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By , Moses Yoelson could afford to pay the fare to bring Nechama and their four children to the U. Jolson's mother, Naomi, died at 37 in early , and he was in a state of withdrawal for seven months. He spent time at the St. After being introduced to show business in by Al Reeves , Jolson and Hirsch became fascinated by it, and by the brothers were singing for coins on local street corners, using the names "Al" and "Harry". They often used the money to buy tickets to the National Theater. In the spring of , Jolson accepted a job with Walter L.

Main's circus. Although Main had hired him as an usher, Main was impressed by Jolson's singing voice and gave him a position as a singer during the circus's Indian Medicine Side Show segment. In May , the head producer of the burlesque show Dainty Duchess Burlesquers agreed to give Jolson a part in one show.

He performed "Be My Baby Bumble Bee", and the producer agreed to keep him, but the show closed by the end of the year. He avoided financial troubles by forming a vaudeville partnership with his brother Hirsch, a vaudeville performer known as Harry Yoelson. The brothers worked for the William Morris Agency. During their time with Palmer, they were able to gain bookings in a nationwide tour.

However, live performances were falling in popularity as nickelodeons attracted audiences; by , nickelodeon theaters were dominant throughout New York City. While performing in a Brooklyn theater in , [16] Jolson began performing in blackface , which boosted his career. He began wearing blackface in all of his shows.

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In late , Harry left the trio after an argument with Jolson. Harry had refused his request to take care of Joe Palmer, who was in a wheelchair. After Harry's departure, Jolson and Palmer worked as a duo but were not particularly successful. By [16] they agreed to separate, and Jolson was on his own. In Jolson, needing money for himself and his new wife, Henrietta, returned to New York.

In , his singing caught the attention of Lew Dockstader , the producer and star of Dockstader's Minstrels. Jolson accepted Dockstader's offer and became a blackface performer. According to Esquire magazine, " J. Shubert , impressed by Jolson's overpowering display of energy, booked him for La Belle Paree , a musical comedy that opened at the Winter Garden in Within a month Jolson was a star. From then until , when he retired from the stage, he could boast an unbroken series of smash hits.

La Belle Paree helped start his career as a singer. Opening night drew a large crowd, and he became popular with the audience by performing Stephen Foster songs in blackface. The show closed after performances. After Vera Violetta closed, Jolson starred in another musical, The Whirl of Society , propelling his career on Broadway to new heights. During his time at the Winter Garden, Jolson told the audience, "You ain't heard nothing yet" before performing additional songs. In the play, he debuted his signature blackface character "Gus.

In , Robinson Crusoe, Jr. In , his acting career was pushed further after he starred in the hit musical Sinbad. Jolson added " My Mammy ".


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By , he had become the biggest star on Broadway. His next play, Bombo , became so successful that it went beyond Broadway to performances nationwide.

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At the age of 35, Jolson was the youngest man in American history to have a theatre named after him. Out of fear, he lost his voice backstage and begged the stagehands not to raise the curtains. But when the curtains went up, he "was [still] standing in the wings trembling and sweating. In March , he moved the production to the larger Century Theater for a benefit performance to aid injured Jewish veterans of World War I.

The reviewer for The New York Times wrote, "He returned like the circus, bigger and brighter and newer than ever Last night's audience was flatteringly unwilling to go home, and when the show proper was over, Jolson reappeared before the curtain and sang more songs, old and new. To watch him is to marvel at his humorous vitality. He is the old-time minstrel man turned to modern account. With a song, a word, or even a suggestion he calls forth spontaneous laughter. And here you have the definition of a born comedian. This simulation of a stage performance by Jolson was presented in a program of musical shorts, demonstrating the Vitaphone sound-film process.

The soundtrack for A Plantation Act was considered lost in but was found in and restored by The Vitaphone Project. Warner Bros. He told Jessel that he would have to sing in the movie, and Jessel balked, allowing Warner to replace him with Jolson. Jessel never got over it and often said that Warner gave the role to Jolson because he agreed to help finance the film.

Harry Warner 's daughter, Doris, remembered the opening night, and said that when the picture started she was still crying over the loss of her beloved uncle Sam. He was planning to be at the performance but died suddenly at the age of 40, the day before. But halfway through the minute movie she began to be overtaken by a sense that something remarkable was happening. Jolson's "Wait a minute" line provoked shouts of pleasure and applause from the audience, who were dumbfounded by seeing and hearing someone speak on a film for the first time.

So much so that the double-entendre was missed at first. After each Jolson song, the audience applauded. Excitement mounted as the film progressed, and when Jolson began his scene with Eugenie Besserer , "the audience became hysterical. According to film historian Scott Eyman , "by the film's end, the Warner brothers had shown an audience something they had never known, moved them in a way they hadn't expected.

