Welcome to my long-awaited series on The Jazz Singer on its 90th anniversary! I’m going to be covering topics including the source play, Al Jolson, the history of blackface, the history of Jewish-themed films, the transition from silent to sound film, debunking myths about this era (e.g., the claim that most silent stars had horrible voices), the history of sound-on-film technology, the making of the film, and so much more.
Let’s get started with a general plot summary and review of the film itself!
The story opens in the Lower East Side (described as “the ghetto”), where 13-year-old Jakie Rabinowitz longs to become a jazz singer instead of following in his cantor dad’s footsteps. It’s Erev (the eve of) Yom Kippur, and Jakie still isn’t home to sing with his dad in shul.
Busybody Moisha Yudelson reports he saw Jakie “singing raggy time songs” by a beer garden. Ignoring the fact that Yudelson was in such a supposedly sinful place himself, Cantor Rabinowitz storms over and drags Jakie home.
Jakie’s mother Sara begs her husband to be easy on the boy, but Cantor Rabinowitz declares, “I’ll teach him better than to debase the voice God gave him!” Jakie says he’ll run away and never come back if he’s whipped again, and he indeed does just that.
By the Kol Nidre evening service, Cantor Rabinowitz says he no longer has a son. During the chanting of Kol Nidre, Jakie (who’s quite a mama’s-boy) sneaks back home to pick up a picture of his mother.
Ten years later, Jakie has reinvented himself as Jack Robin. After he wows the crowd at a cabaret with a few songs, he’s introduced to dancer Mary Dale. She offers to help him with his career, and says he’s got a tear in his voice, unlike many other jazz singers.
Jack’s big break comes when Mary helps him to get a leading role in the musical April Follies. He’s very excited to be going back to New York, his home. Best of all, he’ll get to see his mother again.
Mrs. Rabinowitz is ecstatic to see her boy again, and Jack promises all sorts of wonderful things, like moving her to the Bronx and buying her a big house. Jack has also brought a birthday present for his dad. But when Cantor Rabinowitz comes home, the happy mood is crushed (and the dialogue reverts from sound to title cards).
Once again, Jack tries to explain his love of modern music and why he feels it’s more important to him than old traditions, but his father will have none of it. Cantor Rabinowitz banishes him again, and on his way out, Jack says he came home with a heart full of love.
Two weeks later, and twenty-four hours before the opening of April Follies, Cantor Rabinowitz falls very sick. This is also Erev Yom Kippur, which means he won’t be able to chant Kol Nidre. Now, in a decision reminiscent of Sandy Koufax and the 1965 World Series, Jack has to make the difficult choice between his faith and his career. Will he sing in the show or take his father’s place in shul?
This isn’t one of the all-time classic greats of film history, but I’d give it a solid 4 stars. The blackface might make some modern people uncomfortable, but it’s only in two scenes, one towards the end and the other at the end. I was really nervous about that the first time I saw it, but I ended up not taking any offense.
As I’ll discuss in future posts, the use of blackface is actually integral to both this specific story and Al Jolson’s life and career. It wouldn’t be the same story, with the same impact, if it were taken out.
Everyone should see this important piece of film history at least once.