The Jazz Singer (1952) User Reviews (14)

Peggy Lee sings, the rest is mustard

[jjnxn-1 · 7/10 · 6 September 2014]

Rich looking redo of the legendary Jolson film that revolutionized the film industry ushering sound in and silence out.

The thing is that it was the technology that was the big deal about the film not the story which is pure hokum. However that seems to be something that the studio chose to ignore assuming the name recognition of the title would draw the crowds. The film did okay but it's a cornball exercise from start to finish. The main story was dated in '27 and is certainly no fresher in '52.

Danny Thomas just didn't have the strength of personality to make it on the big screen. Watching him it becomes apparent why he made it on TV and not cinema. He has a nice, likable demeanor, the sort that worked so well for Perry Como and Dinah Shore when they likewise abandoned the big screen for the small, but he doesn't dominate his scenes the way a leading man has to. He does sing well although not nearly well enough to be the rage of New York he's supposed to be.

That master of all genres Michael Curtiz moves the movie along well enough but it's too schmaltzy for him to be able to make it really memorable.

Putting all that aside the best reason to catch the film is the presence of Peggy Lee in the cast. This was her acting debut and while she doesn't have the instantly easy relaxed acting style of Doris Day the role doesn't put big demands on her, she did much better a few years on in Pete Kelly's Blues. It doesn't matter though when she sings which fortunately is often. When she does that all the hokeyness melts away and the viewer is treated to a legend doing what she does best, sing. An extra bonus is that she performs one of her biggest hits, Lover, in an elegant club setting giving you an idea of what it was actually like to see her in person.

Worth catching for Miss Lee but the story is sappy.

Jazz Singer as comedy

[didi-5 · 6/10 · 30 January 2005]

This is the second version of the much-filmed tale of the Jewish boy who wants to sing modern music, rather than becoming a cantor in the synagogue. This time, the character is called Jerry Golding and is played by Danny Thomas, a second-string singer and comedian of the fifties, perhaps best known for his TV series.

The story itself is sparse, but Thomas gets a chance to put across some swing numbers (one or two in the company of his lady friend Judy Lane, played by the sparky Peggy Lee, in a role originally planned for Doris Day). As Golding's parents, Eduard Franz and Mildred Dunnock give good value as they struggle to understand the culture clash which has seen their son look for fame as a popular crooner.

A minor film, and one not helped by the humorous approach (perhaps to accommodate Thomas's particular style). But, this version of 'The Jazz Singer' is as good a way as any to spend a Sunday afternoon.

The Pipes Are Calling

[wes-connors · 6/10 · 13 November 2014]

Angels sing above the Temple Sinai in Philadelphia, while dashing Danny Thomas (as Jerry Golding) returns from service in the Korean War. Celebrating the Jewish New Year (Rosh Hashanah), Mr. Thomas' observant parents Eduard Franz and Mildred Dunnock (as David and Ruth) are proud of their son's honorable discharge. Father Franz retires as cantor at the Temple so that Thomas can take over the position. The family has served as cantor for six generations. However, Thomas has decided to break with tradition. He wants to pursue a secular career in show business. Mother Dunnock seems understanding, but father Franz is righteously indignant. Life is tough for Thomas, but having singing girlfriend Peggy Lee (as Judy Lane) around helps...

In a part played by George Jessel on Broadway (1925-1926) and Al Jolson in the movies (1927), Thomas has big shoes to fill. Although he recorded his songs, some of Thomas' dubbing doesn't look authentic. Also, he has stand-up comic skills far superior to the flat routines you see here, which are evident in his long career. Other than that, Thomas is convincing in the role...

While a little lax in the dramatic scenes, Ms. Lee is the film's main asset. Her voice is exquisite and, more importantly, she and director Michael Curtiz make each musical number feel like it belongs exactly where it appears in the script. Unfortunately, Lee's role has been revised to match the religion of Thomas' character. This weakens the story's central conflict (between Thomas and Franz). It looks spectacular in Technicolor, but we wonder why Thomas' parents live in a luxurious palace, where modestly-attired mother Dunnock stands out by refusing a fur coat and dressing like the help. A consistent best supporting actress, Dunnock and Mr. Curtiz make her mother role the most technically well-drawn, with her final scene wordlessly offering conflict resolution.

