Big Boy (1930) User Reviews

My Pal Gus

[lugonian · 5/10 · 2 May 2003]

BIG BOY (Warner Brothers, 1930), directed by Alan Crosland, is a curious item produced during the early days of sound films. Starring the legendary entertainer of Al Jolson, making his fifth screen appearance, it did offer him the rare opportunity to not only reprise one of his many stage roles from a Broadway days, but to display a type of character made famous by his contemporary, Eddie Cantor, that of a wisecracking wiseacre who occasionally bursts into song. While Jolson is noted for performing in song numbers in black face, a tradition he would enact in many of his screen musicals of the day, this is the only time he would play a central character entirely in black-face. In spite of these taboos, Jolson performs his character in the most relaxed manner, giving the movie a different feel from his previous sentimental dramatic efforts that began with his historic "first talkie," THE JAZZ SINGER (1927). One would wonder how his performance would have played had he not performed in black-face. But in his day, Jolson in black-face is more a tradition with him as a clown's makeup and red nose in a circus. And at times, Jolson performs his character here in a circus-like performance rather than his previous efforts with sentiment and tears. While the title, BIG BOY, pertains to a race horse bearing that name, this is Jolson's movie from start to finish, making not only the title character secondary, but the supporting players (with the exception of fine character actress Louise Closser Hale) just merely background decorations to Jolson's singing and clowning.

After a brief opening consisting of title, cast and credits,with horses seen beyond the lettering racing to victory towards the finish line, the story (which indicates to its viewers that this is a horse racing story), begins at Bedford Stables where Gus (Al Jolson), is singing to a group of black children followed by him singing a sentimental ballad to a pony named Big Boy. Two years pass by and Gus is still seen caring and singing to Big Boy, now a full grown horse. Hoping to recoup the family fortune, the Bedford family state their hopes on Big Boy to be trained for the Kentucky Derby by Gus. Shortly before the big race, Jack (Lloyd Hughes) and Annabel (Claudia Dell) return home from school in the east, with Jack accompanied by Coley Reed (Eddie Phillips), Doctor Wilbur (Lew Harvey) and Steve Leslie (Colin Campbell), an English jockey. Reed persuades Jack to urge his grandmother (Louise Closser Hale) to entrust the race to Steve, and succeed in having Gus fired so that the bad guys can "throw the race." But while Gus succeeds in obtaining employment as an eccentric singing waiter, he eventually learns of the scheme and outsmarts the crooks.

Unlike some other Jolson musicals, BIG BOY has some listenable tunes, but none to have appeared to become standards. In the existing film, the songs, written by Sammy Stept, Bud Green, among others, mostly sung by Jolson, that are featured include: "Liza Lee," "My Little Sunshine," "Dixie's Land," "All God's Children Got Shoes" (Negro spirituals, including the traditional "Let My People Go"); "Tomorrow is Another Day," "Tomorrow is Another Day" (reprise), "Hooray for Baby and Me" and "Tomorrow is Another Day" (reprise and finale).

BIG BOY has its moments of comedic fun, as well as scenes that don't perform well for contemporary audiences, such as the flashback sequence set in 1870 which details of how Gus's grandfather (Jolson) had rescued Annabel's grandmother (a role performed by Louise Closser Hale in modern setting and by Claudia Dell in flashback) from being kidnapped by the villainous John Bagley (Noah Beery). The story is then highlighted by a lengthy nightclub sequence where Gus, working as a waiter, gets his last words to some angry customers, (one of them played by character actor Eddie Kane), along with comedic singing by Jolson to the tune, "Hooray For Baby and Me." BIG BOY also includes some "in jokes" pertaining to one of Jolson's hit tunes to "Sonny Boy" which he introduced in his second film, THE SINGING FOOL (1928). He sings it briefly once from under the table following a rumble set in the restaurant. In the film's final moments where Jolson steps out of character and black-face, surrounded by the cast in the play, to wrap it up with a Jolson song to the audience on screen. Jolson takes song requests, which is shouted out by many at one time. When one member of the audience asks him to sing "Sonny Boy," everyone suddenly gathers up from their seat to start walking out before Jolson puts a stop to that by singing the movie's theme song for the third and final time, "Tomorrow is Another Day," a phrase made more famous in the closing line to Margaret Mitchell's novel and David O. Selznick's epic motion picture to GONE WITH THE WIND (1939).

