calvinnme This movie started the wave of biopics that began after WWII. Larry Parks doesn't look the least bit like Al Jolson. For that matter, the script doesn't look much like Jolson's life either. However, the film is very entertaining with a few ironies for the classic film buff. When Parks is on stage, you really get a taste of Jolson in his prime. Al Jolson actually tutored Parks in how to move and interact with the audience using his own style, and it comes across well, even if it is obvious that you are hearing Jolson's voice during the performances and that this voice does not match Larry Parks' speaking voice at all.Jolson's life story has been sanitized here to keep in line with the values of the post-war motion picture production code, right down to extending the life of Jolson's mother an extra forty years - she died when Al was ten. Also, the movie has Jolson playing the career-absorbed bachelor until he meets his wife Julie Benson (code for Ruby Keeler) when he is in his forties. Yes, Al was career-absorbed, but he still went through two marriages and two divorces before he ever got to Ruby Keeler.Two very interesting points of the film involve the insertion of the fictional character Steve Martin that allegedly got Al into show business and also the choice of director. The first interesting point is that fictional character Steve Martin is played by William Demarest, who actually had a bit part in 1927's "The Jazz Singer". You'll see him sharing a plate of eggs with Al at Coffee Dan's just minutes before Al bursts into song in "Toot Toot Tootsie". Demarest was a bit player over at Warner's during the beginning of his career. He had no real association with Al Jolson that I know of. The second interesting point is the choice of director - Alfred E. Green. Mr. Green was among that group of directors that ground out the early talkies for Warner Bros during the time that Jolson was a star at that studio. However, he never directed any of the eight motion pictures that Al Jolson starred in for Warners. There were four directors that Jolson worked with over at Warner Brothers that were still alive when this film was made, but for some reason none of them got the job.At any rate, the movie is very entertaining and well-paced with great renditions of Jolson's acts and songs. For the unvarnished truth about Jolson's life, try to find a copy of the documentary "The Real Al Jolson Story" made in 1986 and originally telecast by Bravo, back when they really were dedicated to the performing arts and before they became so concerned with Top Chefs and Flipping Out - you know, the same kind of stuff you can find on 50 other channels.

bebop63-1 This is a truly enjoyable film to watch if only to see Al Jolson in action, singing his hits like "Swanee", "My Mammy". The close-ups of him singing both in blackface and as he is are truly mesmerising. A pity that the movie wasn't even nominated for Best Picture in 1946, though it did win for Original Score. He may have come across as an egotist who revelled in hugging the spotlight, but for all that his enthusiasm and love of entertaining audiences is simply infectious. I also loved the understanding and supportive attitude of his parents towards his career even though they opposed his entering showbusiness initially. The only reason I rate it a 9 and not a perfect 10 is for the historical inaccuracies it portrays, like the fact that Steve Martin, Al's performing partner and later booking agent didn't really exist (in reality he was a composite of several people involved in Al's career), and that his mother actually died when he was very young but in the film she witnesses his rise to fame and fortune till the end - but then, I have yet to see a movie biopic that remains 100% true to the real life of the person in question. Still, it is a truly memorable and unforgettable film for all.

caa821 Al Jolson can be considered to show business what Babe Ruth is to baseball, Hank Williams to country music, Jordan to basketball, Gretzsky to hockey - in a field with many prominent and great figures over many decades, still the one individual who stands at the top among his peers. Although he was far from the altruistic person portrayed here, this doesn't diminish his greatness. Neither do the fictionalized aspects of the story, which stretch the facts well beyond the normally wide boundaries common to biographical pictures, especially from the 1930's, through the depression and WW II years, into the '50's. For example, the William Demarest character is an obvious "composite" of others with whom Jolson appeared early in his career - his brother (never even hinted in the story) and other partners, before he joined Dockstader's minstrel show. In actuality, his mother died when he was eight - several years before the time period where this story begins; and yet she is a key character in the film, commenting upon, advising, and to a degree influencing some of Al's decision process - even when he is an adult. And the Evelyn Keyes character ("Julie," but actually Ruby Keeler) was hardly his first love (as indicated by the movie), but his third wife; they married when he was nearing his mid-40's and she had just turned 19, and after, not during, his shooting "The Jazz Singer." In this film, William Demarest, now his manager, advises him to have some fun, as if he didn't even date for concentrating so much on just performing - which in actuality would have been a period in his life when he was well into his second marriage (or even after it might have ended). A friend of mine, who, while not famous, has starred with his wife as an entertainer in Branson and other venues, appeared in movies and television, and is an avid member of "The Jolson Society," heard a story from someone who at one time had been in the Jolson entourage. Far from eschewing feminine company for love of only performing (as indicated in the film) Jolson is said to have often engaged the "companionship" of a couple of showgirls in his dressing room to help him relax prior to a performance. (He also said that Ruby Keeler had indicated the accurately-portrayed scene of his rising from the audience to sing during her show was not simply a loving, charitable act. Rather, it was a reflection of Al's extremely immense ego, and his desire for the spotlight to be on him as much as possible.) And the shows he headlined on Sundays, largely for other entertainers of Broadway, weren't solely the benevolent act portrayed here. He supposedly often engaged in banter from the stage, pointing-out to those assembled, the contrast between his level of success and theirs, and the like. Finally, the movie indicates "Julie's" absolute desire completely to retire, while Jolson is depicted as doing so to accommodate this strong, obsessively-portrayed need on her part. Actually, at this time, in real life, Ruby Keeler was barely 30, and with a far busier career than his. In addition to the movie depicting this contrary to fact, even the way this fiction is shown is somewhat silly. He wants to stay home, "as usual," and strongly indicates this near the film's close. But the Bill Goodwin (Broadway producer) character, visiting their secluded home, and even Jolson's parents, insist on going to a night club. Then, when he reluctantly accedes to the emcee's request to sing, and gets caught-up in once again performing on-stage (after a supposedly long lapse, of years), Julie summarily walks out while he's singing - and then later (at the outset in the sequel), even his father chides him about it, clearly indicating the blame is his alone. But ... all these fictional histrionics aside, this movie is a great work about the most iconic of entertainers. The music is marvelous - and the sequel 3-years later (unique among Hollywood biopics), is an outstanding continuation, beginning precisely where this original leaves off. Many have criticized this shorter follow-up as being inferior to the original. I would characterize it as great, also - perhaps just not quite as great, and recommend one view both pictures in tandem. Give both 10 stars; this original would be 10 +.

helives2 The Jolson Story is one of the best movies ever made. Even though some of it is fiction, I enjoy watching it over and over again (as well as Jolson Sings Again). Larry Parks did a marvelous rendition of Al Jolson. He was an excellent actor who died much too early, but he left us with his wonderful acting. My favorite song in the movie, Jolson Sings Again, is "Sonny Boy", although I like all the songs! Scotty Beckett is a very good young Al Jolson. William Demarest was one of my favorite actors and was excellent in his part as Al Jolson's partner and then Manager. Bill Goodwin was great, and Ludwig Donath and Tamara Shayne were fine, also.