Themes: Actor's Life, Ladder to the Top, Musician's Life
Main Cast: Larry Parks, Evelyn Keyes, William Demarest, Bill Goodwin, Ludwig Donath
Release Year: 1946
Country: US
Run Time: 128 minutes
MPAA Rating: NR
Plot
Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide
Review
The Jolson Story is one of the most entertaining Hollywood biopics about an entertainer -- but why is it? Like almost every other biopic of the period (and, for that matter, of almost any period), Jolson plays fast and loose with the facts. Also like many other entertainer bios, the story itself is far from fresh. The dialogue and character development is a notch above average, but neither is as outstanding as should be deserved by a film of this reputation. What Jolson does have that accounts for its magic is a landmark lead performance, the actual, unmistakable voice of the real Jolson and an abundance of the songs that this legendary entertainer made famous. Larry Parks is right on the money as Jolson; it's a great impression, with all of the mannerisms and brashness captured perfectly, but it's also a beautifully nuanced piece of acting. As Jolson, Parks displays a power and a charisma that was never in evidence to the same degree in any of his other portrayals. Yes, he's lip syncing to the real thing when singing rather than using his own voice, but it doesn't matter; he becomes Jolson in a way that is frighteningly accurate. Jolson's singing also adds immeasurably to the film. His voice is as pugnacious, determined, excited, enthralling and demanding as he himself is. And the songs are a time capsule in themselves. Some of them are great, some are hokey, but they all grab the listener and hold onto him in a strange way. Jolson manages to overcome its flaws and to emerge as one of the finest biopics ever. ~ Craig Butler, All Movie Guide
Stephen Goosson - Art Director, Walter Holscher - Art Director, Jack Cole - Choreography, Joseph L. Lewis - Choreography, Jean Louis - Costume Designer, Alfred E. Green - Director, William Lyon - Editor, Morris W. Stoloff - Composer (Music Score), Morris W. Stoloff - Musical Direction/Supervision, Clay Campbell - Makeup, Joseph Walker - Cinematographer, Sidney Skolsky - Producer, Louis Diage - Set Designer, William Kiernan - Set Designer, Sidney Buchman - Screenwriter, Harry Chandlee - Screenwriter, Stephen Longstreet - Screenwriter, Andrew Solt - Screenwriter
Burlesque performer Steve Martin (William Demarest) offers to play a song for his audience, if they agree to sing along. Only one person does sing, a young boy named Asa Yoelson (Scotty Beckett). Steve is bowled over by the boy's voice, but Asa realizes he should be singing at the synagogue with his father, Cantor Yoelson (Ludwig Donath). Asa arrives late, and is later reprimanded by his strict father. Asa is reluctant to explain where he was, but Steve Martin visits the Yoelsons' home. He explains that he heard Asa sing at the burlesque house, and that he wants Asa to be part of his act. Papa Yoelson refuses to consider it.
Asa is determined to be in the act, and runs away to Baltimore, where he is taken to a home for boys. The kindly superintendent, Father McGee (Ernest Cossart), finds Steve Martin and notifies Asa's parents. When they appear, Asa tells them that he will keep running away until they allow him to go into in show business. Asa's mother (Tamara Shayne) believes that it would be better to give Asa what he wants than have him running away all the time.
On stage, Asa gets bored with singing songs the same way all the time, and begins to improvise. When his voice suddenly breaks, he starts whistling instead, but is unhappy and wants to go home. Steve says that they can work on stage together - previously Asa has only stood in the audience. Asa changes his mind, and his name: he performs as Al Jolson (Larry Parks).
At a show, blackface entertainer Tom Baron (Bill Goodwin) passes out drunk, and Al goes on in his place. Two theatrical entrepreneurs, Oscar Hammerstein (Edwin Maxwell) and Lew Dockstader (John Alexander), are in the audience. Dockstader realizes that it was really Al who was on stage, and hires him join his minstrel show. One night, Jolson is out walking when he hears the new, exciting jazz music; he enjoys it so much that he forgets that he has a show that night. Dockstader fires him.
Al visits his parents, but does not stay long, because he receives a call from Tom Baron, who is now a theater manager. Baron invites Al to join his Broadway show. Al insists on choosing his own material, including his signature tune, "Mammy," and he becomes so popular that he becomes the leading player and takes the show on tour.
At a Sunday night concert, Al meets an up-and-coming dancer named Julie Benson (Evelyn Keyes). It is love at first sight for Al, and only a few hours after meeting her, he proposes to her. (Actually, Al Jolson was married four times. He never had a wife named Julie Benson - she is modeled on Ruby Keeler, one of his real wives.) She agrees, although she does not love him yet. They marry during Al filming "The Jazz Singer", by which time Julie has fallen in love with him. But Julie is not as fond of show business as he is; she wants to quit and settle down. Al persuades her to continue with it, and they star in a film together, but eventually Julie can't stand any more. Al admits that he would rather have her than show business, and he finally quits. They move to the country.
Al refuses all job offers and absolutely will not sing, even for family and friends. But one night, they decide to celebrate the wedding anniversary of Al's parents. Papa Yoelson persuades him to sing for them, and then Tom Baron suggests they go to a nightclub and see an early floor show. Jolson is afraid of being recognized, but the crowd insists on a song. Although he tries to fob the crowd off, it is no use and he has to sing. Julie realizes he is happier than he has been in a long time, and decides to leave. She walks out of the picture, and out of his life, leaving Al to his first love: singing.
Some of the plot details are fictionalized. There is no evidence that Jolson ever appeared as a child singer, and he was brought up by his sister (not his mother, who had died). Jolson actually had three managers, who were combined into the William Demarest character. Ruby Keeler refused to allow her name to be used, so the writers used an alias, Julie Benson. In addition, a theatrical billboard in the film tells that Jolson's musical "Big Boy" was in the third year of its run. In reality, the show had two runs, one of six weeks (Jan 7 - Mar 14, 1925, 56 performances) and one of 15 weeks (Aug 24 - Dec 1925, 120 performances)
In reality, Big Boy was one of Jolson's biggest hits. It ran, starting with its out of town run, from November 24, 1924, (opening at the Winter Garden on Broadway on February 9) until December 3, 1927, at the Weiting Opera House in Syracuse New York and it would have run much longer had not Jolson become ill.
During this run Jolson received what many believe may be the greatest accolades ever given to a Broadway musical personality.
Production
Larry Parks' vocals were recorded by Al Jolson; Scotty Beckett's songs were recorded by Rudy Wissler. Al Jolson, determined to appear on screen somehow, persuaded the producer to film him instead of Larry Parks for the blackface "Swanee" number. Jolson is seen entirely in long shot; he performs on a theater runway.
Filming was already under way as a black-and-white feature when studio chief Harry Cohn, impressed by the scenes already filmed, decided to start the project all over as a Technicolor production.
Quotations
"I heard some music tonight. Something they call 'jazz.' The fellows just make it up as they go along. They pick it out of the air." (Jolson to Dockstader)
"[I'm] trying to make songs out of music I picked up. Music nobody ever heard of before, but the only kind I want to sing." (Jolson, explaining what he's been doing)
"That's an audience that never saw a live show. People in small towns who can afford a movie, where they can't afford anything else. Audience of millions. I'd be singing to every one of them at the same time. That's really something!" (Jolson, discussing the new talking picture)
"Tonight, folks, I'm only going to sing two thousand songs. One to a customer." (Jolson)
"Broadway? What a street! You know something, baby? It belongs to me. You know something else? If you want, I'll give it to you." (Jolson)
