Mammy (1930) User Reviews

"I Wanna Be a Minstrel Man"

[lugonian · 7/10 · 25 May 2001]

MAMMY (Warner Brothers, 1930), directed by Michael Curtiz, became Al Jolson's fourth feature, following earlier screen efforts as "The Jazz Singer" (1927), "The Singing Fool" (1928) and "Say It With Songs" (1929). Although not one of the best in the Jolson series, the movie somewhat hits home to Jolson's early years as a minstrel man. With the songs by Irving Berlin, he is also credited with its story idea titled "Mr. Bones."

Al Jolson stars as Al Fuller, the lead singer of a minstrel show. He is hopelessly in love with Nora Meadows (Lois Moran), the daughter of the minstrel manager (Hobart Bosworth), but her real interest is in Billy West (Lowell Sherman), the interlocutor who ignores her so he can keep his eyes on other women. One night during a comedy act, Al, who is to "shoot" Westy at the close of the skit, finds Westly on the floor unconscious, and soon realizes that someone had placed real bullets in his gun. Following the performance, Al is arrested for attempted murder. When the police wagon that's carrying Al turns over, Al escapes. Bumming around in freight trains and eluding the law, he decides to pay his mother (Louise Dresser) her long-awaited visit. Knowing that something is wrong with her son, Mrs. Fuller doesn't let on, but she does gives Al her motherly advice in saying, "If anyone says anything against you, son, always MAKE THEM PROVE IT." Knowing that he is innocent of the shooting, Al decides to take her advice and go back to face the music, but when he does, he finds a different tune awaiting him.

Music and lyrics by Irving Berlin include: "Let Me Sing and I'm Happy," "Here We Are," "Who Paid the Rent for Mrs. Rip Van Winkle?" "The Knights of the Road," "Yes, We Have No Bananas" (by Frank Silver and Irving Cohn); Guiseppi Verdi's "Miserere" from Il TROVATORE; "Looking At You Across the Breakfast Table," "Here We Are" (reprise); "In the Morning," "Why Do We Take the Night Boat to Albany?" "Swanee River" (by Stephen Foster); "Let Me Sing and I'm Happy" (reprise); "To My Mammy" (sung by Jolson to Louise Dresser); and "Let Me Sing and I'm Happy" (closing number). Of all the songs presented here, "Let Me Sing and I'm Happy" comes off best, sung three times by Jolson, each in a different style.

Originally filmed in early Technicolor, existing prints today are shown in black and white. Storyline is passable, but does have its slow points, one in which Jolson's purposely stutters to a visiting sheriff (Jack Curtis) so to give the theater troupe time to take off on a train, only to learn that the sheriff isn't there to arrest anybody, but to join the company; and another when Jolson gets drunk, a scene that appears longer than what it is. Jolson's acting hasn't improved much dramatically but succeeds in perking up the plot with his energetic singing. Also featured in the cast are Tully Marshall as Slats, Al's tag-along hobo he befriends in a freight car during his escape from the law; Stanley Fields and Mitchell Lewis, among others.

Due to the controversy of the movie, mainly because of it lengthy minstrel show routines, "Mammy" is a rarity on TV, or anywhere for that matter. Currently available on video cassette, it can also be seen sporadically on late night cable television's Turner Classic Movies.(**)

A look at a bygone era and a timeless performer...

[AlsExGal · 6/10 · 12 March 2021]

... that being Al Jolson. This film adapts the play "Mr. Bones" along with its Irving Berlin songs to the screen, with Al Jolson doing much of the singing as lead Al Fuller in "Meadows Musical Minstrels". Jolson's last film, "Say it with Songs", from 1929 had a real dive in revenue compared to his first two films. Maybe that was because of the changing times and the novelty of sound had worn off, maybe it was because, with that novelty wearing off, Jolson had looked somewhat ridiculous in his scenes with little Davey Lee in Say It With Songs.