****** The Jazz Singer (12/30/52) Michael Curtiz ~ Danny Thomas, Peggy Lee, Mildred Dunnock, Eduard Franz

A Long Bus Trip With A Rest

[DKosty123 · 9 September 2011]

Michael Curtiz second musical directed in 2 years with Danny Thomas, this one a remake of the 1927 classic of the same name. The movie is quite watchable. Especially nostalgic is the color shots of Times Square as it used to be before today's LCD ads.

Fans of Peggy Lee should catch this one. She looks fantastic and sounds great in the songs she does. The songs are good too. Thomas plays the Cantors son who wants to be a popular singer. Thomas does a lot of stand up comedy in this movie.

Thomas is quite touching doing a special song for his mother late in the film. It is kind of strange that the same night he is called to his dying father's bedside. Why is mom at the show while dad is home ill? That is a little different for this era the film was made.

The film is pretty good overall. Thomas fans will not want to miss this one either.

Oy Vey!

[Spuzzlightyear · 4/10 · 16 September 1999]

Good grief.. to think I've seen it all.. Danny Thomas looks SO out of place in this mishmash. He seems really uncomfortable. He can't sing worth a lick, and when he's paired up with Peggy Lee (PEGGY LEE???) she easily.. EASILY outsings him! Maybe the director saw this and made him do the reall really bad comedy routines that he sometimes does in the film. Peggy Lee is okay, but the whole thing is a shambles. Good for a laugh, maybe.

Oy Vey!

[fwdixon · 2/10 · 11 September 2011]

Oy gevalt! What a disaster! Danny Thomas croons (badly), Danny Thomas tells jokes (badly) that are so corny and ancient Al Jolson would have been embarrassed to crack them, Danny Thomas emotes (badly, almost laughably). Opening scene had me wondering what all those goyim were doing in the temple! Peggy Lee was entertaining and a standout in this otherwise dreary film. The supporting cast were more-or-less adequate, with the mother and father characters well cast. Look for character actor William Schallert in a bit part, along with some other familiar faces. The Technicolor photography was superb. Watch all the scenes taking place in clubs across the nation and you'll notice that Danny and Peggy are using the exact same microphone in each one! My advice - stick with Jolie's groundbreaking original.

Rare Peggy Lee Performance!

[GeoPierpont · 4/10 · 4 September 2014]

I was pleasantly surprised to find the stylistic arrangements of Ms. Peggy Lee crooning several favorite tunes of the day. She has a most melodic voice and is absolutely stunning! I found her performance the most worthwhile aspect of this film.

Danny Kay appears to try overly hard to make his character believable and moves more towards the theatrical vs emotionally wrought. Kay's comedy routines fall flat and is overshadowed by Ms. Lee in every scene. I could not wait to see more of her and was disappointed in her mostly secondary role. I think the only scene that let her acting chops shine bright was the phone call to Kay from the swanky New York apartment party.

High recommend for Lee's rare film performance and sumptuous temple interior shots.

Very Good Remake of '27 Classic ***1/2

[edwagreen · 9/10 · 16 January 2006]

By 1952 Hollywood decided to remake the Al Jolson first-talking classic.

This time the Cantor's son was played by Danny Thomas. Coming home from the army, it is expected that he follow in the footsteps of his father and other male relatives by becoming a cantor. However, young Mr. Golding has quite a zest for show business.

At this time, he meets Peggy Lee, an aspiring singer. She acts very well and her rendition of her favorite song, Lover, is remarkable. The film writers were smart not to plug the obvious Jewish guy and non-Jewish girlfriend relationship. If anything, this is glossed over. In his anger, for betraying his pledge to become a cantor, his father makes the traditional Jewish sign indicative of a loss in the family. This would not be done under circumstances of breaking a pledge, it would be done if among the orthodox, an inter-faith marriage would take place.

Thomas does a really good job of playing the cantor's son. His singing is up to par as the film ends on a positive note.

Am surprised that technical advisers did not realize that women do not carry pocketbooks into synagogue on the sabbath or at all during that period.