BIG BOY not only reunites Jolson with his JAZZ SINGER director, Alan Crosland, it marks his shortest screen feature (67 minutes) and a rarity in becoming his second released film in a single year. It also marked an end to Jolson's first cycle in motion pictures (1927-1930). While BIG BOY reportedly didn't do well at the box office in 1930, it does, however, remains an interesting antique that occasionally comes out of mothballs when shown on cable television's Turner Classic Movies. On a final note, this, and the other films of Al Jolson made at Warner Brothers (1927-1936), were at one time available on laser disc back in the late 1980s. While BIG BOY never got distributed to home video, it did become available on DVD through the TCM Archives collection in 2010.(**)

Less musical than most of Jolson's films...

[AlsExGal · 6/10 · 15 November 2009]

...largely because of the fact that by the autumn of 1930, when this film was released, musical films were a sure fire miss at the box office. However, Jolson still owed Warner Brothers one more film to fulfill his contract. Thus they came up with the idea that Jolson should reenact his role as Gus in one of his Broadway hits, "Big Boy". This would allow Jolson to sing but be more likely to attract audiences. This required Jolson to do the entire film in black-face as a black man who is a servant on a plantation. If this had been done seriously I'm sure it would leave modern audiences aghast. However, let me assure you that through the entire film Jolson, as Gus, is kidding the audience. Let me also assure you that Gus is smarter than the family that employs him. I doubt most of them could reason their way out of a paper bag without his assistance. Gus' family has been serving the Bedford family for generations. Specifically, Gus is trainer and jockey for the Bedford family prize horse, Big Boy. However, one member of the family has written a bad check to a girl in the city, and a gambler is using that as a threat to the young man so that he can fix the results of the Kentucky Derby. Under fear of being sent to jail if the bad check is reported to the police, the young man gets Gus fired so that a jockey that will throw the Kentucky Derby can be hired to ride Big Boy. It sounds like serious stuff, but believe me the whole thing is performed tongue-in-cheek, at least Jolson's part is.

Just because 1930 audiences had their fill of musicals did not mean they had their fill of Jolson, so at the conclusion of the film Jolson is introduced as himself without makeup to sing one song. I'd recommend this one, but you have to like Jolson and you have to remember that this film was made eighty years ago and that no harm was intended by any of the characterizations.

Jolie And The Horse

[bkoganbing · 6/10 · 22 January 2008]

Big Boy was one of two Al Jolson films that were taken from Broadway shows Jolson starred in. The other one was Wonder Bar. In this case it allows us the only filmed record of the kind of character Jolson played in his shows.

As it is here, the character is usually named Gus and he's black and Jolson does him in blackface as sadly he's identified today.

On Broadway Big Boy ran for 176 performances during the 1924 season and in his usual fashion Jolson always interpolated his own material in it, sometimes discarding songs and adding them during the run. One song he discarded was one he felt was not working for him during the Broadway run and he gave it to his number one rival Eddie Cantor. It turned out to be If You Knew Susie.

The film follows the plot of the stage show. Jolson plays the old family retainer of a Kentucky bluegrass family and part of his duties is to ride and take care of the horses, most especially their thoroughbred contender for the Kentucky Derby named, Big Boy.

But there's skullduggery afoot. There's a plot by some gamblers to fix the Derby for another horse. That calls for separating Al from his beloved equine charge. Of course you know it all turn out right in the end.