So this time around, no melodramatic scenes with an ailing child. Jolson is largely shown doing what he did best - perform musically on the stage, except in a film. Director Michael Curtiz adds some visual flair to this one with some parade scenes, including one in "the rain" in which nobody seems to get that wet. Also there is a train scene with a babbling brook nearby as the locomotive lumbers past, and clouds going by overhead. Not the usual Warner stock footage that they did in their early years after escaping their poverty row roots.

A very basic story is added to the minstrel musical scenes. Al has a mother that he seems to visit just to say goodbye to. He is secretly in love with Norma, the daughter of the owner of the show, who is engaged to a man (Lowell Sherman) who never saw a skirt he didn't want to chase. And to top it all off, Al is framed for an attempted murder.

It was interesting to see Lowell Sherman here as the skirt chasing interlocutor. He has a much more restrained presence than he usually has in his films where he is best known as being flamboyant, plus he was a director himself. It would be interesting to know how he and Curtiz got along on the set.

I'd recommend this mainly for Jolson fans and for fans of the early talkies. Technically this IS a precode, but the only thing close to a precode moment is when Al goes into Norma's dressing room after her performance, and while they are casually talking, just starts helping her undress. They both have a moment of mild embarrassment when they realize she is standing there, talking to this casual friend, clad only in her underwear!

Let Me Sing and I'm Happy

[bkoganbing · 6/10 · 4 July 2005]

If Mammy is remembered for anything it is for providing Al Jolson with one of his biggest song hits, definitely the biggest song hit he had written especially for the screen. Irving Berlin wrote this number for Jolson and he does it three times in his usual bravura style and on two of those occasions without black-face.

Al Jolson got his start in minstrel shows which were still popular at the turn of the 20th century. He's Al Fuller in this show, lead singer in this troupe and a man with a case of unrequited love for the owner of the show. From there springs the plot.

It's unfortunate for Jolson's current reputation that he did not abandon the black-face which was a carryover from his minstrel days. It's considered offensive now and rightly so. But listen to him sing Let Me Sing and I'm Happy and the rest of the score and you're hearing one of the great song stylists ever.

Irving Berlin wrote some original material for this film which was interpolated with some other standards. It is also good to hear Jolson do two of his comedy numbers, Who Paid the Rent for Mrs. Rip Van Winkle and Why Do They All Take the Night Boat to Albany. It's his ballads that he's remembered for today, but these numbers give you an idea of more of the kind of material he did on stage.

A lot of people will be rightly offended in seeing Mammy now, but like Bing Crosby's Dixie, it's an interesting piece of cinema history.

See it for Jolson and the music

[TheLittleSongbird · 6/10 · 25 November 2016]

'Mammy' did have at least three things going for it.

There is the presence of Al Jolson, a great entertainer with a terrific voice. It has music penned by one of the greatest song-writers of all time Irving Berlin. And it was directed by Michael Curtiz, who directed favourites such as 'Casablanca', 'The Adventures of Robin Hood' and 'White Christmas'.

It is interesting to watch now, and is certainly not a bad film. However it is very easy to see why people will have, and have had, issues with it. Things work very well, but there are parts that have aged badly and make modern viewers cringe while still somewhat appreciating what the film tries to do.

Best things about it are Jolson and especially Berlin's music. Jolson is restrained but still electrifying, he also sounds great and puts his all into the songs. While not among his best ever song scores, the songs are still terrific, with a lot of energy and emotion, clever lyrics and they are gorgeously melodious too so Berlin's talent as a composer/song-writer is more than evident here. Most of the musical numbers are well staged, Jolson's musical scenes work very well and while the minstrel scenes don't work on the whole "Yes I Have No Bananas" is quite fun.

With that being said, the supporting cast are also competent, with an entertaining Lowell Sherman, Hobart Bosworth and a restrained, dignified and sympathetic Louise Dresser coming out on top. Lois Moran has a thankless and underwritten role but brings some charm to it. 'Mammy' still looks good, with lovely 2 strip Technicolor in two scenes and the black and white for the rest of the film looking remarkably crisp. Much of the film has a good deal of energy, and there are a few amusing parts.

