Big Boy
"The King of Jazz and Joy in his Greatest Triumph!"
Plot
Gus, a loyal and wisecracking African-American stable boy, has spent his life caring for the Bedford family's horses on their Kentucky plantation. His greatest hope is to ride the family's prize colt, Big Boy, to victory in the Kentucky Derby, a tradition of loyalty that dates back to his grandfather's service in 1870. However, the family's young heir, Jack, falls into debt with gamblers who blackmail him into replacing Gus with a crooked jockey intended to throw the race. Framed for tampering with the horse, Gus is discharged and forced to find work as a waiter in a high-end restaurant. While serving the very crooks who framed him, he uncovers their plot and, with Jack's eventual help, manages to reclaim his position just in time to ride Big Boy to a triumphant victory.
About the Production
The film was a direct adaptation of Al Jolson's 1925 Broadway hit. By the time of its release in late 1930, the public's appetite for musicals had severely waned, leading Warner Bros. to cut several musical numbers and market the film primarily as a comedy. The production was one of the last major vehicles for Jolson's 'Gus' persona, which he had performed on stage for years. The film features a notable flashback sequence to 1870, allowing Jolson to play his own grandfather. Despite the high production value, the film failed to recoup its budget at the domestic box office.
Historical Background
Released in 1930, 'Big Boy' arrived during the early years of the Great Depression and at the tail end of the initial 'talkie' boom. The film reflects the complex and often problematic racial caricatures prevalent in American entertainment of the era, specifically the minstrel tradition. Historically, it captures a moment when Hollywood was struggling to figure out how to adapt massive Broadway stage hits into a medium that was rapidly evolving beyond filmed theater. It also marks the beginning of the decline of Al Jolson's absolute dominance as a screen star, as audiences began to favor more naturalistic acting styles over his broad, theatrical delivery.
Why This Film Matters
The film is a significant archival artifact of the minstrelsy tradition in American cinema. While the use of blackface is viewed today as highly offensive and a tool of systemic racism, the film remains a primary source for studying the career of Al Jolson and the performance styles of the 1920s. It also represents the 'book musical' evolution, where songs were integrated into the plot rather than being disconnected specialty acts. In the context of 1930, it was seen as a celebration of Southern 'tradition' and loyalty, though modern analysis focuses more on its role in perpetuating racial stereotypes.
Making Of
The transition from stage to screen for 'Big Boy' was complicated by the changing tastes of moviegoers. While the stage version was a massive musical extravaganza, the film production had to pivot during post-production to emphasize comedy over song. Jolson was reportedly at the height of his 'King of Broadway' ego during filming, often demanding scenes be tailored to his specific comedic timing. The technical challenge of filming the Kentucky Derby was met by using a mix of studio-bound close-ups of Jolson on a mechanical horse and wide-angle stock footage of actual races. This was Jolson's fifth feature film for Warner Bros., and the studio spared no expense on the sets, particularly the Bedford mansion and the elaborate restaurant where Gus works as a waiter.
Visual Style
The cinematography by Hal Mohr is typical of early sound films, featuring relatively static camera placements to accommodate the bulky sound equipment. However, Mohr utilized high-contrast lighting for the restaurant scenes and the flashback sequence to create a sense of depth. The race sequences are notable for their early use of fast-cutting between close-ups and long shots to simulate the speed and excitement of the Kentucky Derby.
Innovations
The film is an early example of a 'Pre-Code' musical that successfully integrated a flashback sequence into a sound narrative. It also utilized sophisticated sound mixing for the era to balance Jolson's loud singing voice with the ambient noise of the racetrack and the orchestral backing. The use of a mechanical horse for Jolson's close-ups during the race was a standard but effectively executed practical effect for the time.
Music
The film's score was largely original, though it omitted several hits from the stage version. Notable songs include 'Liza Lee,' 'Tomorrow is Another Day,' 'Little Sunshine,' and 'Hooray for Baby and Me.' The music was composed by a team including Sam H. Stept and Bud Green. The songs were designed to showcase Jolson's powerful vocal style, often involving him singing directly to the camera in his signature 'mammy' style.
Famous Quotes
Gus: 'If I don't win, the other horses won't finish!' (Context: Gus asserting his confidence before the big race)
Gus: 'Ya sure is pretty, ya got Greta Garbo's eyes and Clara Bow's legs, dog-gonit, if ya only could cook!' (Context: Gus talking to the horse, Big Boy)
Mrs. Bedford: 'We Bedfords must never forget what our Darkies remember.' (Context: Explaining the family's loyalty to Gus's lineage)
Memorable Scenes
- The Kentucky Derby Finale: A montage of Gus riding Big Boy to victory, blending studio close-ups of Jolson with real racing footage.
- The 1870 Flashback: Jolson plays his own grandfather in a sequence that establishes the historical bond between the Gus family and the Bedfords.
- The Restaurant Discovery: Gus, working as a waiter, hilariously outwits the villains while serving them dinner, leading to his discovery of their race-fixing plot.
- The 'Liza Lee' Number: An energetic opening musical sequence featuring Gus and the other stable hands celebrating the arrival of the colt.
Did You Know?
- This is the only film in which Al Jolson appears in blackface for almost the entire duration, except for the very last scene.
- The film is based on the 1925 Broadway musical of the same name, which was one of Jolson's biggest stage successes.
- The original Broadway production featured live horses running on treadmills for the Derby scene, a feat the film attempted to replicate with cinematic editing.
- Due to a 'musical backlash' in 1930, several songs were cut from the domestic release, though they may have remained in international prints.
- The song 'If You Knew Susie' was originally introduced by Jolson during the stage run of Big Boy but he gave it to Eddie Cantor, who made it a hit.
- The film's director, Alan Crosland, also directed Jolson in the landmark first 'talkie,' The Jazz Singer (1927).
- The character of Gus was a recurring persona for Jolson, representing a 'wisecracking' archetype that often outsmarted his social superiors.
- The film includes a flashback to the post-Civil War era (1870) to establish the multi-generational loyalty of the Gus character to the Bedford family.
What Critics Said
At the time of its release, critics were divided. Some praised Jolson's inexhaustible energy and his ability to carry the film through sheer personality, while others felt the 'Gus' character was becoming dated. The New York Times noted that while Jolson was as 'dynamic as ever,' the plot was somewhat formulaic. Modern critics view the film largely through a historical and sociological lens, often finding the racial elements difficult to watch but acknowledging the film's importance in documenting a vanished era of stage performance.
What Audiences Thought
Audiences in 1930 were beginning to suffer from 'musical fatigue,' which led to the film's disappointing box office performance. While Jolson fans appreciated seeing his most famous stage character on screen, the general public was moving toward grittier dramas and sophisticated 'Pre-Code' comedies. However, the film remained a staple for Jolson enthusiasts for decades and was eventually rediscovered by film historians during the home video era.
Film Connections
Influenced By
- In Old Kentucky (Play by Charles T. Dazey)
- The Jazz Singer (1927)
- The tradition of American Minstrelsy
This Film Influenced
- The Story of Seabiscuit (1949)
- Broadway Melody of 1938 (for its horse racing/musical blend)
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Film Restoration
The film is preserved and survives in its domestic release form. It has been released on DVD by the Warner Archive Collection. However, it is believed that the original, longer musical version (which may have contained songs cut for the US market) might be lost or exist only in fragmented form in international archives.