The tumultuous ovation at curtain proved that Jolson was not merely the right man for the part of Jackie Rabinowitz, alias Jack Robin; he was the right man for the entire transition from silent fantasy to talking realism. The audience, transformed into what one critic called, 'a milling, battling mob' stood, stamped, and cheered 'Jolson, Jolson, Jolson! Vitaphone was intended for musical renditions, and The Jazz Singer follows this principle, with only the musical sequences using live sound recording. The moviegoers were electrified when the silent actions were interrupted periodically for a song sequence with real singing and sound.

Jolson's dynamic voice, physical mannerisms, and charisma held the audience spellbound. Costar May McAvoy , according to author A. Scott Berg, could not help sneaking into theaters day after day as the film was being run. In that moment just before 'Toot, Toot, Tootsie,' she remembered, 'A miracle occurred.

Moving pictures really came alive. To see the expressions on their faces, when Joley spoke to them And when he came out with 'Mammy,' and went down on his knees to his Mammy, it was just dynamite. Not only the eyes are a window on the soul. With Warner Bros. Al Jolson made his first "all-talking" picture, The Singing Fool , the story of an ambitious entertainer who insisted on going on with the show even as his small son lay dying.


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    6. The film was even more popular than The Jazz Singer. Jolson continued to make features for Warner Bros. A restored version of Mammy , with Jolson in Technicolor sequences, was first screened in However, these films gradually proved a cycle of diminishing returns due to their comparative sameness, the regal salary that Jolson demanded, and a shift in public taste away from vaudeville musicals as the s began. Jolson returned to Broadway and starred in the unsuccessful Wonder Bar. It was directed by Lewis Milestone and written by Ben Hecht. Hecht was also active in the promotion of civil rights : "Hecht film stories featuring black characters included Hallelujah, I'm a Bum , co-starring Edgar Connor as Jolson's sidekick, in a politically savvy rhymed dialogue over Richard Rodgers music.

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    The New York Times reviewer wrote, "The picture, some persons may be glad to hear, has no Mammy song. It is Mr. Jolson's best film and well it might be, for that clever director, Lewis Milestone , guided its destiny Wonder entertains and banters with his international clientele.

    Romance, flash, dash, class, color, songs, star-studded talent and almost every known requisite to assure sturdy attention and attendance It's Jolson's comeback picture in every respect. Jolson's last Warner vehicle was The Singing Kid , a parody of Jolson's stage persona he plays a character named Al Jackson in which he mocks his stage histrionics and taste for "mammy" songs—the latter via a number by E.

    According to jazz historian Michael Alexander, Jolson had once griped that "People have been making fun of Mammy songs, and I don't really think that it's right that they should, for after all, Mammy songs are the fundamental songs of our country. In this film, he notes, "Jolson had the confidence to rhyme 'Mammy' with 'Uncle Sammy'", adding "Mammy songs, along with the vocation 'Mammy singer', were inventions of the Jewish Jazz Age.

    The film also gave a boost to the career of black singer and bandleader Cab Calloway, who performed a number of songs alongside Jolson. In his autobiography, Calloway writes about this episode:. I'd heard Al Jolson was doing a new film on the Coast, and since Duke Ellington and his band had done a film, wasn't it possible for me and the band to do this one with Jolson. Frenchy got on the phone to California, spoke to someone connected with the film and the next thing I knew the band and I were booked into Chicago on our way to California for the film, The Singing Kid.

    We had a hell of a time, although I had some pretty rough arguments with Harold Arlen, who had written the music. Arlen was the songwriter for many of the finest Cotton Club revues, but he had done some interpretations for The Singing Kid that I just couldn't go along with. He was trying to change my style and I was fighting it. Finally, Jolson stepped in and said to Arlen, 'Look, Cab knows what he wants to do; let him do it his way. And talk about integration: Hell, when the band and I got out to Hollywood, we were treated like pure royalty.

    Here were Jolson and I living in adjacent penthouses in a very plush hotel. We were costars in the film so we received equal treatment, no question about it. The Singing Kid was not one of the studio's major attractions it was released by the First National subsidiary , and Jolson did not even rate star billing.

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    The movie also became the first important role for future child star Sybil Jason in a scene directed by Busby Berkeley. Jason remembers that Berkeley worked on the film although he is not credited. It stars Jolson, Alice Faye and Tyrone Power , and included many of Jolson's best known songs, although several songs were cut to shorten the movie's length, including " April Showers " and " Avalon ".

    Reviewers wrote, "Mr Jolson's singing of Mammy , California, Here I Come and others is something for the memory book" [46] and "Of the three co-stars this is Jolson's picture After the George M. It was directed by Alfred E. With Jolson providing almost all the vocals, and Columbia contract player Larry Parks playing Jolson, The Jolson Story became one of the biggest box-office hits of the year.