Hallelujah, I'm a Bum

[Birdy]

(Unless I'm in England; then I'm a tramp, according to RO.)

I'd never seen this before but always enjoy Madge Evans and Frank Morgan. I found the 'rhythmic dialogue' style of chanting storytelling a little tedious and. in fact, almost dozed off a little, but Al Jolson's singing was beautiful. I don't remember if I've seen Madge's hair that dark, usually. The ending was unsatisfactory to me, yet fitting. Did anyone else enjoy this one?

B

[JackFavell]

I was just trying to compose a little thread of my own when yours popped up, Birdy. I am relieved that you wrote about it first. Here's what I wrote so far.... rather unsatisfactorily. It is hard to capture this very strange film in words.

Did anyone else catch this incredibly wonderful little film last night?

This was NOT your typical musical. It wasn't your typical anything! Odd in the best way, it kept me riveted to my seat just to see how everything would turn out. No, that's not right, because I knew how it would turn out - this is a film in which the getting there is all the fun.

It reminded me a lot of Rene Clair's early 1930's musicals. The movie exuded charm... and the oddball trio of leads(Al Jolson, Edgar Connor and Harry Langdon) worked so well together. I have never seen a Harry Langdon film before, but this one made me want to. I have read about his films, his rise and fall, but I have never really seen him. He was super. His babyish intensity worked really well in opposition to Jolson's and Connor's laid back attitude. Frank Morgan was pleasing as always in a rather thankless romantic role. And Madge Evans was perfect as the lady who propels the action along.

I liked Al Jolson! REALLY liked him! This is very new territory for me, because I admired him, but always felt that I was missing something in his performances. I have always longed to see him onstage, so I could see what it was that made everyone so gaga about him. Well, this one showed me what he really had. I am not sure I can even explain it, but he was so very persuasive.... I felt that I simply had to agree with him no matter what he said or sang, as the case may be.

This musical flowed beautifully, going in and out of songs without really stopping the action. It was almost like an opera, but without the grandiose posturing or the big buildup to the songs. A street opera - people would be talking one minute, singing the next, and then right back to talking. Have I mentioned it was charming?

I loved the idea of the film. It was a great piece of depression era commentary, still valid for today's society.

The movie also included the lovely song, "You Are Too Beautiful", which was done very simply in a heartfelt manner by Jolson.

Lewis Milestone added a great deal to the movie with his strange choppy editing style, and very fluid camera work, which suited the story to a T. There are scenes in which the camera follows characters in and out of buildings, around corners, through the woods....all in one shot. It is stunning.

Anyway, all in all it was a lovely movie that was unlike anything I have ever seen before.

[MissGoddess]

A lot of what you sense and feel about the idiosyncratic rythm and pacing is thanks to the out-of-this world talents of Richard Rodgers and my darling "Larry" Lorenz Hart. No other song creators I can think of had their remarkable
ability to capture joie de vivre in the simple act of livin' while at the same time injecting that pang that can
knock all the wind out of your sails.

I've read lots of funny things about the making of this movie, mostly centered around how difficult Jolsen could
be, but how no one else could quite sell it like he could and make you buy it all, lock stock and barrel. I've always
liked Al, because there's no taking away that the guy gave 1000% to every song and every show. His first loyalty
was to his audience and he gave them their money's worth every time, whatever else his detractors said about his
off-screen ego. And I agree, THIS is the Jolsen movie you need to see if you're going to get any sense of why
the man was at one time the biggest star in show business.

[JackFavell]

MissG -

Thanks for mentioning the wonderful Rodgers and Hart songs, and patter. I had not realized what a huge contribution they had made to this film until I looked it up after your post. The entire movie is set to their distinct rhythms and the dialogue is witty and light as a feather. I should have known they were responsible.

Your words about their ability to create a wistful joie de vivre are so very true! I think maybe Lorenz Hart's biggest contributions to the music world all have this same feeling.... all his songs have that pang you spoke about, but with a giddiness and wit that is infectious. It's one of the reasons that he is my favorite songwriter of that time period.

I loved the use of crowds in the movie - small groups turning into big groups... One person alone suddenly turning into three, then seven, then ten. Over and over again. And I forgot to mention the great Chester Conklin as the mustachioed cabman. I just loved discovering this film and all the cameos in it.

What a revelation this movie is. I thought only the french could create this kind of original film. I am so glad I recorded it, despite the very poor print. It's a shame this one is not up for restoration. It so badly needs it. Yet I thank God that it didn't disintegrate altogether, because it is a joy.

[Birdy]

JackFavell - Thanks for putting in a composition my feelings that I could only babble about. I feel sort of silly I hadn't realized it was Rogers music so am glad that was pointed out. I will be looking for the sheet music for 'You are Too Beautiful' and it may become another in the list of love songs I sing to the kids when they go to sleep. I have to sing to them; they're a captive audience.
I will be watching this movie again soon to see what else I can pick up. I thought it was especially lovely for an outdoor film in black and white, which I usually find less satisfactory. I, too, am trying to figure out the Jolson magnetism. I always figured it was the voice, a given, and thought his eyes were beautiful and compelling but last night I saw more. I'm having trouble putting it into words, but something was there and it jumped right through my television. I'll be watching for more talkies with Jolson.

B

[JackFavell]

Birdy -

Oh, I would blub like a baby if I tried to sing that song to my daughter - I get choked up too easily.

I love how you said that! It did jump right out of the TV didn't it? That indefinable thing that Jolson had.

[charliechaplinfan]

I'd watch this just for the title. Thanks for the reviews, it sounds great.

[feaito]

What a great thread and such interesting comments, reviews and insight!

