The Jazz Singer

ds wb musicals

I don’t like movie musicals. It’s probably more accurate to say that I strongly dislike the vast majority of musicals. Too often I find that the songs and dance numbers take priority over the film’s story and characters, and that disparity leaves me disinterested in the whole shebang. And if I’m being honest, I really hate it when complete strangers suddenly bust out with the same songs and dance moves as if they’ve been secretly practicing them for weeks. (Unless the story is about the history of flash mobs of course, but who the hell would want to watch that?) There are exceptions, but they’re usually films that place as high a value on the story being told and the characters within as they do on the music and dancing and other gibberish. Ones I do like include Chitty Chitty Bang Bang, 8 Women, South Park: Bigger Longer and Uncut and Takashi Miike’s The Happiness of the Katakuris. You could say I lean toward less traditional examples of the form. Warner Bros. just released a series of 20 Film Collection box sets broken down by genre, and when the opportunity arrived to take a look at the one focused on Musicals I literally stood still at the chance. And yet… here we are.

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Reel Sex

People were up in arms Tuesday after the announcement of nominees for the 84th Annual Academy Awards. So many seem to forget that every year they are disappointed with the nominees and every year there is some film or performer who was left off or included on the prestigious list. I may have spent the final weeks of 2011 lamenting my utter ennui with last year’s films, but I never in a million years expected some of the Oscar outcomes. No Supporting Actor nomination for Albert Brooks, whose performance in Drive unnerved audiences to the core? Or the blatant disregard for solid documentary filmmaking in The Interrupters, Buck, or Project Nim, three entries into filmmaking that will forever impact the way we view the world around us? No, the Academy seemed to forget the impressive and daring offerings in favor of an adorable dog in a silent film. What is this, 1920? Last I checked The Jazz Singer pushed us into the land of the talkies. I could spend all day gnawing my tongue over which films shouldn’t have been included in this year’s awards recognition, but just like arguing the virtues and evils of the MPAA, our time is better used talking about some of the sexy pieces of work that the Academy felt were too provocative to include (for reasons I have completely made up in my mind. Hey, they have their prerogative, I have mine.). Going along with the Academy’s new voodoo math rules of deciding the […]

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James Cameron is always on the brink of revolution. Really, the dude needs to take a breather. At this year’s CinemaCon, the tech-centric director couldn’t shut up about 3D, faster frame rates and improved camera systems while everyone around him was salivating for a detail or two on his plans for the Avatar sequels. Forget that — there are shutter speeds to be discussed! We’re all about Peter Jackson hyping The Hobbit shooting 48 fps on RED digital 3D and legendary effects guru Douglas Trumbull heading back to directing with a tech-first approach, but at some point, isn’t the equipment standing in the way of great storytelling? We’ll give the benefit of the doubt to these three men, but whether any of their advancements are really “the future of movies,” won’t be known for a few years. Unfortunately, just because you’re brilliant and you say something is awesome…doesn’t mean it’s awesome. Here’s a look back at some of the other “game-changing” inventions that were supposed to change the way we watch movies, but never really picked up steam.

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Every Sunday in September, Film School Rejects will present a musical that was made before you were born and tell you why you should like it. This week, Old Ass Musicals presents the story of a young Jewish man struggling between his career and his family who revolutionizes Hollywood by speaking to the audience for the first time. It’s Al Jolson as The Jazz Singer.

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Rob Hunter loves movies. He also loves working as a documentary filmmaker who follows Asian girls around to document their love lives. These two joys come together in the form of cash money payments that he receives every week and immediately uses to buy more DVDs.

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Kevin Carr rages against the idea that some movies of the past are just too controversial to be made by the studios today.

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