On the verge of receivership in 1926, Warner Bros. studio decides to risk its future by investing in the Vitaphone sound system. Warners' first Vitaphone release, Don Juan, was a silent film accompanied by music and sound effects. The studio took the Vitaphone process one step farther in its 1927 adaptation of the Samson Raphaelson Broadway hit The Jazz Singer, incorporating vocal musical numbers in what was essentially a non-talking film. Al Jolson stars as Jakie Rabinowitz, the son of Jewish cantor Warner Oland. Turning his back on family tradition, Jakie transforms himself into cabaret-entertainer Jack Robin. When Jack comes home to visit his parents, he is warmly greeted by his mother (Eugenie Besserer), but is cold-shouldered by his father, who feels that Jack is a traitor to his heritage by singing jazz music. Several subsequent opportunities for a reconciliation are muffed by the stubborn Jack and his equally stubborn father. On the eve of his biggest show-business triumph, Jack receives word that his father is dying. Out of respect, Jack foregoes his opening night to attend Atonement services at the temple and sing the Kol Nidre in his father's place. Through a superimposed image, we are assured that the spirit of Jack's father has at long last forgiven his son. Only twenty minutes or so of Jazz Singer is in any way a "talkie;" all of the Vitaphone sequences are built around Jolson's musical numbers. What thrilled the opening night crowds attending Jazz Singer were not so much the songs themselves but Jolson's adlibbed comments, notably in the scene where he sings "Blue Skies" to his mother. Previous short-subject experiments with sound had failed because the on-screen talent had come off stilted and unnatural; but when Jolson began chattering away in a naturalistic, conversational fashion, the delighted audiences suddenly realized that talking pictures did indeed have the capacity to entertain. Despite its many shortcomings (the storyline goes beyond mawkish, while Jolson's acting in the silent scenes is downright amateurish), The Jazz Singer was a box-office success the like of which no one had previously witnessed. The film did turn-away business for months, propelling Warner Bros. from a shoestring operation into Hollywood's leading film factory. Proof that The Jazz Singer is best viewed within its historical context is provided by the 1953 and 1980 remakes, both interminable wallows in sentimental goo. Worse still, neither one of those films had Al Jolson--who, in spite of his inadequacies as an actor, was inarguably the greatest musical entertainer of his era.
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