The Jazz Singer full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Cantor Rabinowitz wants his son to carry on the generations-old family tradition and become a cantor at the synagogue in the Jewish ghetto of Manhattan's Lower East Side. But down at the beer garden, thirteen-year-old Jakie Rabinowitz is performing so-called jazz tunes. Moisha Yudelson spots the boy and tells Jakie's father, who drags him home. Jakie clings to his mother, Sara, as his father declares, "I'll teach him better than to debase the voice God gave him!" Jakie threatens: "If you whip me again, I'll run away—and never come back!" After the whipping, Jakie kisses his mother goodbye and, true to his word, runs away. At the Yom Kippur service, Rabinowitz mournfully tells a fellow celebrant, "My son was to stand at my side and sing tonight – but now I have no son." As the sacred Kol Nidre is sung, Jakie sneaks back home to retrieve a picture of his loving mother.

About 10 years later, Jakie has changed his name to the more assimilated Jack Robin. Jack is called up from his table at a cabaret to perform on stage.

Jack wows the crowd with his energized rendition. Afterward, he is introduced to the beautiful Mary Dale, a musical theater dancer. "There are lots of jazz singers, but you have a tear in your voice," she says, offering to help with his budding career. With her help, Jack eventually gets his big break: a leading part in the new musical April Follies.

Back at the family home Jack left long ago, the elder Rabinowitz instructs a young student in the traditional cantorial art. Jack appears and tries to explain his point of view, and his love of modern music, but the appalled cantor banishes him: "I never want to see you again — you jazz singer!" As he leaves, Jack makes a prediction: "I came home with a heart full of love, but you don't want to understand. Some day you'll understand, the same as Mama does."

Two weeks after Jack's expulsion from the family home and 24 hours before opening night of April Follies on Broadway, Jack's father falls gravely ill. Jack is asked to choose between the show and duty to his family and faith: in order to sing the Kol Nidre for Yom Kippur in his father's place, he will have to miss the big premiere.

That evening, the eve of Yom Kippur, Yudleson tells the Jewish elders, "For the first time, we have no Cantor on the Day of Atonement." Lying in his bed, weak and gaunt, Cantor Rabinowitz tells Sara that he cannot perform on the most sacred of holy days: "My son came to me in my dreams—he sang Kol Nidre so beautifully. If he would only sing like that tonight—surely he would be forgiven."

As Jack prepares for a dress rehearsal by applying blackface makeup, he and Mary discuss his career aspirations and the family pressures they agree he must resist. Sara and Yudleson come to Jack's dressing room to plea for him to come to his father and sing in his stead. Jack is torn. He delivers his blackface performance ("Mother of Mine, I Still Have You"), and Sara sees her son onstage for the first time. She has a tearful revelation: "Here he belongs. If God wanted him in His house, He would have kept him there. He's not my boy anymore—he belongs to the whole world now."

Afterward, Jack returns to the Rabinowitz home. He kneels at his father's bedside and the two converse fondly: "My son—I love you." Sara suggests that it may help heal his father if Jack takes his place at the Yom Kippur service. Mary arrives with the producer, who warns Jack that he'll never work on Broadway again if he fails to appear on opening night. Jack can't decide. Mary challenges him: "Were you lying when you said your career came before everything?" Jack is unsure if he even can replace his father: "I haven't sung Kol Nidre since I was a little boy." His mother tells him, "Do what is in your heart, Jakie—if you sing and God is not in your voice — your father will know." The producer cajoles Jack: "You're a jazz singer at heart!"

At the theater, the opening night audience is told that there will be no performance. Jack sings the Kol Nidre in his father's place. His father listens from his deathbed to the nearby ceremony and speaks his last, forgiving words: "Mama, we have our son again." The spirit of Jack's father is shown at his side in the synagogue. Mary has come to listen. She sees how Jack has reconciled the division in his soul: "a jazz singer—singing to his God."

"The season passes—and time heals—the show goes on." Jack, as "The Jazz Singer," is now appearing at the Winter Garden theater, apparently as the featured performer opening for a show called Back Room. In the front row of the packed theater, his mother sits alongside Yudleson. Jack, in blackface, performs the song "My Mammy" for her and for the world.