Other things don't come off so well. Some of the story is silly and drags in spots, while the mother and son relationship sees Jolson and Dresser behave in a way that is much more suited to a pair of lovers than mother and son and it just doesn't feel right and most of the comedy falls flat because of being overly corny, very of the time and flat in timing.

As for the minstrel scenes, they were acceptable back in 1930 but while historically interesting somewhat they don't hold up very well now. They do go on too long, are not for the easily offended and how most of them are written and staged will make a lot of people cringe and reach for the fast forward button (personally was tempted). Curtiz's direction is not as inspired as in the best of his films and like his heart wasn't completely in it.

Concluding this review, an interesting film that is worth watching for Jolson's performance and Berlin's music but it's a wildly uneven film where some parts just don't hold up very well. 6/10 Bethany Cox

Mammy was one of the first times I've watched an all-talking Al Jolson movie

[tavm · 7/10 · 12 April 2016]

Just watched this on Warner Archive DVD. It also had the trailer for it in which star Al Jolson is "interviewed" by a reporter about his latest picture. I put "interviewed" in quotes because I'm sure that "reporter" was another actor helping plug the picture. Anyway, I enjoyed the story and performances though it's really Jolson's songs-mostly written by Irving Berlin-that help sell the movie on its merits. This version has the restored 2-strip Technicolor sequences that looked pretty good for its age. Some of those scenes had to be accompanied by sepia-toned black and white ones to show them complete which didn't distract me too much. In summary, Mammy-despite some now-politically incorrect stereotypes concerning the blackface sequences-was pretty entertaining.

Interesting, a lot better than I thought

[eocostello · 8/10 · 3 October 2002]

I saw today the restored version of "Mammy," restored in that the two colour sequences have been put back in. (Some areas had to use sepia-tinted bridging sequences.) I'm no fan of Jolson, but the movie did keep my interest, the presentation was good, and Al here is somewhat restrained, all of which added up to a surprisingly good time. Presentation (including a very good soundtrack) is everything

Finally The restored version

[cynthiahost · 24 June 2011]

Aren't you glad the Disney Corpcatters don't own ,"Mammy? If they did we would never see it.They are political correct hypocrites. They are hiding there own racism by not reissuing ,"Song of the South.Time Warner is Moderately politically correct.Cartoon network had began to censor all the classic cartoons to appease Communist family values, that are a threat to our constitution. Then they had them removed, Warner home video D.V.D.took advantage of this . They saw cartoon network ridiculous, Thank goodness for them. T.C.M. does not promote censorship against the past, that is what they already got and shown. But they promote censorship against introducing any more classic propaganda film classic of the third Reich than what they already shown. They are greedy. Warner home video was even thinking of releasing in this country,the restore version , which is not completed yet , of Viedt Harlan's Opfergang, but they chicken out do to his infamous Jude SuS. I am oppose to political correctness . It isn't liberalism. It's a part of the communist manifesto. In Russia the government would send people to Siberia if they criticize the government or express negative views against their comrades.I don't get offended at the black face sequences cause it's history and it's parody based on past attitudes.The minstrel show is a fact of the past. It needs to be excepted.Any negative thing of the past can't offend me. It's too old. Hitler is dead.Al Jolson did black face because in white show biz when a performer was shy he try to cover up his shyness by parody, the black folk. Eddie Cantor did this too. Non of them were racist. Black Vaudeville did the same parodies too.In fact you had black Americans who also did minstrel shows too.Bojangles did .Movies like this are for classic film fans and fans of film history. Political correctness is anti past, prejudice or not.I was sure glad that Warner's did not add a third color to the sequences. The black face cross dressers dress were pure green. They could of filled in the gaps with artificially restoring the red and green through taking the image in a computer and splitting it adding red and green tones to each image and super imposing it together and put it back on new film stock. It would of looked as if it was fully complete. My guess it was probably too expensive and would of taken too long to complete. But it's possible and the restorers wanted to keep the original condition they found it in any how. Since having to fix the color was expensive enough. I did not know that Irving Berlin wrote Pretty Baby. the song.But the numbers are good. The story is good too.About a very bad minstrel show troupe. The struggle that they have to put on to survive. It's a dying art in 1930. Their lead singer is Al. Headed by Lowell Sherman. who is engaged to the daughter of who runs the show. Lois Moran.But Lowell is flirting around and she doesn't like it.Al Fuller is in love with her. Traditionally when you have a color sequence in a black and white movie the actress is more dolled up. Well Miss Moran remains none doll up in the color sequence . No rough . That's more real. The final,of the first show,"Yes we have no bananas," was taken from a broad way show, starring Grace Moore. It was a parody of The Nibelung by Richard Wagner . Moore was dress as Broom Hilde. This is based on a Broad way book I checked out in the library years ago. Instead of hi-ya HiYa hi- YA! they sang Yes we have no bananas. This movie is worth a collection by the casual and serious fan. Available at Warner shop dot com and amazon. 06/25/11 Made a mistake Lois Moran is dolled up at the finale

