Say It with Songs

Plot

Joe Lane is a successful radio entertainer and songwriter whose life shatters when he discovers that studio manager Arthur Phillips has been making improper advances toward his wife Katherine. In a fit of rage, Joe confronts Phillips and during their struggle, Phillips accidentally falls to his death. Joe is convicted of manslaughter and sentenced to prison, leaving behind his young son 'Little Pal' and his wife Katherine. After serving several years, Joe is released from prison and visits his son at boarding school, where the emotional reunion leads Little Pal to beg his father to run away together. The film follows Joe's struggle to rebuild his relationship with his son while navigating the challenges of being an ex-convict in a society that has moved on without him.

Historical Background

Released in October 1929, 'Say It with Songs' emerged during one of the most tumultuous periods in American history and cinema. The film was released just weeks before the stock market crash that triggered the Great Depression, making it part of the final wave of pre-Depression entertainment. This was also the peak of Hollywood's transition from silent films to talkies, with studios investing heavily in sound technology and musical talent. The Vitaphone sound-on-disc system used in this film represented cutting-edge technology that would soon be replaced by sound-on-film. The film's themes of family separation and economic hardship would resonate even more deeply with audiences in the months following its release. The entertainment industry was undergoing massive changes, with Broadway stars like Jolson being recruited to Hollywood to legitimize the new medium of sound film.

Making Of

The production of 'Say It with Songs' took place during a critical transition period in Hollywood when studios were still adapting to sound technology. Director Lloyd Bacon had to work within the technical limitations of early sound recording, which required actors to speak directly into hidden microphones and limited camera movement. Al Jolson, already an established stage star, brought his theatrical background to the film but had to adjust his performance style for the camera. The emotional scenes between Jolson and child actor Davey Lee reportedly took multiple takes as the young actor struggled with the heavy dramatic material. The film's musical numbers were pre-recorded using the Vitaphone system, and Jolson would lip-sync to his own recordings during filming. This process was time-consuming but allowed for better audio quality than live recording. The prison sequences were particularly challenging to film due to the echoing acoustics of the set, requiring innovative sound dampening techniques.

Visual Style

The cinematography by Devereux Jennings reflects the technical constraints of early sound filming, with relatively static camera positions to accommodate microphone placement. The film uses careful lighting techniques to create emotional depth, particularly in the prison scenes where shadows and contrast emphasize the protagonist's isolation. The musical sequences feature more elaborate camera work and lighting design, highlighting the contrast between the dramatic and musical elements. Jennings employed innovative techniques for the time, including soft focus for emotional moments and careful composition to maintain visual interest despite limited camera movement.

Innovations

The film represents an important step in the evolution of sound cinema, utilizing the Vitaphone system to achieve relatively high-quality audio for its time. The production pioneered techniques for integrating musical numbers into dramatic narratives without disrupting the story's flow. The film also demonstrated early methods of sound mixing, balancing dialogue, music, and effects in a way that was technically advanced for 1929. The prison sequences featured innovative use of sound design to create atmosphere, including the use of echo and reverb to emphasize the institutional setting. These technical achievements helped establish standards that would influence subsequent sound film productions.

Music

The film's music was composed by Louis Silvers, with lyrics by Buddy DeSylva and Ray Gilbert. The soundtrack includes several original songs performed by Al Jolson, with 'Little Pal' becoming the most successful and enduring number from the film. The musical numbers were recorded using the Vitaphone sound-on-disc system, which provided superior audio quality for the time but required precise synchronization during filming. The score also includes incidental music that underscores the dramatic scenes, a relatively innovative approach for early sound films. The soundtrack was released as a series of 78-rpm records, which became popular purchases for fans of Jolson.

Memorable Scenes

• The emotional reunion between Joe and his son Little Pal at the boarding school, where the boy begs his father to run away together
• The prison yard scene where Joe sings 'Little Pal' while thinking of his son
• The confrontation scene between Joe and Phillips that leads to the accidental death
• The final musical number where Joe performs for an audience including his son

What Critics Said

Contemporary critics praised Jolson's dramatic performance, noting that he had successfully transitioned from being primarily a musical entertainer to a capable dramatic actor. The New York Times particularly highlighted the emotional scenes between Jolson and young Davey Lee as the film's strongest elements. However, some critics felt the plot was overly melodramatic and relied too heavily on sentimental elements. Modern film historians view the movie as an important transitional work that showcases both the possibilities and limitations of early sound cinema. The film is often analyzed for its role in establishing Jolson's film persona and its contribution to the development of the musical drama genre.

What Audiences Thought

The film was a commercial success, earning over $1 million domestically despite its relatively modest budget. Audiences responded enthusiastically to Jolson's musical numbers, particularly 'Little Pal,' which became a hit record. The emotional father-son storyline resonated strongly with viewers of the era, leading to sold-out theaters in major cities. However, the film's darker themes and prison sequences proved controversial with some audience members who expected lighter entertainment from a Jolson musical. The movie's release timing just before the stock market crash meant that it was one of the last films to benefit from pre-Depression movie-going habits.

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