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'The Jolson Story'

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Jolson did not care if he was white, black or yellow. He just loved to sing, and he only wanted to do whatever would make it possible for him to do what he loved, whether singing at the synagogue or on Broadway. To Jolson, it was all the same. He just wanted to love people with his voice. And from Variety to The Memphis Star, Al Jolson sung to Tootsie not to cry, as if she did not hear from him he sang, he was either on the stage or in jail. The latter was only meant to be a joke. "Don't worry pal, there's always been a girl." While ever on the road, he assured his agent of his social life ever in place. At least until the day his girl announced her engagement, but not to him and to a man whose stability chose to keep him off the road. Later married to Julie whose biggest want for ten frogs singing Mammey, dared trump for sweet combine Jolson's novue film singing, A rainbow on my shoulder.

On the banks of the Wabash right away, attaboy sings, without even lifting a sip from a whiskey glass to his lips, Olson tops an 1800's Jenny Lind under the table. Unfortunately, after the head oprey style lead asks the boy where he learned to sing like that, said recent bar mivtza recalls his present engagement at the synogogue and runs there like a bat trying to beat hell. And as father notes, his son Asa ran into the holy adobe as one running a race. "Your son has a real voice," greets Burlesque House singer Steve Martin at the door. "The Burlesque House?" Inquires Mr. Olsen. He will remain where his people sing, makes the commentary of Mr. Olsen. "I can't. I can't promise." Asa who papa orders to his room runs away from home after being told that he must lead a stifled song career. And this being how things sometimes work, after Asa runs the risk of the Baltimore, then Washington Yard Limits. Policemen Riley brings the boy to the Irish priest, a complaint he voiced against the boy for hangin' out in the cattle yard.

Ava Maria, and a more beautiful music conservatory choir stuns the young Asa, who frightened and bewildered, the young Jewish teen at first clutches his song sheet like a small child. Only several moments later as his parents arrive, the stunned duo hardly recognize the prodegy-style boy child whose voice takes flight as if under the anointing of an angel. "I will run away again papa, if you won't let me sing with Mr. Martin." And the songs of harmless nature, "I love you as I've never loved before." Springs forth at the inner mist of every theater travelled. "Next week Philadelphia. Then Pittsurgh." Each time young Asa arises to sing as if part audience, even the woo crowd of Kicckasac, Iowa wants to dance and we'll be cuddlin' soon by the light of the silvery moon. But eventually Martin & Asa run the muck of a little consternation. "No sir, that's because you're playin' it too slow," asserts Asa about why he sings fast. In short, he is not singing fast. The elder partner has got to get his dreg out.

One night, the boy gets a hard sneeze on. And Martin of the true story of the duo showmanship of The Jolson Story begins to get nervous. After the time of when he had a hard time singing, Asa who suddenly decides to change his name of Asa to his new stage name of Al Jolson sends a postcard to his family to notify them of same. And yet a interesting avenue of actor hall of fame happens once again. The grown Al Jolson now looks a bunch of only just a few years later just like the young Asa who did the first portion of the classic film, all grown up now. The two love doing shows together though, Martin & Al Jolson that they seem to get a great big old charge out of going along the journey happy & content as just friends & friends alone. Unfortunately, during one act of the film, Al who disguised himself as an African American after finding the white man who was supposed to sing Rosie passed out and drunk in his dressing room chair. He lays the intoxicated unknowing neatly upon a fade rug smoke stench floor, and wows after his great song, intoxicates not only the audience, but his slips out onto the stage to sing performance pulls off foolin' his partner Steve Martin and a famous producer who just stopped by pretty well. "Hammerstein knows what he's do-ing, and I don't tell tales...I can't use an act Jolson. I only have a place for one man." The assistant advises Al Jolson to come alone. But, Jolson, ill-fated not to leave his best friend and partner behind, tries to hop off the train headed for St. Louis, MO. Alone, he does okay. And Martin knew though sad, or a least he thought he had the right idea of the right thing to do.

"My boy, minstrels have been doing fine for fifty years. We like it the way it's always been done." The assistant to Hammerstein, continues diligent by show that some things never change. But by the time Al hits New Orleans, Louisiana he is ready for a change. He skips out on the show by means of adult hookey and holes up like some more diligent juvenile delinquent rookie at the helm of a black jazz bar. "Something they call jazz. I started to sing with them," Jolson announced with glee. For the first time since his voice faded during a casual traditional show as a teenager, the desire of Jolson to really sing again returns. So, he does the first thing that returns to mind. He returns to his parents. Asa and father try to bridge the parent gap between them. Asa wears a cap. And papa says no need. Alike the strange mesh of characters professional comedy actor present Steve Martin played, the song writer Jolson (once Asa), has a bunch of great songs to present. But the problem, they're just not all organized yet. The good thing is, Jolson knows how it works. He has the contract to perform before the songs are all fully written. Al, who continued to dress up as an African American man sung his song My Mammey and while in full character he seemed to intensely enjoy the people of jazz who he considered rare and exotic. Growing up the way he did, a small town and all, the attraction of something different made a mystical difference. "It's very complicated mama, you wouldn't understand." Papa announced one day. Another day, Jolson announced even as audience member Miss Benson a guest of the Ziegfield Follies progenitor requested his song April Showers, Al then sang about going to California to excitedly star as the focus of a moving photo picture. "Open up that Golden Gate, California here I come." After her imitation of his song for guests at his home later, on the balcony she apologizes and promises to never make fun of his singing again. Well, as long as he is not looking anyway. Julie Benson says, "I want a lot besides this. I want a good home. No, you wouldn't care about the kind I want." It is a country home that when you go in & close the door, after you forget all about show business. The Jazz Singer promises Julie he will marry her after his show and her show, Show Girl. She assures him that to turn down his marriage proposal, her mature proposal to do him a favor. Earlier by multiple scenes prior, as he sang I'm sitting on the top of the world, and with Martin then secured as his manager, he truly felt like everything had finally come to the place where everything was finally falling into place. Rated G for wholesome family participation.

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