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.
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.