The Jazz Singer (1980) [25th Anniversary] – DVD

*½/**** Image B Sound A- (DD)/B+ (DTS) Extras D
starring Neil Diamond, Laurence Olivier, Lucie Arnaz, Catlin Adams
screenplay by Herbert Baker, adaptation by Stephen H. Foreman, based on the play by Samson Raphaelson
directed by Richard Fleischer

by Travis Mackenzie Hoover Having always had a knack for turning schlock into symptomatic gold, J. Hoberman once worked his magic on the remake of The Jazz Singer by comparing the original’s vision of Jewish cultural schizophrenia against the 1980 version’s post-Israel reversal. I recommend the essay (from his collection Vulgar Modernism) not merely for its brilliance, but also to discharge you from seeing the movie–because the only thing Hoberman gets wrong is that it’s “a mediocre film but a resonant one.” Mediocre it may be, but resonant it ain’t, entirely too careful as it is to soft-pedal some traumatic material so as not to upset star Neil Diamond’s MOR constituency. The Jazz Singer has all of the singer’s sentimental weaknesses without the attendant cheesy bombast that makes him entertaining. It’s a singularly bland film that doesn’t quite hurt but that feels like a chore as it trickles towards the end.

You all know the story of the New York cantor who wanted to be a star. This time, Yussel Rabinowitz (Diamond) wants to run away to California and make it big as “Jess Robin.” If you’re expecting tension in his drive to build a bridge between the synagogue and the recording studio, you haven’t bartered on Herbert Baker’s cliché-strewn script, which does everything in its power to render cute this mission. Cute, as in nodding to the original’s blackface by having Yussel fill in for a sick soul musician–as in contriving to find him a fabulous career practically five minutes after he’s fired from a songwriting gig for a nasty rock star. And though Laurence Olivier gives one of those brilliant yet bogus “ethnic” turns as his ultra-traditional and uncomprehending cantor father, he’s the one thing with any juice in the whole exercise.

So Yussel/Jess ditches his kvetch of a wife Rivka (Catlin Adams) and takes up with spunky shiksa manager Molly Bell (Lucie Arnaz)–all of which happens as a matter of course as if prophesied by the gods and stage-managed by Oompa-Loompas. Pop’s inevitable horror at the non-Jewishness of the scenario is another non-event, even if it drives poor Jess into a completely spurious downward spiral that has him make like Kerouac and wind up headlining a C&W bar. Molly, strangely, stands by her man despite his ditching her for the extent of her pregnancy. (He returns only when he’s been apprised of the existence of “Charlie Parker Rabinowitz.”) There are no mean people in Hollywood save for one pseudo-New Wave rocker, and there is no extended trial by fire in clubs, on the road, or anything of the sort. That would frighten the audience for what my other writing gig calls “our mom’s favourite superstar.”

You’d think that the director of Mandingo would be able to lend this some sordid zest, but Richard Fleischer is completely flummoxed by the whole affair. He gives one of those brown-and-beige performances–so popular in the late-’70s/early-’80s–that can only offend those of us who yearn for colour and life. His direction takes an already-sedated animal and sends it to the slaughterhouse, resulting in something that’s like staring at particleboard for two hours. There are, of course, three of the master’s songs, and as ridiculous as they are, they’re a playful respite when they arrive (and are reprised). When the best things your movie has to offer are a hambone Olivier and the genius of Neil Diamond, you have a big problem on your hands. To say that the film can’t solve it is the understatement of the century.

THE DVD
Anchor Bay’s 25^th Anniversary edition of The Jazz Singer could have used a bit more tweaking. The 1.85:1, 16×9-enhanced image is fuzzy and washed-out, with persistent grain problems and middling fine detail. Bright colours leave an impression but they’re rare, and the rest of the film looks soupy and dull. Two full-bore remixes–in Dolby EX 5.1 and DTS-ES 6.1–only underline the fact that besides the songs, The Jazz Singer is an aural no-man’s land; neither track can do much with the limited range of elements, though the DTS option exhibits greater harmony and sharpness during the songs. As for extras, producer Jerry Leider provides what must rank as the worst commentary in the history of DVD, a haze of “that was really good” and “Neil Diamond is such a wonderful performer.” Almost no information is imparted aside from useless trivia. (Diamond is apparently currently on tour!) Also included: a small poster and still gallery; bios for Diamond, Olivier, and Fleischer; the theatrical trailer; and a TV spot.

116 minutes; PG; 1.85:1 (16×9-enhanced); English DD 5.1 EX, English DTS-ES 6.1, English Dolby Surround; CC; DVD-9; Region One; Anchor Bay