The Jazz Singer

1927

Action / Drama / Music / Musical / Romance

2
Rotten Tomatoes Critics - Rotten 57%
Rotten Tomatoes Audience - Upright 73%
IMDb Rating 6.8 10 7283

Synopsis


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Downloaded 501 times
December 19, 2013 at 12:54 AM

Director

Cast

Myrna Loy as Chorus Girl
William Demarest as Buster Billings
Al Jolson as Jakie Rabinowitz
Warner Oland as The Cantor
720p
752.80 MB
1280*720
English
Unrated
23.976 fps
1hr 28 min
P/S 3 / 11

Movie Reviews

Reviewed by Doug Nabors 10 / 10

Good fun

You have to learn how to watch a silent movie. Most people who watch one get bored, and expect modern day techniques. All of the actors/actresses did great in this version, even Al Jolson who was not "hammy" as he has been called. He, like the others, made use of wide expressive movements with his hands. Some of the lighting could be improved, but this may have been taken on a remastered DVD, I haven't seen one yet. The music that is used expresses the mood of the scenes very well for that period. The use of Blackface at that time and before was not offensive to most anyone, even black people, as one of their own, Bert Williams, used it over his own black skin. This movie deserves a proper viewing, the viewer should learn a little entertainment business history first.

Reviewed by tedg ([email protected]) 8 / 10

Four Angels, Poised

There's not much to say about this other than even today, for this viewer, it is emotionally effective. Yes you know you are being manipulated. Yes, the acting conventions of the silent screen are comically exaggerated. Yes, it is shameless in setting up the ultimate choice. But this is so well structured that even today it escapes cliché. That's so remarkable, because big movies are almost always turned into clichés as bits of them are digested and continuously re-served to us as our visual grammar.

The love interest here is so unusual. He does fall in love with a pretty dancer, but tells her plainly that his career is more important than she is. She later doesn't become part of the choice — as would be the case in nearly every other script — instead she becomes part of the audience, presenting the dramatic quandary: the stage or God.

The presentation of religion is unique in my experience. Everyone here is a Jew, except the performers. They are the "real" and everyone else is "pretend," performing. Though there are many opportunities to fall into obnoxious stereotypes, its avoided over and over. That's despite the dozens of examples they had before.

In fact, there's an amazing engineering of story here. As any viewer will know, this was the first talkie. It was new, and to emphasize its newness a story was created to emphasize the contrast between old and new.

This film is part silent, part "talkie." It shows a struggle between the old (obviously obsolete) and the vital young. It also depicts in a rather subtle but effective way the "old" god, and the new: there's plenty of talk about the performance hall being a modern church. The music as well: we have the implication that it is not only the setting, the performer and the calling, but the music itself that is something new.

Along the way we get street scenes of the Jewish area of New York. These are genuine street scenes and are absolutely phenomenal: there isn't anything I know that compares. There was an attempt of sorts in "The Pawnbroker," which by itself was strong. But nothing compared to this.

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.

Reviewed by tedg ([email protected]) 8 / 10

More Than Just A 'Curiosity Piece'

There's not much to say about this other than even today, for this viewer, it is emotionally effective. Yes you know you are being manipulated. Yes, the acting conventions of the silent screen are comically exaggerated. Yes, it is shameless in setting up the ultimate choice. But this is so well structured that even today it escapes cliché. That's so remarkable, because big movies are almost always turned into clichés as bits of them are digested and continuously re-served to us as our visual grammar.

The love interest here is so unusual. He does fall in love with a pretty dancer, but tells her plainly that his career is more important than she is. She later doesn't become part of the choice — as would be the case in nearly every other script — instead she becomes part of the audience, presenting the dramatic quandary: the stage or God.

The presentation of religion is unique in my experience. Everyone here is a Jew, except the performers. They are the "real" and everyone else is "pretend," performing. Though there are many opportunities to fall into obnoxious stereotypes, its avoided over and over. That's despite the dozens of examples they had before.

In fact, there's an amazing engineering of story here. As any viewer will know, this was the first talkie. It was new, and to emphasize its newness a story was created to emphasize the contrast between old and new.

This film is part silent, part "talkie." It shows a struggle between the old (obviously obsolete) and the vital young. It also depicts in a rather subtle but effective way the "old" god, and the new: there's plenty of talk about the performance hall being a modern church. The music as well: we have the implication that it is not only the setting, the performer and the calling, but the music itself that is something new.

Along the way we get street scenes of the Jewish area of New York. These are genuine street scenes and are absolutely phenomenal: there isn't anything I know that compares. There was an attempt of sorts in "The Pawnbroker," which by itself was strong. But nothing compared to this.

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.

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