The Jazz Singer (1927)

Sometimes it’s difficult to unravel the legacy and history of a film to find its true merit. Some films have such a strongly-established myth of greatness that viewers feel disappointed if it fails to live up to all the hype surrounding it. Oscar winners fall into this trap all the time and any film listed among the ‘greatest’ examples of the medium do as well. So do films known for being the first of some kind. For the better part of a century, The Jazz Singer has been propped up by the fact that it was the first ‘talkie’ film. While this technical milestone is certainly worth remembering, it’s also a bit misleading.

Growing up in the Jewish ghettos of Manhattan, Jakie Rabinowitz (Al Jolson) is expected to become a synagogue cantor like his father. The boy has different plans, however, when he falls in love with the jazz music played in saloons and cafes. The boy displays a natural singing talent but his father and his Jewish community are shocked by his behavior. After being disciplined by his father for disobedience, Jakie runs away in pursuit of his dream of becoming a jazz singer.

Years later, Jakie (now going by Jack Robin) is a rising star, singing in cabarets and clubs on a nightly basis. Attracting the attention of a few big stars, Jakie earns a shot at the big time vaudeville circuit in his hometown of New York City. He writes home to his mother to share his happiness and success and stops by for a visit between rehearsals. His homecoming is welcomed by his mother, who is glad to see her son is happy, but his father wants nothing to do with him. When the elder Rabinowitz suffers ill health, Jakie’s mother and the Jewish community put him in a difficult position. They ask him to put his heritage ahead of his career by performing the Kol Nidre at synagogue on Yom Kippur- directly conflicting with opening night of his big shot.

Call me crazy but I was expecting more talking out of the first full-length ‘talkie’ film. The Jazz Singer is more like a silent film with a few musical numbers. Most of the ‘dialogue’ still occurs within title cards like a traditional silent film. Every now and then, in and around the songs, there is a bit of dialogue. Usually it is just Al Jolson saying a few words but there is a scene where he talks for a few minutes with his mother. The incorporation of synchronized musical numbers and the synchronized dialogue was groundbreaking because synchronized sound had only been used in short films and to provide soundtracks up until that point.

The story itself isn’t that exciting but it is worth noting that The Jazz Singer is one of the earliest films to depict a child spurning his family to pursue an artistic dream. This has since become a Hollywood cliché, especially the stern, elder father proclaiming “I have no son!” Perhaps this is why I was unable to become fully engrossed in the film- it’s been remade to death! But this, on top of the incorporation of sound in a full-length film definitely gives The Jazz Singer a rightful place in film history.

Firsts are always worth respecting because they are usually the innovators and oftentimes impact whatever comes after it. There is no doubt that this is true for The Jazz Singer. Not only would this bold production launch the sound era but it also gave audiences a new way to appreciate music. Now people wouldn’t have to go to the theater to see musicians and performances. In just a few years time, Hollywood would perfect the art of the early movie-musical and pave the way for popular musicians to break into new mediums. This whole concept and trend owes its existence to this film.

Just because something is the first, however, doesn’t make it one of the best. In fact, this film has plenty of shortcomings. Sound synchronization and Al Jolson’s talents are the main attraction here. The sets and action play out like a stage production for the most part. The camera typically stays static and director Alan Crosland never employs intentional framing to emphasize any moods or action. Granted, at this point the Unchained Camera technique was in its infancy but employing some of the new cinematography techniques could have helped the film be even more special.

The story itself is uncomfortable to a point. Yes, Jakie runs away and becomes a rising star, but the homecoming component just doesn’t fit. The man is guilt-tripped into putting his career in jeopardy. I can understand him wanting to make peace with his father but I felt that his former Jewish brethren were asking too much. Would they rather him be Jewish and miserable or successful? I’m not condoning the selling out of one’s beliefs for personal gain but Jakie never displayed any real passion for his heritage as a boy. I don’t see how his mother and others could use his religion to tug at his heartstrings so much.

Perhaps there is something of a generation gap with the understanding of Jakie’s decision. Young people today aren’t bound to their heritage or intent on pleasing their parents like they used to be. Maybe that’s how it worked in the 1920s but it just screams of unjustified guilt trip to me. There may be a happy ending for all parties but it seems like an unnecessary dilemma for our protagonist to endure.

Did The Jazz Singer change the film industry? Yes. Is it a good film? Yes, for the most part. Would anybody remember it had it not been the first ‘talkie?’ Probably not. There you have it- had the production been delayed or slated to be the second film of the sound era, the aura that hangs around this film would not exist. Perhaps it’s harsh and unfair to suggest that its status as the first ‘talkie’ is the only reason anybody remembers it, but I am fairly confident that that is the truth. An interesting watch for film buffs but probably not very exciting for everyone else.

RATING: 3.5 out of 5