The first remake, The Jazz Singer (1952)was remade starring Danny Thomas as the jazz singing son, and the Eduard Franz as the pious cantor father. This production of the film also produced by Warner Bros. would closely follow the Al Jolson version. Danny Thomas playing a young Korean War veteran who is lunging for success in Hollywood. He returns to his synagogue in the end, where he sneaks into the synagogue’s choir section to surprise his family with his joining in the singing of Kol Nidrei.
The musical performance by Danny Thomas is outstanding. And truly impressive, when one considers that he wasn’t Jewish; Danny Thomas was a Lebanese Maronite Catholic.
Now what is interesting to take notice of is that this 1952 version of the film was filmed at one of the most fashionable Jewish congregations at the time. It was filmed at Sinai Temple in Los Angeles, in their grand sanctuary of their second synagogue site located near Fourth and New Hampshire in the mid-Wilshire District, which as built in 1925; it was their synagogue site before their eventual migration more westward down Wilshire Blvd in later years.
Like other film versions of this story, this 1952 version was also filmed entirely in Los Angeles. It is this time depicted as a congregation Sinai Temple in Philadelphia. Again, having Los Angeles sites being staged as east coast Jewish communities.
Today the grand Moorish-Byzantine synagogue building shown in this film is the location of a Korean church, occupying a building which retains much of its Jewish character. Yet the building has seem some changes over the years as the church has made it their own. So it’s really thrilling to in this version of the film see this fine synagogue in its prime, captured through the fine lenses of a major Hollywood film production.
In this 1952 production of The Jazz Singer, Danny Thomas does an outstanding job; in this film he ends up delivering one of the best cantoral presentations to ever grace a Hollywood film. Danny had trained for this role under the tutelage of notable cantors; he was vocally coached for this part by Cantor Carl Urstein who was the musical director at Sinai Temple in Los Angeles and Cantor Moe Silverman of Anshe Emet Synagogue in Chicago.
Danny Thomas is said to have sang cantonal music in other productions as well, at one time making a lasting impression with his rendition of Rabbi Israel Goldfarb’s famous melody for Shalom Aleichem. He had also previously played a leading role as a cantor in the movie “Big City” in 1948. He was so good at playing the part, a lot of people going forward just assumed he was Jewish.
Sinai Temple: Their second location, at Fourth and New Hampshire, built in 1925.
Today the site is a Korean church.
The entrance to Sinai Temple.
The dome of old Sinai Temple
Notice how much the inside looks like the inside of the first Sinai Temple, which is today’s Pico-Union Project.
Eduard Franz playing the cantor; with the musical voice-over by Cantor Saul Silverman of Temple Israel of Hollywood.
Danny Thomas singing in “The Jazz Singer” (1952); which was filmed at the old Sinai Temple, at Fourth and New Hampshire. Danny Thomas did a wonderful job, even though he wasn’t Jewish at all; he was a Lebanese Marionite Catholic, who many people assumed was Jewish.
Now even for to the untrained ear, the singing parts of the cantor father are remarkable and stand apart as phenomenal. Though Eduardo Franz played the father on-screen, the singing heard in the film was actually a musical voice-over performed by the very talented Cantor Saul Silverman of Temple Israel of Hollywood.
ODD HISTORICAL FOOTNOTES:
Jerry Lewis – The Jazz Singer (1959); made for television production.
This second version of the Jazz Singer in 1952 would be adapted into a taped television version for Ford sponsored show Startime and broadcast on NBC on October 13, 1959. In this version Eduard Franz would reprise his role as the Cantor Rabinowitz, and this time playing the role of a son who was only interested in singing jazz music and making comedy, played by the comedian Jerry Lewis (born Joseph Levitch). In which the movie ends with Jerry Lewis singing Kol Nidrei in clown-face make-up.
In the cannon of Hollywood Jewish films, “The Jazz Singer” is among the most beloved and celebrated. And now that we are in the Jewish High Holy Day season, having just celebrated the Jewish near called Rosh HaShanah and preparing for the day of atonement called Yom Kippur. And during these ten Days of Awe this film title has become one of the seasonal staples for Jewish fans of classic films, and it certain is one of my favorites as well.
Now because the film is so loved, everyone in Los Angeles seems to have a colorful story about it. There are even several different synagogues in the shadow of Hollywood which proudly claim to have been the location where this legendary movie was filmed.
So the big question I often get when standing in front of various old synagogue buildings across the city of Los Angeles is this: Wasn’t “The Jazz Singer” filmed here?
The question I sometime have to ask back is this: Which of the films are we talking about?