Mainly for Al Jolson, Irving Berlin and white minstrelsy fans

[psteier · 6/10 · 6 October 2002]

In general, second rate material all around, though one of the minstrel numbers (the Yes We Have No Bananas Operatic Finale) is quite good. The plot is mainly an excuse to let Al Jolson do his stuff, but he can't carry it alone

The first part of the movie does give some idea what a white minstrel show might look like, including a parade in the rain.

I saw the UCLA restoration, which does include what is known to survive of the 2 color (red/green) Technicolor sequences. Unfortunately, sections of those sequences were lost when Dutch titles were inserted, and some of the cuts from color to sepia tinted black and white are not smooth.

"My blues can reach your shoes"

[Steffi_P · 8/10 · 12 September 2010]

Al Jolson occupies an unusual place in cinematic heritage. Dubbed the world's greatest entertainer, and certainly the most popular one in his day, Jolson will also forever remain famous for being the star of the world's first talking picture. And yet, due to much of his act and many of his screen appearances being in blackface, as well as the general quaintness of his style which owes far more to the musical hall than it does the screen, he is a figure whose work is today discussed far more than it is enjoyed.

Mammy was Jolson's fourth movie, and perhaps surprisingly is the first in which he had been paired with a major hit songwriter – in this case, Irving Berlin. The lesser-known Ray Henderson may have given Jolson his biggest hit with "Sonny Boy", but Irving's knack of mixing upbeat jollity with a bittersweet tug chimes in perfectly with Jolson's own style. The key song of Mammy is "Let Me Sing and I'm Happy" which is among Berlin's simplest both in melody and sentiment, and really suits Jolson's persona down to the ground.

Mammy also sees Jolson placed before a rather heavyweight director of dramas, namely Hungarian émigré Michael Curtiz, as opposed to comedy and musical specialist Lloyd Bacon who had helmed his previous two releases. Curtiz's tendency to fill up spaces with layers of extras and assorted business, tightly framing actors amid their settings isn't really what this picture needs, but nevertheless the director adds a few little touches to help ease out the story's emotions. Most notably we have several facial close-ups, a couple of Louise Dresser and one of Lois Moran. A pretty standard trick, but these are not just any close-ups. Take the one of Dresser after she has said goodbye to Jolson. Behind her we see some people walking to screen left, after which we cut to the train pulling away screen right, making it visually appear that the two shots are moving in opposite directions. Curtiz was also known to encourage restrained performances from his cast, and indeed we do get some beautifully understated turns from silent stars Louise Dresser and Hobart Bosworth. Even Al himself is a good deal more subtle under the influence of Curtiz.

