The Jazz Singer Neil Diamond Dvd
| The Jazz Vocalist | |
|---|---|
 Theatrical release poster | |
| Directed by | Richard Fleischer |
| Screenplay by |
|
| Based on | The Jazz Singer by Samson Raphaelson |
| Produced by | Jerry Leider |
| Starring |
|
| Cinematography | Isidore Mankofsky |
| Edited by | Frank J. Urioste |
| Music past | Gilbert Bécaud Neil Diamond Leonard Rosenman Richard Bennett Alan E. Lindgren |
| Product | EMI Films |
| Distributed by | Associated Flick Distribution |
| Release date |
|
| Running time | 115 minutes |
| Country | Us |
| Language | English |
| Budget | $xiii one thousand thousand |
| Box part | $27.1 1000000 |
The Jazz Singer is a 1980 American musical drama film directed past Richard Fleischer and produced by Jerry Leider. The film stars Neil Diamond (in his acting debut), Sir Laurence Olivier and Lucie Arnaz, and tells the story of a young singer who is torn betwixt tradition and pursuing his dreams as a popular singer. Based on the 1925 play of the aforementioned name by Samson Raphaelson, this pic is the quaternary adaptation of the play, later the 1927 and the 1952 theatrical adaptions, and a 1959 television adaptation.
Developed as a starring vehicle for Diamond, who had undergone a revival of popularity in the late 1970s, the movie was initially intended to be produced past Paramount and AFD, with Sidney J. Furie directing, and Deborah Raffin acting opposite Diamond. However, production was plagued with several delays in filming, the departures of Furie and Raffin, and numerous script rewrites.
The Jazz Singer was released by AFD on Dec 19, 1980, and was a disquisitional and commercial thwarting, although it did make a substantial profit, doubling its $13 million budget by making $27.ane 1000000. Critics panned the interim of Diamond and – unusually – Olivier, while praising Arnaz'south operation and Diamond's accompanying soundtrack and live musical performances in the film. The soundtrack eventually reached multi-platinum status, becoming Diamond'south near successful album to date and ane of the more successful film soundtrack albums in history.
Plot [edit]
Yussel Rabinovitch is a young, 5th-generation Jewish cantor performing at the synagogue of his imperious father. Yussel is married to his childhood friend Rivka, and settled down to a life of religious devotion to the teaching of his faith.
But on the side, he writes songs for a black singing grouping, and when a member of the quartet is arrested, Yussel covers for him at one of their gigs past wearing blackface. The nightclub engagement is a success, but one of the patrons notices that Yussel's hands are white and speaks out. A fight ensues, and the band is arrested. Yussel'due south begetter comes to the jail to bond them out and discovers there is not a Yussel Rabinovitch there, but a Jess Robin. His male parent questions him about the proper noun later, and Yussel confesses to him that it is a professional person stage name he uses when performing. His begetter tells him that his singing vocalization was to be used for God's purposes, not his own.
Bubba, a member of the Iv Brothers singing group, is Yussel's all-time friend, although he knows him but as Jess. Bubba informs him that the band has a gig in Los Angeles, performing back-upward vocals for a successful singer (Keith Lennox). Before long later on Bubba leaves, Yussel begins composing a vocal that will eventually go "Honey on the Rocks". His wife Rivka notices him writing the song in his complimentary time and senses that Yussel yearns for a bigger phase for his voice, but her values keep her grounded to the home life they have built.
Bubba calls from Los Angeles to inform Jess that Lennox loved "Love on the Rocks" and wants to record information technology, only they need Jess to come for two weeks to oversee the recording session. Jess views this equally the opportunity he has been waiting for, merely Rivka and his father are opposed to his going. But later at his father's 25th anniversary party as shul cantor, his father relents and tearfully releases him.
When Jess arrives in L.A., he is picked up by music amanuensis Molly Bell. She takes him to the studio where Lennox is recording, and Jess is shocked to find that his ballad is now being recorded equally a difficult rock song. During a break in recording, Jess asks the producer and Lennox if he can perform the song as a ballad, as he intended, so Lennox tin can go an idea of the song's framing. They allow him to practice so, and while recording the song, Molly decides that Jess's performance is the way the vocal should exist done. Withal, Lennox is non convinced and fires the group.
