THE JAZZ SINGER
US, 1980, 116 minutes, Colour.
Neil Diamond, Laurence Olivier, Lucie Arnaz, Caitlin Adams, Franklyn Ajaye, Paul Nicholas, Sully Boyar, Mike Kellin, James Booth.
Directed by Richard Fleischer.
The Jazz Singer was famous as the first sound film and for bringing Al Jolson's songs to the screen; it was remade in the '50s with Danny Thomas. Now it is Neil Diamond's first film, plot updated and looking like an optimistic A Star Is Born. Diamond is genial and sings his own songs characteristically; Laurence Olivier pulls out all stops as his cantor father. Lucie Arnaz is delightful. The world of the orthodox New York Jew and the Synagogue, staid and steady, is contrasted with California, the recording industry and spectacular concerts, ego trips and glossy glamour, even when fulfilling. Diamond's climax song is 'America', a jubilant '80s hymn to the multi-cultural American dream. The direction was begun by Sidney J. Fury, who made Gable and Lombard and Lady Sings The Blues. It was taken over by Richard Fleischer, a competent director of all genres.
1. A popular and entertaining film? Neil Diamond vehicle7 A satisfying musical? Sentimental career story and romance? A version of the American dream? The focus on America in the '80s?
2. Audience response to Neil Diamond's songs: their staging, the music, the lyrics, the style? 'You, Baby', 'Jerusalem', 'America', 'My Name is Yussel', 'Love on the Rocks', 'On the Robert E. Lee', 'Summer Love', 'Hey Louise', 'Songs of Life', 'Hello Again', 'Amazed and Confused', 'Acapulco'? The traditional Hebrew songs and hymns?
3. The atmosphere of New York? The synagogue and Jewish way of life contrasting with California. the recording studios, the Pacific beach front way of life? Jess and his wandering Middle America? The glimpses of the varying styles of American life?
4. The film as the popular story of opportunity, hopes. rebellion, disappointment, change, learning, disappointment and success. support and achievement? A satisfying presentation of these perennial themes?
5. The American tone of the film: the opening credits and collage during the song, the resume for Jess' final successful song? The American Jew and his background, presence in the United States, in New York? America as a melting pot for so many nationalities to find a home, success?
6. Yussel and his singing? The reaction of his father, his wife? The family not understanding it? The long traditions of the family being cantors? The expectations on Yussel? his father and his love for his son, memories of his mother. Europe and the war, the pressures on Yussel? Uncle Leo as an intermediary? The contrast with Bubba and the group? Yussel slipping out from synagogue prayer to the nightspots? The humour of the mock blackface - and the echo of Al Jolson in the original? The black audience and the build-up to the brawl? The group in jail? The irony of the cantor bailing out his son? The possibilities for recording in California? The dilemma for Yussel? The pressure from his father. from his wife? His decision to leave? His realising the possibility of changing but the need to fulfil his ambition and drive? Did he make the right decision?
7. The contrast with the atmosphere of California? Molly and her pleasant meeting him, the car and the chauffeur? The world of recording? Keith Lennox and his singing of Yussel's song. his arrogance, firing him? Lennox's manager? Yussel's singing and making an impression on Molly? Her trying to get him spots with Eddie - and her techniques of pressurising? Her decision to become Jess' agent? The significance of his changing his name - and moving away from his background? The build-up of opportunities, rehearsals, Bubba and the group and their success? Concert and applause?