Some of the claims local shuls have about being connected to this movie are bubbe-meises. Though not all these claims should be so quickly dismissed.
There are three film productions, which would bear the title of this most famous of Jewish American stories. In these various productions we do get a few interesting peeks at some of the most lovely old Jewish sites in the city of Los Angeles.
In this three-party series we will virtually explore these together. And along the way learn a bit about the history of this all-American Jewish favorite holiday film.
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In 1927 the ground-breaking film production of “The Jazz Singer” staring Al Jolson would make history as being the first talking-film with synchronized music on Vitaphone sound-on-disc; this is regarded as having brought an end to the silent film era.
In the story Cantor Rabinowitz wants his son Jackie to follow in the family traditions of becoming a hazzan – a musical leader of the ancient liturgical Hebrew prayers, at the synagogue in his New York’s Jewish ghetto of the Lower East Side.
The conflict of our film presents itself right away when the father is alerted by a local and finds his son in a beer garden singing jazz tunes. The father confront his son for debasing his G-d given voice with such music, and decides to teach him a lesson with a whipping. That day the son makes a vow to his father as he clings to his mother for protection: “If you whip me again, I’ll run away—and never come back!” After taking his beating, the son then kisses his mother and leaves home, only returning while the family is away Yom Kippur services to grab a picture of his dear mother. That night the cantor also makes a vow in his heart and says to his friend at Kol Nidrei, “My son was to stand at my side and sing tonight – but now I have no son.” The cantor vows in his heart that his son is now dead to him.
The story is of a prodigal son of the Jewish American experience.
Then after a decade has passed and going by the assimilated name of Jackie Robins, he is finally given a big-break. Jackie would be offered the promise of success as a singer when after catching the attention of the musical theater crowd, and is then offered the lead role in a new musical.
In this film the son would return at one point to try to explain his love for modern music to his family, only getting himself ultimately banished by the appalled cantor. The cantor father banishing him with the stern line, “I never want to see you again — you jazz singer!“
However, a couple of weeks after their fight the cantor would then fall seriously ill, just the day before Yom Kippur. And for the first time the Jewish congregation is left without anyone to lead the services for the Day of Atonement. And so they appeal to the young Jackie, whose father has been dreaming of his son singing Kol Nidrei in his place, musing that surely if Jackie would do this one thing he would surely be forgiven.
However, filling in for his father on Yom Kippur would mean Jackie sacrificing the opening night of his new Broadway musical, a move which he is told would end his entire entertainment career. He is advised that if he is a no-show, he will never work on Broadway ever again.
Jackie is then forced to choose between his Jewish identity and his career.
In the end, young Jackie would cancel the show opening. And he would return back to the synagogue of his family and of his youth, and would sing the grand liturgical opus of Kol Nidrei; written in Aramaic and ordered according the solemn procedures of Jewish law, it is said for the annulment of all vows in preparation for the day of atonement and forgiveness. Jackie ascends to the bimah and sings these profound melodies for the congregation as cantor, in his father’s place.
The yiddish prodigal son had returned, their bad vows are annulled and forgiveness is found.
The film concludes with the young man seemingly blessed with parnasa; as he ends up finding career success as an entertainer.
And most importantly, in this story we see that this Jewish American son is able to ultimately prove to his old world religious family that he has truly chosen the right path for his life; and even his non-Jewish friends also come to accept him “as jazz singer – singing to his G-d.”
It is one of the best stories ever told.
But where did the inspiration for this movie come from?
The story of The Jazz Singer was adapted from a short story written by playwright Samson Raphaelson titled, Day of Atonement. The story was based on the early life of Al Jolson (born Asa Yoselon, in the village of Srednike in Lithuania). Raphaelson, a native of New York’s lower eastside, had first seen Al Jolson in 1917 performing in blackface in Illinois, and was instantly absorbed by his stage presence. Noting that he had only ever heard such emotional intensity of singing among synagogue cantors, which he adventured to ask Jolson about. Raphaelson said: “He told me a little of his background. But I had already guessed it. I knew there was the spirit of cantors in him, the blood of cantors in him.” [See: How I Came to Write “The Jazz Singer” by Samson Raphaelson]
The play would be written in 1922, and first performed on stage at the Warner Theater in NYC in 1925. Due to the great success of the stage play, in 1927 it was announced that Warner Bros. was going to produce a film version of the story starting in June; with the filming with the actors beginning in the month of July. In the month of August the Vitaphone sound sequences were completed. And then on September 23rd it was announced that the film was completed.
The film was then released on October 6, 1927 at the flagship Warner Bros. Theater in New York City, the opening was planned to coincide with Yom Kippur, which the plot of this story largely revolves around.