Part of a film genre

[anthonyrwaldman · 8/10 · 20 February 2009]

The Jazz Singer is one of a number of films made in the late 1940's and 1950 about the Jewish experience in the United States. Other than Crossfire(1947) and Gentleman's Agreement(1947) which dealt with anti-semitism they usually had a musical-theatre background. These films included The Jolson Story(1946), Jolson Sings Again(1949), The Eddy Duchin Story(1951), The Eddie Cantor Story(1953),The Benny Goodman Story(1956) and Margorie Morningstar(1958). The leading actors in these "Jewish" films were always played by non-Jews. For example Larry Parks a non-Jew played Al Jolson and Gene Kelly played Noel Airman in Marjorie Morningstar. This casting was probably done to make the Jewish theme palpable to a mainly non-Jewish audience. The Jazz Singer(1952) is no different. Danny Thomas was a devout Catholic and Peggy Lee was certainly not Jewish although she plays a non-practicing Jewess in the film. The clue to her background is when she attends the Golding's family meal before entering she says "I haven't been to a sader (passover service) since I left home".

The film is about a cantor's son who has just left the service after seeing action in Korea. His dilemma is whether to become a cantor, a family tradition or to be a singer in musical theatre. His choice of theatre leads to an inevitable conflict with his father.

However, there is much more to this film than this. This film was made after the Rosenberg trial during the McCarthy whitchhunts and the Hollywood blacklist. Therefore in this film the Jews are shown as good loyal citizens and

are quintessentialy American. The synagogue choir would rather play baseball than practice. The cantors friends also talk about baseball in fact one of them is a Major League umpire. The synagogue itself dates back to 1790 and George Washington is said to have visited. Therefore Jews are presented as part and parcel of American society. Nobody in this film has a Eastern European accent. Peggy Lee appeared in very few feature films. In this film you get to see her sing "Lover" and "Just One of Those Things" wonderful. Danny Thomas is quite credible and he acts and sings the part very well. The comedic routines could have been left out. Yes, the film is schmaltzy and sentimental but it is well worth seeing. I enjoyed it very much.

Hey, It's Pretty Good!!

[2server · 10/10 · 4 February 2000]

To be frank, this is probably the best version in my book as a sound movie version of the Jazz Singer. The 1927 version is really a silent movie despite its build-up as the first talkie.

Danny Thomas is a great comedian, and he sings very well. He does the Jewish stuff with feeling. Peggy Lee is great and any film that has her is always entertaining. Allan Joslyn is not too entertaining and we could have done without him. One question: since when do Cantors live in such luxurious houses???

Strong Performances and Direction

[Michael_Elliott · 11 September 2011]

Jazz Singer, The (1952)

*** (out of 4)

Remake of the legendary 1927 Al Jolson picture has Danny Thomas playing Jerry Golding, a young Jewish man who returns home from the war and his father David (Eduard Franz) is expecting him to become the next Cantor. The Golding family males have been the Cantor for the past six generations but Jerry explains that he wants to try his hand at show business and this causes his father to turn his back on him. The 1927 version is best remembered for being the first talkie (even though it's mostly silent) and without that I think the movie is poor enough to where it would have been forgotten by today. I was really shocked by this remake because it's actually a very well-made little film with director Michael Curtiz really pouring his soul into it. I was surprised because it did seem like it was going to be a cheap, watered down musical but instead the direction was so good and the performances so strong that one really can't help getting caught up in the story. One major thing that works so well here is the relationship between the father and son. Their relationship really is expanded here and I think the love-hate thing works for some terrific drama. It also doesn't hurt that the performances are so strong. Thomas is wonderful in the leading role because he contains a certain kind of sensitive nature that you really care for him. He also has a terrific voice that makes you really understand why he wants to break into the business. Peggy Lee plays his love interest and is strong as well. Franz nearly steals the film as the strong father who expects his son to carry on the family tradition. Alex Gerry is also very good as the caring uncle. The soundtrack includes some very good numbers including Jerry Seelan's What Are New Yorkers Made Of, Cole Porter's Just One of Those Things, The Birth of the Blues and Peggy Lee's own This Is a Very Special Day. What really brings all of this together is the great direction by Curtiz. I was very surprised to see how loving and tender the actual story was and you can tell that there was something in the story that really stuck with the director because he goes all out in each scene to bring it some life. This version of THE JAZZ SINGER isn't that well known, which is a real shame.

