Customer Reviews

Mammy [VHS]

5 star:		(3)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Why was it that Al Jolson, Broadway's biggest star, the man who starred in 1927's The Jazz Singer, the first talking movie, didn't make tons of movies? Was it just because "The World's Greatest Entertainer," as he was called, did some of his act in blackface (minstrel shows were acceptable in those days) or sang in a highly emotional, loud style (later outmoded by the more sedate Crosby, who vocally caressed the mike). I was a Jolson fan when my friends loved the Beatles and the Rolling Stones but I have to be honest: written accounts say, and this movie PROVES, that his acting left a lot to be desired. I own this movie and LIKE it. Yet, it's hard to rate since it boasts a GREAT Irving Berlin score. On the music I would give it four stars. On Jolson's acting two or three (at most). Jolson does "Let Me Sing And I'm Happy" several times and he is so incredibly charismatic you can see how Judy Garland and the others labelled as "another Jolson" didn't come close. Despite critics who said Jolson's pizazz could not be captured on film, it is (partly) in several spots here. George Burns and others wrote and said there was no one who ever came close to relating to and exciting an audience like Al Jolson. Meanwhile, his performance here in non-singing scenes ranges here from OK to absolutely dreadful (his scene where he is supposed to be drunk is nothing less than embarrassing). He comes across as likeable most of the time, but the acting is truly subpar (and I am being generous). According to some accounts, audiences tired of Jolson's movies because they basically all were variations on The Jazz Singer: he was usually an entertainer, there were emotional songs, and there was usually something about a mother. If you want to see stage charisma this video IS worth buying (you probably can't find it in any rental stores and it certainly will SELDOM if ever be seen on television due to the blackface segments). NOTE: I have my copy and won't sell it because I like his vocal performances and stage charisma. But when I watch it I fast foward to the songs.

Jolson stars in this review of the bygone minstrel era in a movie that could not be made today. Jolson portrays Al Fuller, lead showman for Meadow's Merry Minstrels. Show biz turns to murder when an envious co-star slips real bullets into a prop gun and Jolson finds himself charged with murder. 1930's film that's sure to give you an idea of what movie "talkies" were all about. These films put a lot of the movie piano players out of a job. Based on the Broadway play "Mr Jones" by Irving Berlin. 1 hour and 24 minutes of glorious black and white. I thoroughly enjoyed watching the film, seeing and hearing Jolson again. There's only one voice like that. The voice of "The Jazz Singer" lives on in this film. 5 stars for Al.

The story of this film is mediocre. Al Fuller, one of the stars in a vaudeville act, is in love with his best friend's girl. However, his best friend treats the girl badly. The two get into a fight about the way she should be treated, and another cast member frames Al, making it look as if he tried to murder his best friend. The supporting cast is not memorable enough to carry the show to its limit which makes it less engaging than it could be.

The songs in this films are not outstanding either, except for the often used "Let Me Sing And I'm Happy" which Jolson emotes with passion. The lyrics seem to truly illustrate Jolson's own love for music and performing.

The reason this film gets four stars instead of three is because of the outstanding performer Al Jolson. Yes, he was stagy and yes he was egotistical, but he is nothing but lovable in this movie in which he plays the underdog Al Fuller. He is magnetic in all of his scenes; he loves the camera and the camera loves him. Audiences catch a glimpse of what Jolson must have been like on the stage in his scenes imitating vaudeville, a highly lovable and lasting actor.

i stil say that he is the greatest entertainer that ever was and not to have any dvds is stupid

Thanks to Warner for the incredible restoration of this film. Sound as well as picture was outstanding
a pleasure to watch and listen to.

it was very well done as a reprint and it is nice having one of his first movies. thank you mrs. r gunning

Al Jolson sings an Irving Berlin score in a talkie-era smash hit! Action director Michael Curtiz guided Al Jolson's groundbreaking sound performance as a lovelorn blackface minstrel man innocently involved in murderous intrigue. Without a lot of fanfare, Warner is re-releasing a remastered and restored edition in glorious black and white but also with original Technicolor sequences! In 1930, seeing this film with sound and color was as jaw dropping as experiencing Avatar in 3-D! There is a lingering issue of political correctness here. Some people are still offended by the vintage pictures (and portrayal) of Jolson in minstrel make-up, but the character he played on stage was not a mockery, but a heartfelt homage. Jolson was a superstar of his time -- not unlike the late Michael Jackson. The reverse irony of a white man in black face is not lost in memory's mirror of Jackson. From Warner Archives. (1930, Not-rated, Full Frame, 88 Minutes)

Richly detailed and atmospheric drama with songs; with the number one entertainer of the period, Al Jolson.