It is this Yom Kippur – Kol Nidei theme which has made this a seasonal favorite during the High Holy Days.
Chazzan Yossele Rosenblatt performing in “The Jazz Singer” (1927)
Now it should be noted that Al Jolson was actually trained and coached in the Jewish cantoral musical style by none less than the great Cantor Yossele Rosenblatt himself, considered the greatest Jewish liturgical voice of all time. Cantor Rosenblatt was offered $100,000 by Warner Bros. to play the part of Jolson’s cantor father; a part which he turned down, because he felt that Kol Kidrei was too sacred for him to sing in this film.
Instead Cantor Rosenblatt takes a smaller roll in the film, in which he plays himself singing liturgical songs in a theater, which melts the heart of the strayed son and reminds him of his cantor father; all of this moving the narrative towards demanding a reconciliation.
Again it is important to note that Jolson was coached for this part by Cantor Rosenblatt himself. However, the story is told among professional cantors to this day that Al Jolson was actually a really difficult student to try to instruct; as Jolson just wanted to do it all his own way. And it is said that as a result the cantoral pieces Jolson had recorded were actually rather dismal performances. And so when the movie was finally cut, it was said to have only presented the most essential and best pieces of the liturgical songs they had captured.
Still I think his singing is all together lovely.
Now it must be noted that even though the story is written from an east coast perspective – having scenes depicting places in New York and in Chicago – the movie was very much filmed in Los Angeles.
Interestingly, one of the first rumors I ever heard surround the film The Jazz Singer (1927) is that the movie was often said to have been filmed at the Breed Street Shul in Boyle Heights, East Los Angeles.
Even though this rumor is false, begin that the Breed Street Shul was the largest Jewish congregation west of Chicago, it is understandable why people would assume that the producers would have automatically chosen that famous site. However, the synagogue scenes for this production were actually filmed on a Warner Bros. Studios sound stage off Sunset Blvd., today the location of KTLA Television in Hollywood.
Nonetheless the often repeated claim of being the location where the famed The Jazz Singer (1927) was filmed is also retold by members of several other Los Angeles synagogues. Some of these claims are just assumptions and mistaken leads. While other claims are actually correct about a version of The Jazz Singer being filmed at their site, however they are often just mistaken about the version.
This is a topic we will further explore in this three-part series.
HISTORICAL CONNECTIONS: Even though The Jazz Singer (1927) was not filmed at the Breed Street Shul, the film does have a tangential connection to the cast of this film. In that year Cantor Yossele Rosenblatt came out to Los Angeles to play himself and sing in this feature film. Though he turned down the lucrative offer to actually sing Kol Nidrei for this Warner Bros. film, he did end up another offer to sing this liturgy for a Los Angeles synagogue that year. In that year of 1927 Cantor Rosenblatt was hired to officiate the High Holy Day for Congregation Talmud Torah – The Breed Street Shul; being paid $5,000 for three days of performance, which is what most people worked two whole years to make. [See: “Sounds of Jewish High Holidays in Classic Boyle Heights”]
The Warner Bros. and their Sunset Blvd. Studios, late 1920’s.
REMEMBERING SAM WARNER: Samuel Louis “Sam” Warner (born Szmuel Wonsal, August 10, 1887 – October 5, 1927) was an American film producer who was the co-founder and chief executive officer of Warner Bros. Studios. He established the studio along with his brothers Harry, Albert, and Jack L. Warner. Sam Warner is credited with procuring the Vitaphone technology that enabled Warner Bros. to produce the film industry’s first feature-length talking picture, “The Jazz Singer” staring Al Jolson.
This movie was a technical and financial challenge for Warner Bros. With a total price tag of $422,000 it was one of the most expensive films in the studio’s history, nearly bankrupting the Warners. It was reported that one of the brothers hocked his wife’s jewels to cover production costs. They really needed this film to succeed in order to save the studio.
“The Jazz Singer” ending up breaking box-office records, establishing Warner Bros. as a major player in Hollywood, and single-handedly launched the talkie revolution which ended the silent film era.
The world premier for “The Jazz Singer” was set to coincide with Yom Kippur, on account of the Kol Nidrei theme which runs through the film. However, Sam and his brothers would not attend the world premiere of this most famous film, which was set to open in their flagship theater in New York City.
Sam Warner died of pneumonia at the age of 40 years old, just the day before the film’s enormously successful premiere; so they left New York to return to Los Angeles to bury their brother in the family tomb at Home of Peace Memorial Cemetery in East Los Angeles.
Today is his yahrtzeit, the anniversary of his passing according to the Hebrew calendar.