However, the real key to Mammy's appeal – the reason why these pictures were more than just Jolson showcases – is the way that the songs are placed within the narrative. This is of course long before the days when the "integrated" musical was commonplace, and yet the emotional weight of each song has undergone consideration, probably by original "idea" writer Berlin, such story-based song deployment being another of his talents. Jolson's performance of "Looking at You" ironically comes just after his inadvertently putting himself in an embarrassing situation with Lois Moran, and the utter inappropriateness of the song at that moment increases that feeling of awkwardness. "Let Me Sing and I'm Happy" as well as being Jolson's introductory number, is reprised twice, firstly when he is about to be arrested, and again at the end of the picture – each time for completely different impact due to its placement. And this is something Jolson himself is clearly aware of, putting a veneer of professionalism over each rendition, but allowing his character's emotional state to show through according to the context in which the song is sung.

This may be one of the finest Jolson features, but ironically it was part of a downward turn in his career. His pictures were becoming repetitive, and now a few years into the talkie era he was less of a novelty. He would disappear from screens for a few years before reinventing himself as a more conventional musical star for the mid-30s, more or less divorced from his music-hall roots. Still, Mammy provides an opportunity to see him as he was to early audiences, before he even stepped in front of a camera, taking simple, hackneyed routines, pouring in his heart and soul and making them his own.

Al Jolson's Movie Double

[empress-isles · 10/10 · 11 July 2020]

Funny story about happening upon Al's double.

Production mistook my grandfather as Al, they thought Al was joking around and said he was wanted on set. My grandfather Michael was actually a carpenter building the WB sets. Since he was such a good lookalike, they used him as a standin.

Almost the best!

[JohnHowardReid · 9/10 · 13 June 2014]

Good to have this one on a "restored and remastered" Warner Archive DVD, complete with its original "Overture" and its Technicolor sequences (be they a little bit damaged). Most people complain about the attempted restoration of the two Technicolor sequences, but I thought the archives did a remarkably good job here. Where they failed was with the Overture. I anticipated that it would be at least as effective as the stirring music track for Don Juan (1926). But not on your life! These boys have had three years to refine their task, and they come up with something that isn't a quarter as stirring or effective. Fortunately, the sound track of the movie itself is much better, though it too seems to have only half the volume and no more than a quarter of the Barrymore movie's oomph and daring.

All the same, it's hard to keep Al Jolson down. Even at his worst (some of the end-man's corny feeds to the Interlocutor), Jolson is still almost the best thing about Mammy. I say "almost" because Al is actually thoroughly beaten for acting honors by the title lady herself, brilliantly played here by Louise Dresser. Despite the movie's title, her role is actually rather small. But you'll never forget her. Wisely, Curtiz, his cameraman (Barney McGill), his editor (Owen Marks) and his costume designers (Earl Luick and Edward Stevenson) focus all our attention on Louise when she does actually appear. For once in the picture, Jolson feeds her all the dialogue. In all other scenes in which he appears, Jolson is the one who is fed. This is bad, actually, because it makes the plot hard to follow when the victim is given all the close-ups and the perpetrator is almost always observed in long shot and makes virtually no impression at all. Still, you could argue that Mammy is a musical and that the plot doesn't really matter. There's more than a bit of truth in that argument, so don't let the plot worry you. Just sit back and enjoy all the standard Irving Berlin minstrelsy.

Let me sing and I'm Happy - and we all are after seeing this film

[bc1968 · 10/10 · 6 January 2023]

Al Jolson appeared in his fourth film as Al Fuller an end man of a minstrel troupe, he is the main singer and comedian of the troupe and is in love with Nora the daughter of the troupe owner, unfortunately Al's co star Westy (Lowell Sherman) is also in love with Nora

The film opens up with the minstels trooping through a town in the pouring rain and Al singing 'Let Me Sing & I'm Happy' to tempt the locals to come and see the show at the local theatre.

The show is struggling for funds and Al persuades a local sheriff to invest in the show, this investment changes the fortunes of the owner and troupe, it also gives Al the chance to go and see his mother (Louise Dresser) and declare his love for his Mammy

On Al's return to the show, he declares his love for Nora, but this causes friction between Al and Westy.