Great update of 1927 original. With the exception of Peggy Lee all principals were perfectly cast. Great story, great plot.

[harveytk · 10/10 · 12 November 2010]

I saw this film back when it opened in the very early 50's at , I think,The Brooklyn Museum with my aunt and cousin. I must have been 6-7 years old at the time, and to this day I have never forgotten the film. I particularly remember Danny Thomas singing wonderfully in the film and was very taken with not only his performance of Jerry Golding but also of Eduard Franz who played his father. Wonderful remake of Jolson's original version which opened almost 20 years before I was born. I have always been a huge Jolson fan since I was a small boy, and I wonder if this film did not reinforce that. Sorry it is rarely shown on any Cable network. I have the original soundtrack and listen to it all the time. Great songs, great story, great acting, great film! By the way, I did not like the 1980 version at all.

The story of a Korean war veteran returning home to start a new life as an entertainer instead of taking over the reins of succeeding his father as a Cantor was, I think, very relevant for that time and I think was depicted beautifully. Glad the plot had Mr. Franz recovering from his illness to enjoy his son's success at the end of the film. Nice touch!

10/10

[exepellinglogin · 10/10 · 17 October 2021]

Jerry dreams of becoming a famous jazz singer, but to achieve that he must defy his father, a Jewish cantor who resists such a dream as a future for a son of him.

Decent remake

[jarrodmcdonald-1 · 24 October 2022]

This Technicolor remake of the old hit has only aired four times on TCM, the most recent broadcast was in 2014. By comparison, the 1927 talkie version, which starred Al Jolson and ushered in the sound era, has had much more exposure. Even the 1980 remake with Neil Diamond is better known. It's a shame, because Danny Thomas does such a splendid job here.

He is cast alongside Peggy Lee, who plays his songbird girlfriend. Supposedly, director Michael Curtiz wanted Doris Day to costar with Thomas, since she'd already had a hit movie with him at the studio. But I suspect the reason Miss Day turned the role down was that she wouldn't be playing the main character. In her place, Peggy Lee does quite well, so that's a consolation.

After making THE JAZZ SINGER, Danny Thomas' career moved into television full-time. On TV he became a household name and achieved fame. Interestingly, he was not Jewish, though he did belong to a Jewish country club, one of the few non-Jews to be welcomed in such an establishment. As most know, Thomas was a devout Roman Catholic, heralded for his philanthropic work on behalf of St. Jude's charity for children.

Aspects of the original story are modified to reflect the times and to accommodate Thomas' individual talents as an entertainer. He sings several jazzy tunes with Miss Lee, and he also performs some of his stand-up shtick which seems dated by today's standards, though it is all rather harmless. The stand-up comedy routines feel like something Red Skelton might've done.

As for the solo musical numbers, Thomas' renditions resemble Jolson's in terms of vocal delivery, which I am sure was deliberate in order to pay homage to Mr. Jolson. The original story and stage play were written by Samson Raphaelson and included references to Jolson's life.

Some of the conflict that occurs seems overwrought...where he must choose between being a temple cantor or a career in show biz. However, I think the heart of the conflict, the quarrel between father and son, still resonates today. Namely, how to honor one's family, and yet carve out one's own path.

At times, the central character in this tale seems selfish and even disrespecting of his cultural and religious heritage. But when the father (Eduard Franz) disowns him, we feel sympathy and do not exactly side with the father or his notions about tradition.

Mildred Dunnock is fantastic as the refined and always poised, yet long-suffering, mother. She's especially wonderful in a scene where she attends her son's musical show, and he performs a lullaby she used to sing to him when he was a boy. Also worth noting is Allyn Joslyn as a shallow Broadway producer...as well as Alex Gerry as Uncle Louis who succeeds in facilitating a reconciliation between father and son before it's too late.

Character-driven performances, nicely staged musical numbers and Warner Brothers' top quality production values make this one must-see.