KnotMissPriceless Why so much hype?

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

BeSummers Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Beulah Bram A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

JohnHowardReid 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!

wes-connors 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

calvinnme ...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.

billcarpenter 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.