Plenty to Like, Plenty to Dislike

Absolutely the worst movie.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

You can't keep a good man down, and Al Jolson certainly proves that in "The Jolson Story," a somewhat fictionalized account of the great entertainer's life. The film stars Larry Parks as Jolson and Evelyn Keyes as Julie Benson, since Ruby Keeler would not allow her name to be used in the film. Happy marriage, that. Jolson does his own singing, but I'll get to that later.Larry Parks, who was later blacklisted, is excellent as Jolson, if better looking, and Evelyn Keyes is delightful as Julie. Parks worked tirelessly at getting the lipsynching and Jolson's mannerisms perfect. Other excellent performances include Ludwig Donath as Jolson's father and William Demarest as his partner and later agent. In real life, Jolson started out singing with his brother and was never a child singer as shown in the film. Also, in the movie, he has a mother -- in real life, his mother died when he was young. It's one of the reasons why his rendition of "Mammy" is so poignant. When Jolson spoke the words, "Look at me mammy, don't you know me? I'm your baby" - it came from the heart because when his mother lay dying, she didn't know who he was.The star of this film is the singing. If there was ever a question as to why Jolson was such a great star - a man who commanded standing ovations in the middle of a show, and someone whom the audience begged not to leave the stage - you know why after listening to that voice and feeling that dynamism and energy. He really was a tremendous singer and performer. He was an inspiration to such talents as Judy Garland, Sammy Davis Jr., Elvis Presley, Mick Jagger, David Bowie, Jackie Wilson and Jerry Lee Lewis."The Jolson Story" revived Jolson's career, and as a result, he made public appearances to promote the film, was received by Harry and Mrs. Truman, got a radio show, and entertained troops in Korea (as he had the troops in WWII), flying there at his own expense. A new film for him, Stars & Stripes Forever, about the USO, was in preproduction when he died suddenly of a heart attack.In recent years, his reputation has suffered because he wore blackface, but this convention was not considered to be maligning blacks. In fact, stars such as Eddie Cantor, Fred Astaire, Bing Crosby, Judy Garland, Doris Day, Betty Grable and many black stars Jolson's used blackface. There was no bigotry meant.Al Jolson used to say "You ain't heard nothing' yet." Yes, we have - we've heard one of the greatest singers and entertainers who ever lived. The sad thing is, now that we've heard it, we probably won't hear the likes of it again.

To his credit, innovative singer Al Jolson did indeed transform the tone of American pop songs in the early part of the twentieth century. He was quite a showman, with his natural improv skills and that pleasantly unique singing voice.But this biography is only quasi-factual. If you knew nothing about the man before watching the film, you would be hard pressed to figure out that some parts are fictional. "The Jolson Story" is chock full of inaccuracies. For one thing, his mother died when he was young; in this film, she plays a major role throughout his life. For another, "Steve Martin", a major character in the film, never existed. And his marriage to "Julie Benson" cinematically rewrites his real life. In fact, there never was a "Julie Benson". There were, indeed, three wives, not just one as implied in this film. Maybe back in the 1940s, films could get away with such misrepresentations. Sixty years later, viewers are not so easily fooled.I have no idea what the real Jolson was like as a person. In the film he comes across as ambitious, energetic, creative, and irritatingly ... hyper. Larry Parks gives a fine portrayal of Jolson, with his highly animated and expressive mannerisms and gestures.The film's tone is relentlessly positive and upbeat. The impression is thus conveyed that all one needs for Hollywood success is ambition, lucky breaks, and lots of talent. And maybe that's true. But nearly all great public figures must endure at least minimal hard times somewhere in their lives. I could have wished for some indication of that in this film to make the story more realistic and the man more human.For all that, "The Jolson Story" is still entertaining, in an old-fashioned sort of way. There are some great old songs, like "April Showers", "Rock-A-Bye Your Baby", and my personal favorite "California, Here I Come". Color cinematography is quite good, and includes some clever camera dissolves. In support roles, both William Demarest and Evelyn Keyes are fine. I did not care for the film's ending, with one character's motivational reversal.This is a big budget, talky film with lavish production design and a large cast. If one approaches "The Jolson Story" with the idea that it is fun entertainment only, and not to be taken too literally, it can be enjoyable. But it would be a mistake to use the film as a basis for taking an all-important pop quiz. For that, one would need a more accurate biographical guide.