As a side plot a character known as Hank /Tambo is a bit of a gambler and is found out to be a cheat, he decides to put live bullets in a stage gun, which would normally be used by Al in a slapstick part of the minstrel show where he ends up shooting Westy (the gun would normally have blanks) however with the real bullets he is badly hurt and Al is arrested, Al manages to escape and goes on the run in a freight train, eventually Hank confesses to the crime and Al is exonerated allowing Al to return to the show and be the star again.

All of the music in the film was written by Irving Berlin and has some of his early standards performed as only Jolson could sing them - with gusto and enthusiasm.

The main song of the film is Let me sing & I'm happy - which opens and closes the film - there is only one verse of Mammy sung as the train is leaving the station after Al has visited his mother.

The film has a scene where a minstrel show is performed in the traditional way and gives a great insight into why they were so popular in their day, it had songs, comedy, drama - all in one, with every member of the troupe being a valuable part of the ensemble.

Songs in the film are

Here We Are Let Me Sing And I'm Happy Who paid the rent for Mrs Rip Van Winkle (full of inuendo's), Yes We Have No Bananas, Night Boat to Albany, Pretty Baby, When You And I Were Young Maggie Across The Breakfast Table Looking At You Miserere In The Morning My Mammy

All in all Mammy is a marvellous film, with great songs that showboat Al Jolson

To scholars, Historians and film buffs it is an insight into early 20th Century entertainment aswell as the way early talking pictures evolved over a few years, from being 80% silent black and white films to be full sound and colour films.

The film has the first Technicolour sequences, which are obviously an experiment, these scenes work fairly well and the use of Technicolour was optimised (by United Artists) in an Eddie Cantor Film released 6 months later in September 1930 'Whoopee'

The Music Is the Only Good Thing

[Michael_Elliott · 12 March 2011]

Mammy (1930)

** (out of 4)

Al Fuller (Al Jolson) is an entertainer in a minstrel show who just happens to be in love with a woman (Lois Moran) who can't have him because she's in love with another performer (Lowell Sherman). During the act there's a sequence where Fuller must shoot the "other man" but after doing so this night a real bullet comes out. Fuller runs off to his mother who tells him he should go back and face the music. Fans of Al Jolson swear up and down that the entertainer doesn't get the credit he deserves today because of the fact that he appeared in blackface. The actor will always be remembered by film buffs for THE JAZZ SINGER but I'm going to go against some of the fans and say that he's not better remembered today not due to the blackface but because of the fact that his movies simply aren't that good. MAMMY is the perfect example of this. The performances are bad. The story is downright silly. The talking sequences are all rather lame but this can be blamed on the technology of the time. Curtiz, one of the greatest directors from the Golden Age of Hollywood, is absent throughout much of the running time. We can start with the story as it's just downright silly and it's easy to say that not much time was spent on it as the studio was clearly more worried about the music. That's understandable so we can let the bad story slide. Curtiz' direction really doesn't bring any of the material to life and just check out how poorly shot the opening sequence is in the rain. The other minstrel show stuff will probably offend most people but I've seen enough movies and know enough about history to realize that this type of thing was accepted in 1930. Still, seeing a bunch of actors in blackface singing "Yes! We Have No Bananas" is probably going to be too much. The music numbers are the only thing that makes this worth viewing as there's no question that Jolson has a terrific voice and it can be heard in some great songs including "Yes, Sir, That's My Baby," "Mammy," "In the Morning," and several others. Jolson does his best to keep the energy going but he's given some pretty poor dialogue including some really lame jokes. The supporting players don't help too much either but then again the screenplay isn't doing them any favors. MAMMY is probably best known for the two sequences shot in 2-strip Technicolor. The picture quality today is quite rough but at the same time I was rather shocked at how incredibly bad the blackface looked in color. It looks like they would have done some more tests because just take a look at it during the first color number.