You know girls, early '30s films are my weakness and since I think that Rodgers & Hart's "Love Me Tonight" (1932) directed by Rouben Mamoulian is the greatest musical of all time and the one I've enjoyed the most -I've watched it many, many times and I will do many years to come-, "Hallelujah I'm a Bum" (1933) was high on my list.

Now, I have to admit that I'm not particularly fond of Jolson's films -I've seen him in "Wonder Bar" (1934) and I liked him- but I'm quite biased against his vehicles such as "The Singing Fool", "Mammy" et al, due to their oversentimentalism. I do have to check later performances in "Go Into Your Dance" (1935) and "Rose of Washington Square" (1939), both of which I have recorded on DVD.

I saw "Hallelujah I'm a Bum" (1933) back in July and I think that one of the aspects that impressed me the most was its social consciousness. Like LMT, it is also a film that should be revisited many times. As in LMT, the blending of the songs with the plot is perfectly done -Rodgers & Hart's talent and Mamoulian's and Milestone's merit due to their care in the successful translation of the story to the screen.

This film may be held also as one of the all-time great musicals of all time. I said it before in another thread: It's inventive, thought-provoking, it has clever dialogue, it is daring and cinematically a first class film.

Arguably Jolson's finest moment on screen, with lovely Madge Evans shining like an angel out of the blue. Frank Morgan is very good as the major and Harry Langdon is perfect as the anti-capitalist worker.

A melancholicly romantic film, full of saudade. And in my case, I also thank William K. Everson's wonderful book "Love on Film" for making me want to see this film.

[MissGoddess]

Arguably Jolson's finest moment on screen, with lovely Madge Evans shining like an angel out of the blue. Frank Morgan is very good as the major and Harry Langdon is perfect as the anti-capitalist worker.

A melancholicly romantic film, full of saudade.

How ravishing, Feo! I really have to watch the movie again. I was somewhat distracted
at the time and missed several things, including most of Langdon's performance. But I
saw enough to say this is a special movie, a real one-of-a-kind. Reminded me a lot of Capra.

[JackFavell]

I watched it again last night.

Feaito -

I was this close to mentioning Mamoulian when I wrote before.... Mamoulian was such an innovator and a risk taker... I was SURE that he had directed Hallelujah, I'm a Bum. I sat through the movie the first time because I did not want to miss one bit of it.... but then went immediately to the computer to look up the director. I was amazed to find out it was Milestone, whose only film I can remember seeing was All Quiet on the Western Front. It had never occurred to me that it was anyone other than Mamoulian or maybe Rene Clair. I have now added Milestone to the handful of crazy creative directors in that pre-code time period. He really blew my mind. Even if he had ONLY made the two movies I mentioned, he would still be a king in my book.

Many movies with a social consciousness end up seeming laughable or dated, but I thought this film seemed almost as modern and valid today as it was back in 1933. Combining social consciousness with wit and charm is a winning combination... adding a fluid and decisive mise en scene, and incorporating radical imagery made it even more brilliant. On second viewing it was just as stunning as the first time.

[MissGoddess]

Wendy, I encourage your examination of Milestone's films...he directed a few of my favorites, including another movie based on an Erich Maria Remarque novel, Arch of Triumph,
the Joan Crawford version of Rain, Gary Cooper's spy thriller, The General Died at Dawn, The Red Pony and....he did uncredited work on A Guest in the House.

And if you're a Rat Pack fan, he also directed Ocean's 11---the original.

[feaito]

Arguably Jolson's finest moment on screen, with lovely Madge Evans shining like an angel out of the blue. Frank Morgan is very good as the major and Harry Langdon is perfect as the anti-capitalist worker.

A melancholicly romantic film, full of saudade.

How ravishing, Feo! I really have to watch the movie again. I was somewhat distracted
at the time and missed several things, including most of Langdon's performance. But I
saw enough to say this is a special movie, a real one-of-a-kind. Reminded me a lot of Capra.

Thanks April. It's a movie that deserves multiple viewings. And one must be very concentrated to appreciate it in its full glory.

[feaito]

Hi Wendy,

Mamoulian was a genius and I encourage you to see one of his lesser known musicals "The Gay Desperado" (1936) with Nino Martini, Leo Carrillo and Ida Lupino; a very fine, unsung film. I still I have to see his 1929 "Applause" (1929) which I have somewhere. "We Live Again" (1934), with the unjustly forgotten Anna Sten, is another favorite film of his.

As for Milestone, his "All Quiet on the Western Front" (1930) is one of the greatest, touching films I have ever seen. A masterpiece. His silent comedy-drama "The Garden of Eden" (1928) was one of the very first Silent films I bought and which encouraged me to see more and more Silents, a very well done film. "Anything Goes" (1936), "Rain" (1932) "The General Died at Dawn" (1936) and "The Strange Love of Martha Ivers" (1946) are all very good films of their kind. Milestone was indeed a very gifted, versatile director. I have "Arch on Triumph" (1948) recorded on DVD-R and I'll make a point of seeing it soon. I've never quite believed Maltin's lackluster review.

[JackFavell]

Applause is a very, very interesting film, really incredible for it's time, if quite downbeat. Helen Morgan is amazing, and so is the direction.

I missed recording The Gay Desperado, but enjoyed the little bit that I saw when it was on during Ida Lupino's recent day. If it is on again, I plan to record it. I enjoyed Nino Martini a lot and was surprised that I had never heard of him before.

I have Garden of Eden (I've actually got two copies, I recorded it twice but didn't realize it), but haven't watched it yet. All Quiet on the Western Front moved me greatly and is one of the best films of all time. I have seen some of the ones April listed, but not for some time. However, none of these films prepared me for the amazing work he did on Hallelujah, I'm a Bum!

[feaito]

Wendy, we could created a Lewis Milestone appreciation thread. Couldn't we?