Directed by Alan Crosland
A young Jewish man is torn between tradition and individuality when his old-fashioned family objects to his career as a jazz singer. This is the first full length feature film to use synchronized sound, and is the original film musical.
Cantor de Jazz, Caz Şarkıcısı, Der Jazzsänger, Le Chanteur de jazz, Il cantante di jazz, El cantor de Jazz, O Cantor de Jazz, Jazzový zpěvák, Ο Τραγουδιστής της Τζαζ, Jazzsångaren, A dzsesszénekes, 재즈 싱어, Джаз певецът, Співак джазу, 爵士歌手, Певец джаза, ジャズ・シンガー, El cantor de jazz, Śpiewak jazzbandu, זמר הג'אז, Džeza dziedonis
Sweden15 
UKU 
Canada14A 
PortugalM/14 
USA 
Austria6 UKU 
IrelandPG 
BrazilL 
Hungary16 
JapanG UKU UKU Austria Brazil Canada Hungary Ireland Japan Portugal Sweden UK USA 
it’s not even a talkie they just sing like two songs and do blackface and that’s the whole thing
On this evidence, I'm not sure talking pictures are a very good idea.
I don’t think we should be as ignorant as the film is, in so many ways. Here is a film that is eternalized in cinema history not for its artistic greatness, but for its technical pioneering. Yet, it carries with it the ignorance of an era, a specter of insensitivity that the passage of time cannot justify. Is the film the milestone of sound in cinema? Yes. But paradoxically it’s a work deaf to reality itself.
Again, there is no denying the relevance of the film. It was the first spark of the fire that would consume the silent era, a milestone that redefined the way the stories would be told from then on. We heard, for the first time,…
35/100
Reputation as "of historical interest only": confirmed. Sadly, I couldn't even enjoy Jolson's performances, as the musical taste of American audiences circa the early decades of the 20th century has always confounded me (see also: every Marx Brothers number not featuring a Marx Brother); neither his reedy voice nor his ingratiating patter appeal at all, and of course the kindest thing that can be said about his blackface routine is that it's much more odious in conception than in his particular execution (i.e., he makes no attempt to mimic African-Americans apart from the wig and makeup). The movie's rare foregrounding of Jewish identity occasionally fascinates, but winds up bogged down in a hoary ambition vs. tradition face-off. A film every cinephile must see, but there's a reason I put it off for so long.
It’s undeniably cool that the first line of dialogue ever spoken in sound cinema was “wait a minute, wait a minute, you ain’t heard nothing yet.” The filmmakers used The Jazz Singer as an opportunity to show off the new synced-sound technology, and Al Jolson’s first line (which was apparently a common phrase in his live show) literally tells the audience to buckle in for a wild ride, because entertainment will never be the same.
The impact of the movie as the first part-talkie far outweighs its actual merit, as the seventy-odd minutes that follow Jolson’s exclamation don’t match the excitement or spectacle of his first performance. The movie works relatively well as a fine family drama concerning Jewish-American identity, exploring…
You shouldn't be in blackface, but you doubly shouldn't be in blackface and have title card say "maybe it's the call of the ages--the cry of my race" in the scene. Or later have one read "Your Papa is so sick-his face so pale".
Even if we remove the blackface from this movie, it's still not particularly good. If literally any other movie had synchronized sound first, this movie would have been forgotten.
“Wait a minute, wait a minute. You ain't heard nothin' yet!”
Based on the stage play by Samson Raphaelson, The Jazz Singer is a time-honoured tale of opposition between generations. Directed by Alan Crosland and produced by Warner Brothers, with its Vitaphone sound-on-disc system, it instantly became a huge success and was responsible for transforming them into one of Hollywood's most sought-after movie studios, as well as foreshadowing the marketability of sound films which consequently finished the silent film period.
It features the excellent showmanship and charisma of Al Jolson, a singer, comedian and actor who employed the theatrical traditions of numerous performers at the introduction of the 20th century and often performed in blackface, which now obviously requires placement…
myrna loy as chorus girl (uncredited) you will always be famous
A few hot takes:
Adding sound to movies is a net positive, all things being equal.
The fact that this was the movie to codify sound films is not a good thing.
Having to watch Al Jolson butcher Blue Skies is the absolute worst.
On one hand it’s nice to see such a sincerely jewish movie without the racial stereotypes. On the other hand... [stares into camera and grimaces hard]
Eh, cant say this movie did much of anything for me. Don’t get more Jewish than guy who can’t choose between his showbiz career and his guilt trippin mom though. A little freaked out by his shiksa friend who kept trying to pressure him back into black face though. “It’s where you belong!” Okay back off lady.
Speaking of.... so Al Jolson Is an extremely bizarre figure who made a career on inexcusable racism at the cost of actual black talent and yet the amount of people (white and black!) who cite him as an…
School is finally back for me, so a lot of the movies I’m gonna watch are gonna be from classes. This is a class that focuses on a different genre every semester, and this semester is Musicals, which is awesome because I haven’t seen all that many, and the lineup of films for this class looks great.
This was ok. This is the first film to ever have lip synchronous talking and singing, effectively ending the silent film era. It’s cool to watch because of the history that surrounds it, but outside of that it’s just bland. The story holds up decently well, though.
I don’t know what it is about Al Jolson, but that dude is scary looking.
A Year of Film History Challenge
(watching a little bit of film history month by month, decade by decade)
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Remember that great moment in The Wizard of Oz where Dorothy opens the door of her black-and-white home to reveal the beautiful technicolor kingdom she's just landed in? I find that scene in The Jazz Singer where Al Jolson starts swingin' his hips and singing for the first time--with the movie thus revealing its characters to be capable of making their own sound--to be just as stunning and transformative of a sequence as that iconic arrival in Oz. The beginning of the film falsely lulls the viewer's mind into that familiar silent movie format, but then to suddenly see and…