During the play and the film, there's a flashback sequence in which Jolson plays his own grandfather and saves a young bride from the lecherous advances of Noah Beery. In the film Beery identifies himself as a Klansman and I have to say that Jolson, servile and all as he is, does in fact save the day. Of course while doing his shuffling act, he gets quite a few zingers in.

When the story ended as it did for Jolie on Broadway, he'd remove the blackface and usually sing a medley of his hits per request from the audience. That's what happens here also though none of the songs from Big Boy the film gained any popularity.

One thing I cannot figure out is during the Broadway run, Jolson got two reasonably big hits from the show, Hello 'Tucky Hello and Keep Smiling At Trouble. Why they weren't sung in the film is beyond me.

It's not a great film, Big Boy contains a lot of racial stereotypes that people would find offensive. But to see what Jolson was like on stage, this is the closest we'll ever come to it.

Hysterical

[lzf0 · 28 November 2001]

Now the movie is far from politically correct. But it was made in 1930! Jolson is at his funniest. Sure, he's in blackface for almost all of the film, but this film serves as an historical recording of one of Jolson's biggest Broadway successes. Many people lump Cantor and Jolson together as similar type performers because both did blackface routines. But where Cantor played the scared little man (and played it very seriously, making it all even funnier), Jolson played the aggressive braggart. Jolson's Gus is a wise cracking schemer. His Gus is no Uncle Tom! Jolson is often the butt of the joke and this is a good thing. It softens his aggressiveness and makes him more human. I am only glad that with his massive ego, Jolson allowed himself to be the butt of jokes. The final punch line of the film is side splitting and is a wonderful inside joke. We need to look at these films with a 1930s mentality. We have advanced greatly in the area of tolerance, but we should not condemn performers like Al Jolson and Eddie Cantor who were only appealing to the popular tastes of their time.

Al Jolson Gets Off Track

[wes-connors · 3/10 · 7 May 2011]

Descended from slaves, horse trainer Al Jolson (as Gus) wants to ride "Big Boy" all the way to the Kentucky Derby, and help his master's family regain their fortune. Criminal forces conspire to get Mr. Jolson off his high horse, although he is the only one who has a chance to win. Jolson is exceptionally close to his horse, claiming he has, "Greta Garbo's eyes and Clara Bow's legs." Not coincidently, both actresses were ahead of Jolson in Quigley Publications' "Money-Making Stars" for 1930 list. Jolson's #7 position was nothing to scoff at, but fewer people were seeing him in "Big Boy" than in still exhibited hits like "The Singing Fool" (1928).

One of the reasons for this film's relative failure may be the original Broadway show's altered and lackluster soundtrack. Jolson was the first in a Crosby/Sinatra/Presley continuum of pop recording artists. But now his usual string of million selling #1 hits was no longer in evidence. The attempt to make "Tomorrow Is Another Day" a hit was unsuccessful. Bing Crosby was taking over.

None of the veteran character actors make much of an impression alongside Jolson. Helping more are John Harron (as Joe Warren), who romances pretty Claudia Dell (as Annabel Bedford) while helping her brother Lloyd Hughes (as Jack) and Jolson expose the criminal element. At the end of this film, Jolson is asked to sing "Sonny Boy" but declines - and there is nothing here even remotely approaching the quality of that song. "Big Boy" was also notable in that Jolson plays in "blackface" until appearing as himself in the end. He actually looked better with the darker skin, and sang with dignity, but his white lips are too pronounced in this picture.

