Published via Ecency

(source: tmdb.org)

Many of the most important films in the early history of cinema are today subject of controversy because they were products of their time and, as such, contained material many today’s viewers would consider offensive or unacceptable. Even the most groundbreaking film in history of American cinema - The Jazz Singer, 1927 musical drama directed by Alan Crosland, which is traditionally viewed as the beginning of the sound era – didn’t escape such fate. For some people today its technical achievements and cultural importance is overshadowed by certain visual details that are seen as problematic.

The film is based on the eponymous 1925 stage play by Samson Raphaelson, adaptation of the his short story “The Day of Atonement” which was inspired by the author attending performance of musical starring Al Jolson, film’s future star. The plot begins in Jewish ghetto in New York City where Rabinowitz (played by Warner Oland), cantor in local synagogue, enjoys huge respect in local community. He comes from five generations of cantors and expects his 13-year old son Jakie (played by Bobby Gordon) to continue family tradition. The boy, however, prefers singing popular ragtime songs in beer gardens and when his father learns about it, he is enraged and beats him. Rebellious Jakie leaves home and promises that he would never return, breaking the heart of his beloved mother Sara (played by Eugenie Besserer). Ten years later, adult Jakie (played by Jolson) has changed his name into “Jack Robin” and tries to make his name as singer of jazz. One cabaret performance turns into a big break and during it he catches attention of dancer Mary Dale (played by May McAvoy) who invites him to her travelling troupe. Both of them receive even bigger break with spectacular Broadway performance during which Jakie will make his big debut and have his shot at stardom. He, however, uses opportunity to finally visit his parents, but, unlike mother, his father doesn’t have understanding for son life choices and musical preferences. Shortly before Day of Atonement old Rabinowitz gets ill and can’t sing during annual services. When mother suggests that he replaces his father, he is torn between honouring family tradition and pursuing his own career.

While The Jazz Singer is often described as the first sound film, it is far from truth. Experiments with adding sound recordings to motion pictures date from the very beginnings of cinema and were started by Edison in 1890s. Their results were various systems deemed too expensive, too cumbersome, too impractical or with sound of insufficient qualities. The work, however, began to bear fruit in 1920s and by the mid of the decade the most advanced technology was Vitaphone, system that successfully synchronised phonographic records with film. It was acquired by Warner Bros. studio which began to first use it in short films before making its first sound feature Don Juan in 1926. That film wasn’t sound film in today’s meaning of the word or, what would later be known as “talkie”. It was, for all practical purposes, a silent film with sound recording consisting only of music and few dramatic sound effects. The Jazz Singer isn’t that different, except for the minor details of musical numbers with Jolson and famous Yosselle Rosenblatt (who plays himself) actually singing. But even more important were Jolson’s numbers during which briefly stopped singing in order to add some seemingly improvised dialogues. For the audience accustomed to silent films hearing person on big screen talk was wondrous, magical experience that could be compared only with the audience of first films three decades earlier. The Jazz Singer became overnight sensation and its success marked the end of silent and beginning of the sound era in history of world cinema. Warner Bros. began to switch its production towards films that included more talking, other studios followed suits and more cinema theatres were adding sound reproduction equipment. The process was very quick with new technology brutally discarding anything and anyone who couldn’t adapt it and in less than a decade silent films suffered the same fate as horse carriages when competing with affordable motor cars.

Even without its historical context and even if seen as a silent film, The Jazz Singer is actually very good piece of cinema. Experienced director Alan Crosland (who would continue his career in sound era until death in traffic accident few years later) handles film well, using technical abilities of silent era at its peak, still unimpeded by limitations of sound technology. The cast is also very good. Jolson, singer and actor who actually inspired the source material, was at the time of production one of America’s most popular entertainers and he very confidently plays the role that would make him immortal. Good performance was also given by Warner Aland, Swedish actor who would later become famous as protagonist of Charlie Chan films, and who brings both authority and passion as traditionalist father. Eugenie Besserer is also very good as mother, while May McAvoy mostly serves as obligatory eye candy and possible romantic interest for protagonist. Otto Lederer leaves much better impression as Cantor Rabinowitz’s friend Moisha Yudelson.

Some might view script by Alfred A. Cohn as too melodramatic or drowned in old-fashioned sentimentality, but the plot nevertheless explores universal themes of struggle between conformism and individuality as well as those of tradition and modernity. Many of those subjects are as relevant today as were nearly a century ago. What wouldn’t be the same as it was a century ago is attitude to Jolson as protagonist performing in blackface, which is now seen as racist practice, deeply insulting towards African Americans. However, in context of the time and the people behind Jazz Singer, use of blackface, which was something Jolson often did and owed much stardom too, was something completely different. For Jewish immigrants like Jolson, who arrived from Europe, blackface symbolised acceptance and integration in the new country. Blackface was for them less “black” and more “American”, especially when accompanied by jazz, which was unmistakably American music created by black Americans. Furthermore, many Jewish immigrants like Jolson actually found something in common with African Americans, namely the history of oppression and being subjected to various forms of bigotry. Jolson, who was enthusiastic supporter of African American music, fought against racial barriers on Broadway and helped his friend Cab Calloway became star, was actually much appreciated by African American audience at the time. The Jazz Singer is, therefore, shouldn’t be put in the same league with The Birth of a Nation and should be recognised as not only important milestone in history of cinema but as genuine work of Seventh Art. Its importance, predictably, wasn’t diminished by forgettable remakes like 1952 film starring Danny Thomas and 1980 film starring Neil Diamond.

RATING: 7/10 (+++)