• Al Jolson as Jakie Rabinowitz (Jack Robin)
• Warner Oland as Cantor Rabinowitz
• Eugenie Besserer as Sara Rabinowitz
• May McAvoy as Mary Dale
• Otto Lederer as Moisha Yudelson
• Richard Tucker as Harry Lee
• Yossele Rosenblatt as Yossele Rosenblatt
• Bobby Gordon as Jakie Rabinowitz (age 13)

• "My Gal Sal" (music and lyrics by Paul Dresser; dubbed by unknown singer with Bobby Gordon onscreen)
• "Waiting for the Robert E. Lee" (music by Lewis F. Muir and lyrics by L. Wolfe Gilbert; dubbed by unknown singer with Bobby Gordon onscreen)
• "Yussel, Yussel" (music by Samuel Steinberg and lyrics by Nellie Casman, 1923); heard as background music as Jolson walks through his ghetto neighborhood.
• "Kol Nidre" (traditional; dubbed by Joseph Diskay with Warner Oland onscreen; sung also by Al Jolson)
• "Dirty Hands, Dirty Face" (music by James V. Monaco and lyrics by Edgar Leslie and Grant Clarke; sung by Al Jolson)
• "Toot, Toot, Tootsie (Goo' Bye)" (music and lyrics by Gus Kahn, Ernie Erdman, and Dan Russo some other sources do not mention Russo and some also name either or both Ted Fio Rito and Robert A. King]; sung by Al Jolson)
• "Kaddish" (traditional; sung by Cantor Yossele Rosenblatt)
• "Blue Skies" (music and lyrics by Irving Berlin; sung by Al Jolson)
• "Mother of Mine, I Still Have You" (music by Louis Silvers and lyrics by Grant Clarke ; sung by Al Jolson)
• "My Mammy" (music by Walter Donaldson and lyrics by Sam M. Lewis and Joe Young; sung by Al Jolson)

Concept and development

On April 25, 1917, Samson Raphaelson, a native of New York City's Lower East Side and a University of Illinois undergraduate, attended a performance of the musical Robinson Crusoe, Jr. in Champaign, Illinois. The star of the show was a thirty-year-old singer, Al Jolson, a Russian-born Jew who performed in blackface. In a 1927 interview, Raphaelson described the experience: "I shall never forget the first five minutes of Jolson—his velocity, the amazing fluidity with which he shifted from a tremendous absorption in his audience to a tremendous absorption in his song." He explained that he had seen emotional intensity like Jolson's only among synagogue cantors.

A few years later, pursuing a professional literary career, Raphaelson wrote "The Day of Atonement", a short story about a young Jew named Jakie Rabinowitz, based on Jolson's real life. The story was published in January 1922 in Everybody's Magazine. Raphaelson later adapted the story into a stage play, The Jazz Singer. A straight drama, all the singing in Raphaelson's version takes place offstage. With George Jessel in the lead role, the show premiered at the Warner Theatre in Times Square on September 1925 and became a hit. Warner Bros. acquired the movie rights to the play on June 4, 1926, and signed Jessel to a contract. Moving Picture World published a story in February 1927 announcing that production on the film would begin with Jessel on May 1.

But the plans to make the film with Jessel would fall through, for multiple reasons. Jessel's contract with Warner Bros. had not anticipated that the movie they had particularly signed him for would be made with sound (he'd made a modestly budgeted, silent comedy in the interim). When Warners had hits with two Vitaphone, though dialogue-less, features in late 1926, The Jazz Singer production had been reconceived. Jessel asked for a bonus or a new contract, but was rebuffed. According to Jessel's description in his autobiography, Harry Warner "was having a tough time with the financing of the company.... He talked about taking care of me if the picture was a success. I did not feel that was enough." In fact, around the beginning of 1927, Harry Warner—the eldest of the brothers who ran the eponymous studio—had sold $4 million of his personal stock to keep the studio solvent. Then came another major issue. According to Jessel, a first read of screenwriter Alfred A. Cohn's adaptation "threw me into a fit. Instead of the boy's leaving the theatre and following the traditions of his father by singing in the synagogue, as in the p