The Screengrab : neil diamond

Yesterday's Hits: The Jazz Singer (1927, Alan Crosland)

Paul Clark — Tue, 12 Aug 2008 19:00:00 GMT

What made The Jazz Singer a hit?: The talking, of course. For more than three decades, moviegoers could travel to the other side of the world or even back in time, but they couldn’t hear the people onscreen actually talking. But in the late 1920s, various studios began to experiment with synchronized sound. While several short films, including Disney’s Steamboat Willie, had been already released with spoken dialogue, The Jazz Singer was the first widely-seen sound feature. Because of the sound equipment, the cost of the film was roughly twice that of a normal Hollywood production, but the movie proved so popular that its success demonstrated the commercial viability of “talkies.” According to Oscar legend, Hollywood’s executives were so bowled over by the success of The Jazz Singer that it was declared ineligible for the first-ever Best Picture Oscar, so afraid were they that it would run away with the award.

What happened?: When The Jazz Singer was first released, audiences couldn’t get enough of “a movie that talked.” But within a few years, talkies became fairly commonplace, to the point where the majority of big-budget releases had spoken dialogue throughout. As a result, the occasional sound scenes in The Jazz Singer no longer held any magic. Unfortunately for The Jazz Singer, this gave viewers ample opportunity to pore over the more rudimentary aspects of the film- the acting, the directing, the storytelling, and so on. And in these respects, The Jazz Singer was even less sophisticated than it was technologically.

Al Jolson, the star of The Jazz Singer remained a popular singer and performer in the decades that followed, and the film itself experienced a resurgence in popularity with the release of the twin biopics The Jolson Story and Jolson Sings Again in the late 1940s. But with the increasing consciousness of race in the United States, the scenes in which Jolson performs in blackface caused the film to fall out of favor with audiences and critics, turning it into little more than a footnote in the history of cinema.

Does The Jazz Singer still work?: Nope, and not just for the obvious reason. I hadn’t seen The Jazz Singer prior to watching it for this review, and its reputation led me to expect a movie that was chock full of minstrelsy. Actually, it contains roughly ten minutes of blackface- two musical numbers and a dramatic scene. But even those scenes left a bad taste in my mouth, less for their offensiveness than for their sheer ridiculousness. While I realize that blackface was considered a legitimate form of entertainment in the 1920s- instead of a reason to be kicked offstage at a Friars’ Club roast- it doesn’t make it any less laughable today.

What’s more, it feels completely gratuitous to the story that the film is telling. Jack Robin (Jolson) works his way to the top as a straight jazz singer, and once he hits Broadway he suddenly begins blacking up for performances, and the film treats this sudden change like it’s perfectly natural. What’s more, in the backstage scene involving Jack and his mother, the presence of blackface subverts the dramatic intent of the scene. When Jack’s mother cries out that her son has to come home to be reconciled with his dying dad, it’s supposed to be heartbreaking, but all I could pay attention to was Jolson’s blackened face and curly wig. Surely that couldn’t have been the film’s intention, could it?

But even out of blackface, Jolson’s performance hasn’t aged well at all. Jolson was primarily a theatrical performer, which is reflected by his overly emphatic acting style- an arsenal of broad facial expressions, shoulder shrugs, eye rolls, and head tilts. But while these gestures might play well on the stage, they’re unsuited to the cinematic medium, and even in intimate moments it feels like Jolson is playing to the cheap seats. What also becomes apparent in close-ups is the strange glint in Jolson’s eyes, which is interpreted by the other characters as pep but looked more to my eyes like mischief, almost malevolence. This gives The Jazz Singer a creepy vibe that couldn’t have been the filmmakers’ intention.

Rare and special is the film that actually holds up to eight decades’ worth of hindsight, and The Jazz Singer isn’t remotely that rare or special. Setting aside its technological advances, it was the kind of broad, simplistic melodrama of the sort that gives silent movies a bad name among non-cinephiles. That it was made at a time when silents were reaching their artistic apex just demonstrates how forgettable it really is. If not for its status as Hollywood’s first sound feature and the subsequent uproar over its racial insensitivity, it’s pretty safe to say The Jazz Singer would have been pretty much forgotten by cinema history, like so many other films of the period.

But hey, it’s still better than the Neil Diamond version, right?