*** Big Boy (9/11/30) Alan Crosland ~ Al Jolson, Claudia Dell, John Harron, Lloyd Hughes

Shockingly Entertaining

[louisb-399-524629 · 7/10 · 12 August 2012]

Big Boy was a complete shock to me, a 1930 picture that was vibrant, funny,bizarre and very entertaining. I bought it expecting to see a train-wreck,a politically-incorrect minstrel show featuring a white actor performing in black-face. Not just for a scene or two mind you, but for the entire picture(save for the very end)!!! What I got was a fabulous performance by Al Jolson,who is frankly so good here it's almost scary. He's funny, charming, sings wonderfully and performs with a sort of wink-wink to the audience, as if he knows he's in a ridiculous situation as an actor and wants everyone else to know it. His asides are often hilarious,and frankly he is so good overall that if he had chosen to play the part in normal black makeup, without the exaggerated lips common with black-face, I honestly think he would've disappeared into his role completely and truly transcended his makeup. The plot is almost completely beside the point-it exists simply to provide a frame-work for a series of wonderful musical interludes.There is one extended flashback sequence that appears almost out of nowhere, and is so wild and broadly played that I don't think anyone who sees it will ever quite forget it. Print quality is sometimes excellent, and often-times poor. This picture is in definite need of some restoration. I have to applaud those who decided in this sensitive age to release a movie as bizarre and potentially offensive as this one,and I'd like to think that it's because they trust us to be adults and apply some context to what we're watching. If the very idea of black-face portrayals offend you, this picture is to be avoided at all costs. If you can place the use of it into a proper context, this picture might still offend you, but at least you won't keep yourself from watching a wonderfully bizarre and surreal little curio. The ending to my mind is fabulous,by the way.

Once again, Jolson is the entire show.

[mark.waltz · 5/10 · 9 September 2015]

Off camera for possibly only a few minutes during this film version of one of his biggest Broadway hits, All Jolson does all he can to worm his way into the hearts of his fans. His schtick may fate but the urge to smile at least is always there. Even his now taboo if black-face us forgivable, a part of a by-gone era that can never return. When he breaks into traditional Negro spirituals, it is as if his whole soul has been taken over by some spirit of the past, crying out for peace. His rendition of "Tomorrow is Another Day" must have been pretty potent stuff for depression era audiences, and the passion in his singing still strikes today. It is a shame, however, that all movie audiences got with this was an obviously truncated version of what he had done on stage, and it is not memorable for anything else but Jolson's singing.

The slight story concerns an alleged Creole stable boy who works past his station, eventually becoming a singing waiter (again!) and later a jockey in the Kentucky Derby. Such respected players as Claudia Dell, Noah Beery and Louise Closser Hale stand up with their dignity intact, but as he admits even here in the script, if you are what you eat, then he is the Easter ham to end all Easter hams. Still, ham sliced thin makes for an awfully nice sandwich.

Wait A Cotton Pickin' Minute!

[ndimeo09 · 7/10 · 5 May 2011]

The movie "Big Boy" can be thoroughly enjoyed if you put into the context of when it was made. It may seem very bizarre to audiences today to see someone in black-face but be rest assured this was the norm for the 20's and 30's. This is not the norm for the 2000's or is it? In 2004 a Wayans Brothers movie called "White Chicks" was released and featured black men in white-face. I was truly offended that in the year 2004 such racism on screen could still be depicted.

Although "Big Boy" is not considered a classic it still has key elements of hilarity. Just as "White Chicks" relied on the exaggerated mannerisms of The Wayans Brothers in white-face Jolson's exaggerated black man is one of the elements that keeps the viewer smiling throughout. This is a recommended movie that was made 74 years before the dismal racist "White Chicks"!

Disgusting!

[msladysoul · 1/10 · 4 May 2011]

As a black person viewing this film, it was extremely disturbing for someone of this generation, and I'm sure to black people of that time it was insulting, but what could they do. They had no power to complain. It was politically correct to be racist and insulting of other races back then, because whites were superior and what they said went. They didn't care to take black people's feelings into consideration. Gladly, things have changed. This film couldn't and wouldn't be done today. If you want a black person, get a real black person to play a role, don't black-up a white person and make them look ridiculous and un-naturally black. Blacks aren't just black-face, black people's skin tone range from black, dark brown, brown, light brown, caramel, honey, mocha, yellow, olive, even pale.

