The Rabinowitz family’s lineage of cantors continues with Al Jolson in "Jakie." He possesses a decent voice and some musical ability, though his ambitions lie on Broadway rather than within a synagogue. His father (Warner Oland) is upset by this, while his mother (Eugenie Besserer) expresses disappointment, but he’s determined to pursue his dreams! Drawn to the music of the 1920s—jazz, ragtime, and swing—he renames himself "Jack Robin" and, after ten years of hard work and travel, secures the assistance of established performer “Mary Dale” (May McAvoy), seemingly poised for his own show in the "Follies." Just when success appears within reach, a malevolent friend of his father, "Moisha" (Otto Lederer), arrives with news that the elder man is ill and desires to see his son perform at the Day of Atonement—the same day as the planned show. Given their previous falling out, which resulted in the younger man forcing his father out of their home, it’s unclear what he will do now. While attention often focuses on the film's final moments, I find the narrative more compelling when viewed through the lens of cultural change—a rejection of religious tradition by a generation that those who came before desperately want to maintain. "Jakie" has been raised with love and care, yet he’s chosen a course that creates an unbreachable divide—but must it? Is this due to stubbornness, prejudice, or simply a lack of understanding? The performances, the script, and the singing don't particularly help matters; the sound quality and production constraints make the musical sequences feel stiff and lifeless. Nevertheless, as a demonstration of where filmmaking was headed—and the expressive liberties that would soon be possible—it’s worth seeing.

Source on TMDB