"THE JAZZ SINGER."

Press, Volume LXV, Issue 19664, 6 July 1929, Page 7

"THE JAZZ SINGER."

THEATRE ROYAL'S SUCCESSFUL TALKIE. Applauso in a picture theatre has been an unheard of thing up till now, but with the innovation of the talkies it is becoming quite the order of the evening; and the large audience that was present at the first screening of "The Jazz Singer" in the Theatre Royal on Friday was generous in its applause. Like "The Bellamy Trial," "The Jazz Singer" is only part talkie, inly lthe more outstanding scenes being made audible It is a remarkable picture, and provides a ricb study m contrasts —a clashing cf ancient religious traditions and ultra modern ideas. Old Cantor Rubinowitz, the mainstay of the Synogogue, meant his son Jakie to grow up and become the sixth Cantor id succession, but when he found his son sing ing jazz in a saloon biß world came tumbling about his ears like a pack of cards Jakie, having an understanding mother, runs away from home and becomes a singer cf jazz. And here Al Jolson assumes the role of the now grown-up Jakie, or Jack Robin as be calli- himself, and we hear hirn make his Erst public appearance. It is in a crowded cafe. Rnd his singing captivates his audience, for there is "a tear in his voice " Mary Dale (May McAvoy) a dancer, inspires Mm until he is given a chance on Broadway. TheD he learns that his father ia critically ill. and all the traditions of h s race surge up in his heart, as if impelling him Co return to his father's synagogue to sing the songs of Israel, for it ia the Day of Atonement. and there is no Cantor It is a drnmatic climax, and well developed. The Pathe news reel is a very fine production, and with the sound accompaniment is vivid and real.