This entertaining film biopic of the great singer Al Jolson was a standout film for Columbia in the late 40's. This was a great coup for Columbia as it was the time when MGM ruled the movie musicals. Jolson's box office clout was so much that he was the first entertainer to perform not only in talking films but also in radio as well. His greatest fame though came on the Broadway stages. Known as a magnetic singer who could keep audiences spellbound, Jolson was also in real-life an incredible egomaniac. He actually paid his own brother to stop performing and would often get rid of anyone in a show who seemed to be doing well for fear of their stealing attention from him.Al Jolson also had the dubious honor of being the most famous white performer to sing in "black face"; a racially bigoted form of entertainment made popular during the prior century, was the major entertainer of his era.Larry Parks very ably plays Jolson in a breakthrough role that launched his early film career. It sadly would be just a few years later that Larry would be blacklisted for many years. Parks did a great job lip-syncing Jolson's prerecorded tracks as well as mimicking Jolson's very particular style. He is enjoyable to watch and brings a good deal of charm to the role.Evelyn Keyes is excellent as Jolson's love and wife. The part is very loosely based on Jolson's real-life wife Ruby Keeler. Ms. Keeler who still had little good to say about Jolson, threatened to sue Columbia if they used her name.There is a great scene in the film where Keyes as "Julie Benson" is premiering in a spectacular dance number in the Zigfield Follies. At the start of her dance sequence she freezes and can't go on. Parks/Jolson in an effort to save Julie and her debut runs down the aisle to the stage and begins singing to the music (the song "Liza") which of course saves the day, Julie's career and the show. In real-life Jolson was already married to Ms. Keeler and upon seeing her couldn't take her getting all the attention so he ran downstage and sung the tune. The house went wild as he was such a big star. Zigfield paid Jolson to keep doing it. And much to Ms. Keeler's chagrin he did so for number of nights. The scene-stealer of this film is the great William Demerast as Jolson's fictitious mentor and best friend, "Steve Martin". Demerast is at his wisecracking best, talking out of the side of his mouth with that NYC accent in that snappy Cagneyesque style of his.The numbers are well-staged and fun to watch. The only uncomfortable experience is watching the latent and unspoken racism in the Minstrel numbers. No doubt singers such as Jolson or his contemporaries Eddie Cantor, George Jessel and others did not see painting cork on their faces as a racist act. But also no doubt African-American audiences must have felt the pain of ridicule in watching such fare on the screen.Jolson actually appears in one scene playing himself. There is a long-shot of him dancing on stage during "Swanee", because Larry Parks couldn't quite get the dance down. See if you can find it.Very little of the story is true, but it is a campy entertainment where the actors work hard to make it believable and do a good job. If you can get past the apathy of the time that still thought it was okay to portray "blackface". Then you'll enjoy it. As a kid, I didn't know better and always did enjoy seeing the film. But once I became aware of what was going on, I'd never felt the same about it.Think about it. What you were saw a crude, racist stereotype of your own people on stage? Would you so easily give it a pass as you might now?

I could sit and listen to Jolson music endlessly. First of all,he had to be the originator of soul music, sung right from the heart. We heard what he felt and then felt what he felt. Secondly,he was the only singer I ever heard whose voice sounded like a trumpet. Perfect pitch, clear,crisp and resounding. Hence, we put together those two attributes, add his showmanship, charm and charisma and we end up with the greatest single entertainer in the history of American show business. Larry Parks is truly astounding and gives a performance, including perfect lip synching, that should have earned him the Oscar. Politics came first, apparently. The film, even with its occasional flaws, was amazingly entertaining. From the first scene to when his Julie Benson walks out by realizing that she could have never taken the music out of Jolson and vice versa,the entire production was pure hypnotic joy. Unbeatable music, warmth, tenderness and humility run wild. A superb feast for the ears and eyes. A never-to-be-forgotten film.