Of course white people gave this movie positive reviews because its not their race being insulted or offended. These are the reasons why racism, discrimination, bigotry, and prejudice will always exist, because you will always have people who condone the behavior in this movie, by making up excuses like "its not that racist" or "oh, that how it was back then." I'm sure if the shoe was on the other foot, it wouldn't be as amusing.

Al Jolson passing as black, portraying a black man, was extremely stereotypical, of course, he would act in that way. He wouldn't act educated or with class or sense, whites wouldn't want to see that, naturally Jolson would roll the eyes and act a fool, sing of the lord, and carry watermelons, white people wouldn't have had it any other way. Jolson doesn't represent positive blackness to me, but of course whites think he did a great job portraying a black, because that's how they view us.

I read how some people say Jolson didn't act like an "uncle tom" so that should give some relief, well like I said he was still very stereotypical, and of course he could talk sassy and tough to some whites, because it was known he was white, so he could get away with it. If he was really black, he wouldn't have been able to talk up to whites on screen that way. When Jolson looks at the white woman that walks pass him when he's singing at the club, you know if he really was black, that part would have been cut from the film. If Jolson really wanted to make blacks look good and if he didn't mean no harm, he could have portrayed the new era of black people, not stereotypical, Southern, shuffling, yes-sir black, but the northern, Harlem black, bold, head up, educated, glamorous, ambitious, listen to Ethel Waters, "Underneath a Harlem Moon." The only true portrayal in this movie is the racist Southern man who says all kind of racial insults.

I hate to see how blacks, native Americans, asians have been treated in the movies back then. Its making it harder for me to watch these old classic movies, especially since the racism is so obvious and blatant. Whites were always superior and well-behaved, while people of color were made fun of, inferior, and not as well-behaved as whites, now we know the "white lies" and that whites weren't so perfect, but whites always put themselves in the best light back then.

From what I know about Jolson, he seemed to have been influenced by blacks, which you can see in his singing and dancing. Possibly, his dressing up in black-face was a way to become a black man to him. I've seen minstrel shows from back then and seen many black-face comedians, and found them insulting and offensive and they knew they were, but like I said it was okay to make fun of blacks back then, but with Al Jolson it seems he really wanted to be black, even though his portrayal was negative. Maybe with this film he was trying to show the ignorance of white racism by becoming a black man, of course the audience knew he was really white, but by becoming black, maybe he's trying to show whites it could have been you who could have been black, so how would you like to have been mistreated? Perhaps he was also showing how blacks always had to come to save the day for white people.

Anyways, this movie was ridiculous. Jolson was supposedly the greatest entertainer in the world in his time, well, maybe he would be more remembered mainstream and appreciated by everyone if it wasn't for the black-face. I hear talk of Judy Garland, Sinatra, and others, but not much talk of Jolson, I suppose its because of the black-face. If white audiences enjoyed the play or the movie Big Boy, its because Jolson reassured them with his stereotypical black person, that blacks were everything whites thought or wanted them to be.

I try to put myself back in the 1930's, and still was offended, as I'm sure many blacks were back then, but like I said they had no say. I read black newspapers of that time, and they were disgusted by the film. A lot of whites get offended when black comedians like Chris Rock make fun of them, well maybe now you know how blacks felt seeing Cantor and Jolson. Some may say, Eddie Cantor and Jolson were appealing to the tastes back then, so you mean they were appealing to whites love of seeing people of color made fun of? None of them had the balls to stand up and say I'm not doing that? Doing blackface don't make you a greater entertainer.

hotoil, said blacks didn't have leading roles back then. This movie was made in 1930, in 1929, Nina Mae McKinney, a black actress, starred in one of the first black films, and then there was Hearts of Dixie, another black film made in 1928. So there were blacks in starring roles.