By 1930, "talkies" were now..."movies". Disk synchronization was over and sound was balanced. But beside these positives, we have the miraculous event of a great singer and crowd pleaser performing live. It appears that by the late '30s, actors would sing to a track of themselves.. or whoever was dubbing for them.

This was Jolson's first film since THE JAZZ SINGER to feature an interesting storyline, thogh once again Al plays the gifted artist who has forsaken the home life for the road life; the man who finds such joy in his work that he has yet to laern adult social skills, constantly involving himself in complicated situations, such as a rocky relationship between his pal and the girl with whom he has a crush -his pal's girl, who has her own problems, as daughter of the Troupe Manager.

The story is fascinating as history of an old show business tradition, the Minstrel Show, which died out not long after this movie was shot - the ethnic stereotyping might an issue with viewers unfamiliar with a period in American History when African - American society was treated as separate from the mainstream; when the represented ethnicity could not attend a show depicting their "Southern" roots.
So the movie, seen purely as drama, and not as a musical experience with classics like "Let Me Sing And I'm Happy", will remain a curiosity even for film students.

All the songs are wonderful - naturally the Jolson sequences stand out: two lesser-known sentimental ballad, "(Across The Breakfast Table) Looking At You" and "To My Mammy" (with some lyrics forecasting "How Deep Is The Ocean"); plus two uptempo novelties, "Where Did Robinson Crusoe Go With Friday On Saturday Night" and "Why Do They All Take the Night Boat To Albany?", the later in two-tone Technicolor.

I disagree about Jolson's "bad acting"..yes, he's pretty bad in some scenes, but more often he's good to excellent. It's a shame that documnetors use a particular scene from this movie in which Al intentionally overacts (in character) as tries to set up a scenario with Lois Moran (who, incidentally delivers an Oscar-worthy performance) to make pal Westy jealous. A while later later, Jolson does just fine, as he drunkenly scolds the "Interlocutor" who showed no jealousy whatsoever.

This 1930 effort shows Hollywood as its' best...and also reveals what was very wrong with it. And wrong with society as a whole.

I am very glad to see a film this old has been restored. The Blackface is not offensive. It is a part of history. That was the way Minstrel Shows were that traveled around the country.
I WAS disappointed that there were very few scenes of Jolson singing and dancing. He was the greatest entertainer of his time. But I think he sang "I'm Happy" at least 4 times and it was a very narrow view of what Jolson was really like and how he could capture audiences.

I was really looking forward to seeing the restored "Mammy" with Al Jolson so I paid thirty bucks to purchase the DVD. It's an early sound "chestnut" that also features two-color Technicolor inserts that I was eagerly anticipating to view. The disc has been issued from the "Archive Collection" of Warner Bros. When I inserted it into my combo DVD/VHS player/recorder I got an onscreen prompt informing me the disk was not playable. Then I noticed on the DVD box the disclaimer that "This disc is expected to play back in DVD video 'play only' devices. And may not play back in other DVD devices including recorders and PC drives." Oh. . .Uh. . .OK Warner Bros. Thank you very much. Now, I have to buy a "play only" DVD device to look at the disc I have paid good and solid money to view. Ironic, isn't it? This was such a BAD, BAD, BAD idea by somebody in Warner Bros marketing or technical that I think this bean-counting loser should be fired. And it's not like this title is going to sell like hotcakes either. Some fool(s) at WB have just made it very difficult for the 5 people who actually want to see this film to watch it even when they have legally and fully purchased it. I would get my money back only I want to see this turkey so bad I'm thinking about buying a "play only" device to watch it, if they still even make them. Either that, or maybe I'll just drive out to Burbank and fling it over the wall of Warner Bros as I drive by. Here's your crummy protected disk back, WB, and keep the money I paid you. You probably need it more than I do. You sure act like it.
Signed, Ray 3D Zone