Later, Molly gets a tip from a friend equally to where Eddie Gibbs, a booking agent, is having lunch. She go into his car, uninvited, and has him listen to Jess's recording of "Dearest on the Rocks". When Gibbs asks her who it is, Molly tells him that information technology is the new opening act for Zane Grey'south idiot box special. Gibbs is impressed, only says he can't volume anyone from just a tape recording. However, Molly arranges for Gibbs to visit a order where Jess is playing, thank you to Bubba, who is working there as a waiter. His performance convinces Gibbs to volume Jess as an opening act for Zane Grey's goggle box special.
Meanwhile, back in New York, Cantor Rabinovitch reminds Rivka that her place is by her husband's side. He pressures her to get to California and attempt to bring him abode. Rivka arrives on Jess'due south opening dark, and tells Molly that their Jewish values are such and Jess needs to return dwelling house. The audience gives Jess a continuing ovation, and he heads backstage and is reunited with Rivka. At the later on-party, Jess is met by an enthusiastic crowd and given a recording contract. Jess asks Rivka to stay, merely she says she wants something unlike. Realizing she has lost him, she returns domicile.
Days afterwards, Jess meets Molly by the pier and confesses his love for her, telling her he and Rivka have separated. Equally time passes, the 2 grow close to each other, and Jess's career success continues. His father visits, attempting to persuade him to come home, but Jess refuses, insisting he'due south making a proper noun for himself with his music career. Jess reveals that he and Rivka are divorcing, which devastates his father. To make matters worse, Molly all of a sudden arrives home. Jess attempts to explicate the matter to his father, but to no avail, and he angrily disowns his son and leaves weeping.
Heartbroken, Jess struggles at his recording sessions, taking out his anger on his bandmates, until he storms out of a recording session and drives away frantically. When his auto runs out of gas on the highway, he hitchhikes and lives the life of a out-of-stater for a few months. Nevertheless, he eventually returns home to Molly when Bubba finds him and tells him she has given birth to his son. Molly once once more meets Eddie Gibbs in his automobile and persuades him to allow Jess to perform on Zane Grey's television special.
At rehearsal, the day earlier Yom Kippur, Jess learns that his father is in the infirmary with high blood pressure level and won't be able to sing Kol Nidre at the synagogue. Jess is initially reluctant to go to his male parent, vowing that he is expressionless to him, but Molly insists that he get or else she will experience guilty about information technology. Jess ultimately agrees and returns to sing at the synagogue. He attempts to brand amends with his father, who refuses to speak to Jess until learning he at present has a grandson, at which point the two finally reconcile.
The motion picture ends with Jess performing "America", with his male parent and Molly in attendance.
Bandage [edit]
- Neil Diamond as Yussel Rabinovitch/Jess Robin
- Laurence Olivier every bit Cantor Rabinovitch
- Lucie Arnaz equally Molly Bell
- Catlin Adams every bit Rivka Rabinovitch
- Franklyn Ajaye as Bubba
- Paul Nicholas as Keith Lennox
- Sully Boyar every bit Eddie Gibbs
- Mike Kellin equally Leo
- James Booth every bit Paul Rossini
Product [edit]
The idea for the remake came from producer Jerry Leider, who saw Diamond on a 1976 tv set special. Leider believed that Diamond could accept the same crossover appeal as fellow singers Elvis Presley and Barbra Streisand, the latter of whom had recently starred in the successful remake of A Star Is Born. Encouraged by the success of the remake of A Star Is Born, Leider decided to remake The Jazz Singer. Nonetheless, an unabridged year would have to pass before rights to the remake could be figured out, as both Warner Bros. and United Artists claimed buying.[one]
In the autumn of 1977, Metro-Goldwyn-Mayer put the remake in development, with principal photography planned to begin in the autumn of 1978. However, in September 1978, the studio dropped the remake, over "executives being anxious most the movie being 'too Jewish'", according to writer Stephen H. Foreman. Associated Film Distribution picked up the rights, and slated the film to begin photography again in May 1979, with Sidney J. Furie directing. Withal, in early 1979, Diamond underwent back surgery, and invoked a clause in his contract that allowed him to finish the original music earlier filming began. During this time, the studio and Leider did consider replacing Diamond with Barry Manilow, though ultimately decided confronting it. Meanwhile, Jacqueline Bisset was approached for the lead female role, but asked for also much money. Furie initially wanted Lucie Arnaz, but she was appearing on Broadway in They're Playing Our Song; Deborah Raffin was cast instead, after producers had seen her on a television pic.[ii] Sir Laurence Olivier was cast every bit Cantor Rabinovitch, for a $ane one thousand thousand, ten-week contract.[1]