Problematic, but passable if you can get past the blackface

[brchthethird · 5/10 · 6 April 2022]

Read a fair bit about Al Jolson, but this is the first film of his I've seen. To call his legacy complicated would be a big understatement. Getting past the blackface would be a big hurdle for anyone nowadays, myself included. How does Big Boy fare aside from that? It's a decent early musical, I guess. Jolson's portrayal/performance does seem to come from a place of sincerity and genuine admiration. He is a talented, charismatic performer, and a lot of the dialogue was really funny. Given that this is Pre-Code, there was plenty of banter and jokes that wouldn't have passed the censors a few years later (including one that implies a horse won a race by the length of his...ahem). Beyond that, at least this was rather short (69 minutes to be exact). Don't regret having seen this, but I doubt I'll return to it again.

Al Jolson Stars In Unusual Film

[Ron Oliver · 10/10 · 4 June 2002]

If faithful Gus can only help the racehorse BIG BOY to win the Kentucky Derby the white folks who employ him will be saved from financial ruin.

Strange, offbeat, bizarre, unique. All of these terms can describe this film which features legendary entertainer Al Jolson in blackface, playing a black man. While acted with tongue very firmly planted in cheek, and meant solely for lighthearted entertainment, this movie will definitely not be to every viewer's taste. Not until the final minutes does Jolson appear as himself, joking with the audience and reprising the film's dullest song yet once again.

The movie obviously has its roots in the minstrel tradition in which a group of musical white men would perform, made-up as blacks. Also, Jolson's own career involved extensive use of blackface routines and he had become quite celebrated for them. For their time, these were all considered quite normal and not offensive (to white audiences). It should also be noted that racial meandering was engaged in routinely in films for decades, with several top white stars (Helen Hayes, Paul Muni, Kate Hepburn, Ramon Novarro, Edward G. Robinson) playing Asian roles, although these were usually done for a serious, and not a comedic, purpose.

Once past the initial oddity, it must be said that Jolson is certainly fun to watch and is obviously having a great time. Singing constantly (none of his big hits, but he does well with a couple of old Spirituals), wisecracking and ad-libbing shamelessly, he is impossible to ignore. In his heyday, he was one of the most popular performers in the world and it's easy to see why.

Although Jolson dominates the film, there are a couple of other performers worth noting. Wonderful old character actress Louise Closser Hale, always a joy to watch, plays the plantation matriarch. In a lengthy & superfluous flashback scene, beefy Noah Beery appears as a bullying braggadocio who harasses Jolson.

It probably goes without saying that there is a fair amount of racism woven into the plot.

positive comments

[billcarpenter · 30 October 2002]

I was fortunate enough to see this film on the big screen (as all great film stars should be seen) almost 20 years ago and it was one of the most thrilling film experiences I have ever had.

Despite the film being politically incorrect in this day & age it is a great testament to all the performers who appeared in the beginnings of the sound revolution.

Al Jolson appeared as Gus the main character (& the role he actually played on broadway many times in different productions)in this play that was literally filmed on the stage.

If anyone with an open mind sits through a showing of the film, I'm sure that they would appreciate the 'rough' basic performances and the contribution they made to film history.

One of Jolson's best!

[JohnHowardReid · 9/10 · 4 January 2018]

Director: ALAN CROSLAND. Screenplay: William K. Wells, Rex Taylor, Perry N. Vekroff. Based on the 1925 Broadway musical by Harold Atteridge. Photography: Hal Mohr. Film editor: Ralph Dawson. Art director: John Hughes. Costumes designed by Earl Luick. Songs (all Jolson): Hooray for Baby and Me, Tomorrow Is Another Day, Liza Lee, Down South, What Will I Do Without You?

Copyright 5 August 1930 by Warner Brothers Pictures. New York opening at the Winter Garden: 12 September 1930. 6,275 feet. 69 minutes. (Available on a very good 9/10 Warner Archive DVD).

