THE JOLSON STORY (1946)

If NIGHT AND DAY was the bottom of the barrel as far as whitewashed showbiz bio musicals, THE JOLSON STORY is pretty close to the top. This has everything the Cole Porter film didn't have: a strong leading performance, good supporting players used well, and a string of fun production numbers. Larry Parks plays Jolson, born Asa Yoelson, the son of a cantor who decides he'd rather sing in burlesque houses than in synagogues. When he's young (and played by 17-year-old Scotty Beckett) he is befriended by vaudevillian William Demerest. They travel the country doing an act (part of which involves Jolson whistling instead of singing when his voice changes) and when Jolson grows up (Parks), he strikes out on his own as a blackface minstrel. He gets a part in a Broadway show but his natural talent (and hamminess) make it hard for him to stay in the background and soon he is a breakout star, eventually becoming one of the biggest sensations in show business. He meets the star of the latest Ziegfeld protege (Evelyn Keyes, playing a fictionalized version of Ruby Keeler), marries her, and seems to have a happy family life. Later, they both retire to the country life but Jolson is clearly not happy doing nothing and when the opportunity presents itself to return to show biz, he does, though it means losing his wife (in an awkward, ambiguous closing scene).

Parks looks nothing like Jolson but has lots of energy and does a great job lip-synching to vocals which were newly recorded by the real Al Jolson. Demerest, who remains a business partner and friend to Jolson for life, gives a nicely fleshed-out performance; both actors were nominated for Oscars. Ludwig Donath and Tamara Shayne are very good as Jolson's parents. Beckett is also good, though he doesn't get to stick around for long. Many of the songs are ones that I heard my parents singing around the house when I was growing up: "After the Ball," "By the Light of the Silvery Moon," "You Made Me Love You," "Toot Toot Tootsie," "Rockabye Your Baby with a Dixie Melody," and of course Jolson's signature song "Mammy." We see Parks recreate several blackface numbers--I wish I understood what the appeal of blackface minstrel music was--but we never see him as Jolson in his biggest hit, THE JAZZ SINGER. It's mentioned but not shown, perhaps because Jolson's original performance would still have been in the memories of most moviegoers in 1946. Dramatically lightweight, but far more entertaining than the Cary Grant/Cole Porter fiasco that came out the same year. The DVD print is nicely restored, with great color, though perhaps a bit heavy on the yellow-gold tones. [DVD]