Filming was finally able to commence on January 7, 1980, though bug immediately started again. Diamond — who was making his interim debut — struggled in his transition from performing to acting. To compensate, Furie — who had wanted to alter the script from the beginning — ordered several major rewrites. These rewrites led to creative differences betwixt Furie and Foreman, and the latter departed, to be replaced by Herbert Baker. Baker completely rewrote the script, with a different catastrophe, dramatically changing the character of Molly Bell in the process. Due to these changes, Raffin departed the project, and Furie was able to cast Arnaz, who talked to Raffin before taking the role.[1] [two] However, filming was halted afterward the studio fired Furie on March 3. Richard Fleischer replaced Furie by the end of March, and filming was able to conclude on April 28.[1]
According to Arnaz, Diamond was nervous about his acting debut, and would get irritable when he could non do a scene. The 2 directors handled this state of affairs very differently: Whereas Furie — who, along with other coiffure members, was intimidated by Diamond'south status as a successful musician — would take the script rewritten to be tailored to Diamond, Fleischer would calm Diamond down and piece of work with him on the scene.[2]
During a scene set in a recording booth, Diamond was having problem conveying anger during an argument with Arnaz's character. Director Fleischer said that Diamond would go into the next music recording stage where his band was gathered to await his cue and so enter in a supposed rage. During one of the lulls in filming to reset the shot, Fleischer saw him pacing nervously and and then suddenly bursting into anger, throwing chairs and peachy equipment. Not wanting to miss an opportunity, the director called "Action" and Diamond stormed in and delivered his lines in a very convincing performance. Subsequently the scene ended, Fleischer asked the singer what had fix him off. He replied that he was upset he couldn't requite the desired functioning and asked his band to play something to brand him angry. "And what did they play?" Fleischer asked. "A Barry Manilow number," replied Diamond.[3]
Reception [edit]
Box office [edit]
Lew Course, who invested in the motion-picture show, said the box-role "results were disappointing and we weren't able to recoup our prints and advertising costs". However, because the motion-picture show had been presold to American tv for $four million, the losses were minimized. Likewise, the soundtrack album was very successful and made more than money than the film.[four] The film earned over $27 million on a budget of $13 million.[ane]
Critical [edit]
The remake received a predominance of negative reviews from critics, although some were positive. On Metacritic, the picture show has a weighted average score of 37 out of 100, based on 8 critics, indicating "generally unfavorable reviews".[5] It also has a rating of nineteen% on Rotten Tomatoes, the critical consensus on the website saying "Neil Diamond's foray into interim is a total miss in this gaudy and unconvincing remake, with Laurence Olivier on hand to deliver an excruciatingly campy performance."[6]
Roger Ebert from the Chicago Lord's day-Times, application it one star out of four, wrote that the remake "has so many things wrong with it that a review threatens to become a list."[7] His colleague, Gene Siskel of the Chicago Tribune, commended Arnaz's operation in the movie, remarking that "what the daughter of Lucy and Desi does so well is perform quietly simply confidently when anybody else is chewing the scenery", calculation:
As for Diamond, he performs his ballads well enough. His major problem, withal, is a script that forces him to exercise some very foolish things — such as segue from a bar mitzvah melody into a pop romance ditty; impersonate a done-out Willie Nelson on a month of lost weekend drunken binges; and sing a closing product number (that he wrote) that includes a refrain from "America" ("My Country 'Tis of Thee.")
That song points upwards an interesting development in the history of "The Jazz Singer." The 1925 play spoke to the generation of immigrant children who wanted to break away from the tradition of their parents.