COMMENT: In my opinion, one of Jolson's best films. I'd rate this one third, after Rose of Washington Square and Wonder Bar. Based on Jolson's huge Broadway success, the movie is crammed full of delightful inside jokes and throwaway lines - some of which have to be heard to be believed! Jolson has such a great time singing and ad-libbing that he passes this enthusiasm on to the audience.

Crosland has wisely filmed the proceedings as if it all took place on a theater stage. This adds to the fun. Unfortunately, some of the other early Jolsons now available don't stand up at all well. And even a later one, The Singing Fool (1936), finds Jolson swamped by the futile attempts of knockabout comedians (Mitchell and Durant) and over-talkative camera-hoggers. But "Big Boy" is a joy!

No, HERE'S the deal...

[aciolino · 8 December 2003]

Al Jolson attempted to re-create his hugely successful Broadway show by making this film. Unfortunately, Jolson on film is a pale ghost compared to entertainer referred to as the "World's Greatest." On Broadway in "Big Boy" Al Jolson received what are to this day, the greatest reviews a Broadway stage performer has ever garnered. (see, Herbert Goldman, "The Legend Comes to Life") All who saw him perform knew that Jolson did not work on film, and Jolson knew it himself - - he simply could not put across on film his electrifying and magnetic stage persona through celluloid. Thus his screen performances are stiff and wooden. The media was completely wrong for him. In this film we see only glimpses of what audiences saw on the stage: an extraordinary comedian, singer and "presence." It must, unfortunately, fail to deliver. But it is worth seeing as one might want to see a still photograph of a lost work of art, or magnificent edifice.

Jolson Is Clearly the Best Thing Here

[Michael_Elliott · 7 May 2011]

Big Boy (1930)

** (out of 4)

Al Jolson was only able to bring two of his Broadway shows to Hollywood and this here was the first of the duo. In the film Jolson plays Gus, a black servant who dreams of one day being able to ride horses. He finally gets his chance when his owner's horse appears to be good enough for the race but of course a few issues are going to break out. Controversy will always follow Jolson since he often appeared in blackface but I've seen so many Hollywood films from this period to where I'm at the point of looking at it as the norm. It was certainly the norm in 1930 so it's doubtful too many went to the theater and saw this film the same way we would today. With that said, appearing in blackface is one thing but having the entire role done in blackface, when viewed today, just seems wrong on so many levels. I'm sure a black actor could have done this part and made for an entertaining movie but due to the times this just wasn't going to happen. The truth of the matter is that Jolson might be hated or looked down by many but I always try to judge things as honest as possible and there's no denying that he's very good in the part. I thought Jolson was very believable in the part of Gus and I think he managed to really bring the character to life as he made us feel for the character and made us want to see him reach his dreams. The "performance" is just fine as are a majority of the music numbers, which he also performs. 'Dixie', 'What Will I Do Without You?' and 'Tomorrow is Another Day' are the highlights of the group as the actor does a terrific job singing them but there are some nice visuals put to them as well. No one in the supporting cast really jumps out at you but then again this movie was made to show off Jolson and Jolson only. I think the biggest problem is the actual screenplay that appears to be missing a lot of footage that might have been in the Broadway play. The "story" appears to be missing quite a bit as the film seems to just want to get to the next music number. Another problem is that the comedy is flatly done and the majority of the jokes just fall flat on their face. Many people will look at BIG BOY is disgust and I understand that but it's one of the few ways to see what type of role Jolson did on stage and for that reason alone this remains an important picture for film buffs.

Here's the deal...

[Hotoil · 21 August 2001]

This movie is most notable as the film where Al Jolson plays the lead role in black face, which - in case you don't know - was the way any black lead role was because black people weren't allowed to have starring roles in Hollywood. Of course, if you can beyond the disgusting display of a white actor playing an over-the-top black stereotype...well, it's a pretty bad movie anyway.