Independent Film Festival of Boston Reviews: Song Sung Blue, Second Skin, Not Your Typical Bigfoot Movie

Andrew Osborne — Mon, 28 Apr 2008 18:00:00 GMT

Song Sung Blue: In this documentary about “Lightning & Thunder,” a husband and wife Neil Diamond/Patsy Cline tribute band, the appeal of the group’s success is attributed to the fact that, like Diamond, they and their Milwaukee fan base are “normal.” That adjective, however, may not be the first that springs to mind when viewing this quirky, moving and often harrowing depiction of the rewards and hard realities of low-level show biz dreams. Director Greg Kohs makes the most of his (sometimes uncomfortably) intimate access to his subjects’ lives, capturing a real world soap opera of triumph, tragedy, and the unexpected magnanimity of Eddie Vedder.

Not Your Typical Bigfoot Movie: And while we’re on the subject of seemingly whimsical but ultimately depressing depictions of American eccentrics, this barely feature-length documentary follows a pair of hard-luck backwoods Sasquatch enthusiasts who invest so much of their time and self-esteem in pursuit of the titular monster that I began to wonder if the whole movie was not actually some kind of giant Blair Witchy scam. If not, then the likeable, desperate true believers depicted here by director Jay Delaney (more or less without exploitive condescension) really need a more productive hobby (but then again, as an underviewed, D-List blogger, I suppose I’m hardly one to judge)!

Second Skin: And speaking of questionable hobbies, this interesting but seriously overlong documentary by Juan Carlos Pineiro Escoriaza utilizes geek-tastic computer graphics, talking head experts and a likeable ensemble of misfits to offer a relatively comprehensive survey course on the positive and negative societal and individual aspects of spending way, way, way too much time online playing Massively Multiplayer Online Role Playing Games (MMORPGs) like World of Warcraft and Everquest. But, like a marathon session playing actual video games, the initial enjoyment factor here eventually gives way to numb-ass claustrophobia and a nagging awareness that you should probably be doing something better with your time.

(For a second opinion, be sure to check out Scott Von Doviak’s SXSW review of Second Skin.)

Reviving Richard Fleischer: "Violent Saturday" and "Mandingo"

Phil Nugent — Fri, 22 Feb 2008 18:00:00 GMT

The director Richard Fleischer, who died a couple of years ago at the age of 89, had a long career, an immaculate bloodline (as the son and nephew of Max and Dave Fleischer, the animators behind the great short films starring Betty Boop, Superman, and Popeye), and no critical reputation to speak of. Fleischer's vast filmography is all over the map in terms of subject matter and style, and his name is attached to a number of big commercial disasters (Dr. Dolittle, Tora! Tora! Tora!) and minor embarassments (Che!, an attempt by 20th-Century Fox to cash in on '60s revolutionary youth, starring Omar Sharif in the title role and Jack Palance as Fidel Castro; The Jazz Singer, starring Neil Diamond, with Laurence Olivier as his chagrinned poppa; Red Sonja with Brigitte Nielsen) that are unified mainly by their lack of personality. But he's begun to attract defenders, and Dave Kehr, for one, thinks it's surprising that he "still has not been given a major New York retrospective." As it happens, three of Fleisher's movies are enjoying return engagements on the New York revival circuit in the days and weeks to come. Violent Saturday (1955), which plays for a week at Film Forum starting February 29, is one of those odd film noirs where the thugs from the city hit the highway and track their mud all over the clean, open fields of the American heartland. Written by Sidney Boehm, who also did the script for The Big Heat, it serves up Lee Marvin as the nastiest of a trio of bank robbers who impose their bad morals and worse manners on a quiet little town where they may fit in a little than the locals want to admit. It was made the same year as James Sturges' better-known rural thriller Bad Day at Black Rock, where Marvin and Ernest Borgnine both served as muscle for the local forces of darkness. Borgnine is in this one, too, but cast against type as an Amish farmer who has understandable cause to worry that his religious proscription against violence may not be strong enough to survive its encounter with Lee Marvin. The film, which enjoyed a brief period of revival and acclaim in the mid-80s when it was discovered by critics and used as a club against Peter Weir's tonier Witness, is a reminder of how well Fleischer's no-frills filmmaking technique worked when applied to simple but gimmicky thriller material, as in the 1952 The Narrow Margin and Armored Car Robbery, both testaments to the grip of nuts-and-bolts noir and the nut-cracking sturdiness of Charles McGraw's jawline.