But 55 years after, when America's ethnic groups are rediscovering their traditions, we don't take Jess' career motion as easily. Frankly, we come across his religious tradition equally having much more than value than the plastic Hollywood pop music world he yearns to inhabit. (Jolson wanted to sing jazz.) In other words, at the movie'south end when nosotros encounter old cantor Olivier capitulate and applaud his son in concert, nosotros experience similar saying, "Hey, cantor, haven't you got anything amend to exercise than go to a Neil Diamond concert?"[8]
Another negative review came from Janet Maslin of The New York Times, who stated: "Mr. Diamond, looking glum and seldom making middle contact with anyone, isn't plenty of a focus for the outmoded story."[9] Time Out London called the appearance of Neil Diamond "the most cautious soft-rock superstar film debut yous'll ever get to encounter."[ten] The only top critic to give a positive review of the film (according to Rotten Tomatoes) was Dave Kehr of the Chicago Reader. He wrote, "Richard Fleischer'due south direction is accordingly close-in and small, and Diamond himself, while no actor, proves to exist a commandingly intense, brooding presence".[xi]
The film is listed in Gilt Raspberry Award founder John J. B. Wilson's book The Official Razzie Picture show Guide equally one of The 100 About Enjoyably Bad Movies Ever Made.[12]
Awards and nominations [edit]
Neil Diamond was nominated for both a Golden Globe Award and a Gold Raspberry Honour for the same part in this movie, winning the latter. The only other actors to exist nominated for both awards for one operation were Pia Zadora and James Coco, in 1982, with the quondam uniquely winning both.
The flick is recognized by American Film Institute in these lists:
- 2004: AFI's 100 Years...100 Songs:
- "America" – Nominated[xv]
Soundtrack [edit]
Diamond'southward accompanying soundtrack was released on Nov ten, 1980, past Capitol Records. The soundtrack peaked at number three on the Billboard 200, and has been certified 5× Platinum since its release. The album spawned three singles — "Dear on the Rocks", "Hello Again" and "America" — which all peaked within the top ten of the U.s. Billboard Hot 100.
Notes [edit]
- ^ Tied with John Adames for Gloria.
References [edit]
- ^ a b c d e "THE JAZZ Vocalist (1980)". American Moving picture Establish. Archived from the original on September 24, 2019. Retrieved March 5, 2020.
- ^ a b c "Lucie Arnaz on "The Jazz Singer"". YouTube. August nineteen, 2016. Archived from the original on June 15, 2020. Retrieved March 5, 2020.
- ^ Fleischer, Richard (1993). Just Tell Me When To Cry: A Memoir. Carroll & Graf Publishers, Inc. p. 300. ISBN0-88184-944-8.
- ^ Lew Grade, Still Dancing: My Story, William Collins & Sons 1987 p 252
- ^ "The Jazz Singer (1980) reviews". Metacritic. CBS Interactive. Archived from the original on October 4, 2020. Retrieved April five, 2020.
- ^ "The Jazz Singer". Rotten Tomatoes. Archived from the original on December 13, 2017. Retrieved April 11, 2020.
- ^ Ebert, Roger. "'The Jazz Singer' Moving picture Review & Film Summary (1980) - Roger Ebert". www.rogerebert.com. Archived from the original on 2016-07-01. Retrieved 2015-02-25 .
- ^ Siskel, Factor (December 23, 1980). "'Jazz' is mostly in the primal of corn". Chicago Tribune. p. 2, section 2. Archived from the original on April 12, 2020. Retrieved April 12, 2020.
- ^ Maslin, Janet (Dec 19, 1980). "Screen: 'The Jazz Singer'". The New York Times. Archived from the original on April 12, 2020. Retrieved April 11, 2020.
- ^ "'The Jazz Vocalist' 1980, directed by Richard Fleischer | Film review". Fourth dimension Out London. Archived from the original on 2020-04-12. Retrieved 2020-04-12 .
- ^ Kehr, Dave (26 October 1985). "The Jazz Singer". Chicago Reader. Archived from the original on 2020-08-14. Retrieved 2020-04-12 .
- ^ Wilson, John (2005). The Official Razzie Picture Guide: Enjoying the Best of Hollywood's Worst. Grand Primal Publishing. ISBN0-446-69334-0.
- ^ "The Jazz Singer – Aureate Globes". HFPA . Retrieved June 3, 2021.
- ^ "1981 Grammy Award Winners". Grammy.com. Retrieved one May 2011.
- ^ "AFI'southward 100 Years...100 Songs Nominees" (PDF). Archived (PDF) from the original on 2015-04-17. Retrieved 2016-07-xxx .
External links [edit]
- The Jazz Singer at IMDb
- The Jazz Singer at AllMovie
- The Jazz Vocalist at the TCM Movie Database
- The Jazz Singer at Box Office Mojo
- The Jazz Vocalizer at Rotten Tomatoes
Source: https://en.wikipedia.org/wiki/The_Jazz_Singer_(1980_film)
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