“THE JAZZ SINGER”

Taranaki Daily News, 2 December 1929, Page 13

“THE JAZZ SINGER”

AL. JOLSON AT EVERYBODY’S. "The Jazz Singer” commenced a threeBeason before a capacity house in ■ Everybody’s Theatre on Saturday afternoon and evening. This is the picture ** that conveyed Al. Jolson to staidom several years ago, . but —m. > notable still—it is the picture that convinced America that the talkie was not to be just a .wonderful toy - but a levolutionis ing invention with possibilities that none could foretell. It was. only to bo expected, therefore, that more interest than usual would be excited when such a picture made its debut in New Plymouth. Many people felt they wanted to sec and hear it because it was a talkie that had made even America enthusiastic. Was it wetter than Jolson’s other talkies? they asked. Was. it better than his “Singing Pool” shown hero a week or two ago? It may be said without hesitation that it is better. Fortone thing, the stoiy jn which it is based is more convincing. Why? Because, while intensely dramatic in parts, it is still very human and, therefore, vivid in its realism. One could imagine that it was actually adapted from real. life. On one side it is an intimate study of a Jewish family, with all its simple joys starkly shown. Those who have read Burns’ "Cotter’s Saturday Night” will know the gripping appeal of that sort of thing. On the other side the story revolves around the lives of actors and actresses, dancers and singers, and all those whose mission is to entertain the great public. The opening scenes are staged in New York’s ghetto. Life goes on there much the same as it docs in other places were largo numbers of people are crowded in confined spaces. There are the cafes, the shops, the tenements, the streets between tall buildings, a market or bazaar will its babbling, jostling humanity. Typical of that quarter, however, are the Jewish profiles. The cantor’of the Syngague is a fervently religious man. Ho is the fifth generation of cantors in his family. He lives for his singing of the ancient Hebrew hymns and hopes that his son will succeed him in the honourable office. But the son, a boy, loves jazz and is severely chastised by his father after being caught singing in a cafe. He leaves home “for ever,” but returns years later when he is about to be starred on Broadway. His mother is overjoyed, but his father is irreconcilable. “You jazz singer,” says he contemptuously, “leave this house never to come back.” The cantor becomes ill and is about to die. The next day is the Day of Atonement and for the first time there Is no cantor to lead the swelling, beautiful song of Koi Nidr.e. There is a dress rehearsal on Broadway. Tho show will I open that night. The dying cantor regents and calls his son; the synagogue calls him to sing in his father’s place. Will tho son sacrifice his career, or. break his mother’s heart? The call of race, blood and religion is strong. Drawn first to tho theatre and then to his family, ho at last forsakes Broadway, receives his father’s dying, blessing, and sings the Koi Nidre in the Synagogue.. Then once again the “jazz singer ..who lias sung to his God” steps' back oh old Broadway and sings to his public. May McAvoy plays opposite. Jolson, tho cantor’s son, in a story that has a strong love interest. Jolson sings the songs that made him famous before he was the “Singing Fool.” He is supported by an exceptionally strong cast, each one of whom is a character star. But ono must see the' Jewish service in the Synagogue, depicted with all due reverence, and hear the celebrated cantor. Josef Rosenblatt, intone the Koi Nidre —. Worthily supporting “The Jazz Singer” are some other pictures. The rich, round tenor voice of Allan Prior sings La Donna Mobile and other gems of vocal music. Weismuller leads a bevy of pretty girls in a wonderful demonstration of overarm and back strokes. . He counts the actions like a music teacher keeping time. "One —two —three —gurgle . . . eight —gurgle —nine—ten —eleven — twelve—stop!” Fox travelogues long ago showed ns what a street in the Orient looks like. On Saturday night Fox movietones showed us what they sound like. Then there was the "champion knife sharpener of Peking,” who sang his queer, shrill Chinese song as he plied his trade. A prayer service in a Llama temple sounded like a cross between a Maori dirge and the drone of an aeroplane engine. Other movietone episoldes included a speech by the Prince of Wales. Then there was an amusing comedy, and some jazz music . and eccentric dancing by Reb. Spikes, and his clever coloured Follies, The programme will be repeated t.iplght and to-morrow night.