Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0007
- Subject:
- Music, Popular
In the wake of The Jazz Singer and The Singing Fool arose the most risible musical genre of all: “mammy” films, tear-jerking musical melodramas forged with little flair or inspiration. Initially ...
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In the wake of The Jazz Singer and The Singing Fool arose the most risible musical genre of all: “mammy” films, tear-jerking musical melodramas forged with little flair or inspiration. Initially popular, they were the first musical films to wear out their welcome due to oversaturation and repetition. Among the participants: George Jessel, Maurice Chevalier, Morton Downey, Sophie Tucker, and Ted Lewis, appearing in films bearing such titles as Rainbow Man, Mother's Boy, Say It with Songs and, ominously, Is Everybody Happy? Less
In the wake of The Jazz Singer and The Singing Fool arose the most risible musical genre of all: “mammy” films, tear-jerking musical melodramas forged with little flair or inspiration. Initially popular, they were the first musical films to wear out their welcome due to oversaturation and repetition. Among the participants: George Jessel, Maurice Chevalier, Morton Downey, Sophie Tucker, and Ted Lewis, appearing in films bearing such titles as Rainbow Man, Mother's Boy, Say It with Songs and, ominously, Is Everybody Happy?
Andrew L. Erdman
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801449703
- eISBN:
- 9780801465727
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449703.003.0014
- Subject:
- History, American History: 20th Century
This concluding chapter discusses George Jessel and Darryl Zanuck's film—The I Don't Care Girl—featuring the life story of Eva Tanguay. The film debuted the day before Christmas in 1952 with Mitzi ...
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This concluding chapter discusses George Jessel and Darryl Zanuck's film—The I Don't Care Girl—featuring the life story of Eva Tanguay. The film debuted the day before Christmas in 1952 with Mitzi Gaynor playing as Eva. It showed splashy Bob Fosse-like dance numbers—which had nothing to do with vaudeville but was rather related to the jazzy, modernist aesthetics of the 1950s—and ended with Eva back on top with her love life intact—which was the opposite of what had happened to Eva's real life. Thus, critics called the film a “confused and inaccurate biography” that “flits from one version to another life story” of the cyclonic vaudevillian.Less
This concluding chapter discusses George Jessel and Darryl Zanuck's film—The I Don't Care Girl—featuring the life story of Eva Tanguay. The film debuted the day before Christmas in 1952 with Mitzi Gaynor playing as Eva. It showed splashy Bob Fosse-like dance numbers—which had nothing to do with vaudeville but was rather related to the jazzy, modernist aesthetics of the 1950s—and ended with Eva back on top with her love life intact—which was the opposite of what had happened to Eva's real life. Thus, critics called the film a “confused and inaccurate biography” that “flits from one version to another life story” of the cyclonic vaudevillian.
John Cooper
- Published in print:
- 2003
- Published Online:
- February 2021
- ISBN:
- 9781874774877
- eISBN:
- 9781800340053
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781874774877.003.0005
- Subject:
- Religion, Judaism
This chapter focuses on the Jewish barristers of Victorian and Edwardian England. The Jewish giants of the Victorian Bar, men such as George Jessel, Judah Benjamin, and Arthur Cohen, devoted ...
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This chapter focuses on the Jewish barristers of Victorian and Edwardian England. The Jewish giants of the Victorian Bar, men such as George Jessel, Judah Benjamin, and Arthur Cohen, devoted themselves to the practice of commercial and international law. They were followed by younger barristers, who likewise specialized in various aspects of commercial law or practised in the Chancery courts. Meanwhile, many of the prominent Jewish members of the Edwardian Bar were deeply involved in communal affairs and supplied much of the leadership of Anglo-Jewry. The number of Jews who held judicial office during the late Victorian and Edwardian eras was small, but between the world wars their number shrank still further, paralleling the dearth of consultant positions in teaching hospitals held by Jews with a positive Jewish identity.Less
This chapter focuses on the Jewish barristers of Victorian and Edwardian England. The Jewish giants of the Victorian Bar, men such as George Jessel, Judah Benjamin, and Arthur Cohen, devoted themselves to the practice of commercial and international law. They were followed by younger barristers, who likewise specialized in various aspects of commercial law or practised in the Chancery courts. Meanwhile, many of the prominent Jewish members of the Edwardian Bar were deeply involved in communal affairs and supplied much of the leadership of Anglo-Jewry. The number of Jews who held judicial office during the late Victorian and Edwardian eras was small, but between the world wars their number shrank still further, paralleling the dearth of consultant positions in teaching hospitals held by Jews with a positive Jewish identity.