The "Film Comments Selects" series at Walter Reade Theater is showing Fleischer's 1971 10 Rillington Place on February 21 and 24, thus giving audiences the chance to see the director of Gandhi, Richard Attenborough, sweat up the screen as a serial killer who strangled eight women and left it to an innocent fellow played by John Hurt to be hanged in his place. But the real once-in-a-lifetime opportunity here may be the chance to see the 1975 Mandingo (screening on February 23) on a big screen, assuming that no one tears it down before the closing credits roll. This anti-Gone with the Wind, set on a Southern slave-breeding plantation presided over by James Mason, was made in 1975 from a script by Norman Wexler, the ad executive turned wild man screenwriter who wrote Joe and Serpico. (Wexler, who reportedly served as a model for Andy Kaufman's loathsome lounge-singer character Tony Clifton, was notorious for such stunts as blowing off a man trying to make conversation with him on a commercial airplane flight by telling him that he was on his way to assassinate President Nixon. Wexler's seatmate notified a flight attendant, who in turn notified the FBI, and when the plane landed, Wexler wound up having to talk to a lot of people he would rather have not talked to.)

Kehr takes the position that "Mandingo is Fleischer’s last great crime film, in which the role of the faceless killer is played by an entire social system." This is a very interesting take on the picture, though some will feel that it may amount to putting a little too much thought into a movie that climaxes with Perry King reacting to the news that his wife (Susan George) has been having an affair with his prize slave, played by the heavyweight champ Ken Norton--King finds out the hard way, after his wife has given birth--by sticking Norton into a boiling cauldron and jabbing him with a pitchfork. But however seriously you end up taking Mandingo, it's definitely one of a kind, and very entertaining, if you can handle the fact that Eric Cartman would question its political correctness. (I remember that it was briefly on rotation on HBO around the time that my high school buddies first got cable, and for a long time, they were much taken with King's line, "I fancied her, so I bought her! She's gonna be my bed wench!" I can promise you, however, that use of this line in the real world got them no action whatsoever.) Devotees of hambone turns will want to see it just for the great James Mason drawling his lines, sitting with his bare feet on a black kid's tummy (it's supposed to be good for the arthritis), and generally giving the kind of performance that gives one visions of the star constantly asking the director, "Now, that last take, you're just going to show it for laughs at the wrap party and then burn the negative, right?" There was actually a sort of sequel to Mandingo called Drum, and it had a script that Wexler had worked on and a cast headed by Warren Oates, Pam Grier, and Yaphet Kotto, who you might think would raise the stakes a bit from Perry King, Susan George, and Ken Norton, but it had none of the, um, magic of the original, and is beloved by no one. Fleischer didn't direct it. So maybe he's some kind of auteur after all.

The 37th Annual Razzies Nominations

Phil Nugent — Tue, 22 Jan 2008 21:00:00 GMT

The nominations for the 2007 Golden Raspberry Awards, or "Razzies" have been announced. The awards, which seek to recognize the worst in filmmaking, were created in 1980 by publicist John Wilson. In the first year of their existence, awards were presented to the Village People-Bruce Jenner-Steve Guttenberg vehicle Can't Stop the Music (Worst Picture and Screenplay), Neil Diamond (Worst Actor for his remake of The Jazz Singer, and Brooke Shields (Worst Actress for The Blue Lagoon); the Worst Director prize that year went to the director of Xanadu, Robert Greenwald, who, perhaps seeing the writing on the wall, made no more disco-roller skating musicals but instead resurfaced as a specialist in progressive-minded political documentaries. Thus have the Razzies served as a shaper of culture and careers.

One novelty if this year's event is that two performers are up for playing multiple roles in nominated films. Eddie Murphy scored a record five nominations for the Worst Picture Norbit, including Worst Actor, Worst Supporting Actor, and Worst Supporting Actress. (He's also nominated for having had a hand in the screenplay.) The thriller I Know Who Killed Me garnered nine nominations, including Worst Picture and a pair of Worst Actress nominations for its star, Lindsay Lohan; both Murray and Lohan are also, paradoxically, nominated for Worst Screen Couple for their work with themselves. Other nominees for Worst Picture include Bratz, Daddy Day Camp, and I Now Pronounce You Chuck and Larry, a movie whose trailer had repulsed moviegoers stampeding out of theaters as if a wizened prospector had announced that gold had been struck at the concession stand. The awards are traditionally announced the day before the Academy Awards ceremony. Unlike the Oscars, the Razzies are unlikely to affected by the writers' strike.