songs: five popular "jazz" tunes and the Kol Nidre. The sound for the film was recorded by British-born George Groves, who had also worked on ''Don Juan''. To direct, the studio chose Alan Crosland, who already had two Vitaphone films to his credit: ''Don Juan'' and ''Old San Francisco'', which opened while ''The Jazz Singer'' was in production.

Jolson's first vocal performance, about fifteen minutes into the picture, is of "Dirty Hands, Dirty Face", with music by James V. Monaco and lyrics by Edgar Leslie and Grant Clarke. The first synchronized speech, uttered by Jack to a cabaret crowd and to the piano player in the band that accompanies him, occurs directly after that performance, beginning at the 17:25 mark of the film. Jack's first spoken words—"Wait a minute, wait a minute, you ain't heard nothin' yet"—were well-established stage patter of Jolson's. He had even spoken very similar lines in an earlier short, '' A Plantation Act'' (1926). The line had become virtually an in-joke. In November 1918, during a gala concert celebrating the end of World War I, Jolson ran onstage amid the applause for the preceding performer, the great operatic tenor Enrico Caruso, and exclaimed, "Folks, you ain't heard nothin' yet." The following year, he recorded the song "You Ain't Heard Nothin' Yet". In a later scene, Jack talks with his mother, played by Eugenie Besserer, in the family parlor; his father enters and pronounces one very conclusive word, "Stop!", the final line of dialogue in the film.

In total, the movie contains barely two minutes' worth of synchronized talking, much or all of it improvised. The rest of the dialogue is presented through the caption cards, or intertitles, standard in silent movies of the era; as was common, those titles were composed not by the film's scenarist, Alfred Cohn, but by another writer – in this case, Jack Jarmuth.

While Jolson was touring with a stage show during June 1927, production on ''The Jazz Singer'' began with the shooting of exterior scenes by the second unit. In late June, Alan Crosland headed to New York City to shoot the Lower East Side and Winter Garden exteriors on location. Jolson joined the production in mid-July (his contract specified July 11). Filming with Jolson began with his silent scenes; the more complex Vitaphone sequences were primarily done in late August. Both Jolson and Zanuck would later take credit for thinking up the ad-libbed dialogue sequence between Jack and his mother; another story had it that Sam Warner was impressed by Jolson's brief ad-libbing in the cabaret scene and had Cohn come up with some lines on the spot.Crafton (1999), p. 110. On September 23, ''Motion Picture News'' reported that production on the film had been completed.

The production cost for ''The Jazz Singer'' was $422,000Crafton (1999), p. 111. (approximately US$ in dollars), a large sum, especially for Warner Bros., which rarely spent more than $250,000. It was by no means a record for the studio, however; two features starring John Barrymore had been costlier: '' The Sea Beast'' (1926), a loose and entirely silent adaptation of ''Moby-Dick'', at $503,000 and ''Don Juan'' at $546,000. Nonetheless, the outlay constituted a major gamble in light of the studio's financial straits: while ''The Jazz Singer'' was in production, Harry Warner stopped taking a salary, pawned jewelry belonging to his wife, and moved his family into a smaller apartment.

Premiere and reception

The premiere occurred on October 6, 1927, at Warner Bros.' flagship theater in New York City. In keeping with the film's theme of a conflict within a Jewish family, the film premiered after sunset on the eve of the Yom Kippur holiday. The buildup to the premiere was tense. Besides Warner Bros.' precarious financial position, the physical presentation of the film itself was remarkably complex:

Each of Jolson's musical numbers was mounted on a separate reel with a separate accompanying sound disc. Even though the film was only eighty-nine minutes long...there were fifteen reels and fifteen discs to manage, and the projectionist had to be able to thread the film and cue up the Vitaphone records very quickly. The least stumble, hesitation, or human error would result in public and financial humiliation for the company.Eyman (1997), p. 140.

None of the four Warner brothers were able to attend: Sam Warner—among them, the strongest advocate for Vitaphone—had died the previous day of pneumonia, and the surviving brothers had returned to California for his funeral.

According to Doris Warner, who was in attendance, about halfway through the film she began to feel that something exceptional was taking place. Suddenly, Jolson's face appeared in big close-up, and said "Wait a minute, wait a minute, you ain't heard nothing yet!" Jolson's "Wait a minute" line prompted a loud, positive response from the audience, who were dumbfounded by seeing and hearing someone speak on a film for the first time, so much so that the double-entendre was missed at first. Applause followed each of his songs. Excitement built, and when Jolson and Eugenie Besserer began their dialogue scene, "the audience became hysterical." After the show, the audience turned into a "milling, battling, mob", in one journalist's description, chanting "Jolson, Jolson, Jolson!" Among those who reviewed the film, the critic who foresaw most clearly what it presaged for the future of cinema was ''Life'' magazine's Robert E. Sherwood. He described the spoken dialogue scene between Jolson and Besserer as "fraught with tremendous significance.... I for one suddenly realized that the end of the silent drama is in sight".Eyman (1997), p. 141.

Critical reaction was generally, though far from universally, positive. ''The New York Times'' critic Mordaunt Hall

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