Editing The Jazz Singer (section)

===Introduction of sound===
While many earlier sound films had dialogue, all were short subjects. [[D. W. Griffith]]'s feature ''[[Dream Street (film)|Dream Street]]'' (1921) was shown in New York with a single singing sequence and crowd noises, using the [[sound-on-disc]] system [[Photokinema]]. The film was preceded by a program of sound shorts, including a sequence with Griffith speaking directly to the audience, but the feature itself had no talking scenes.<ref>Bradley (2004), p. 4.</ref> On April 15, 1923, [[Lee De Forest]] introduced the [[sound-on-film]] system [[Phonofilm]], which had synchronized sound and dialogue, but the sound quality was poor, and the films produced in this process were short films only.<ref>Crafton (1999), p. 65.</ref>

The first Warner Bros. Vitaphone features, ''[[Don Juan (1926 film)|Don Juan]]'' (premiered August 1926) and ''[[The Better 'Ole (1926 film)|The Better 'Ole]]'' (premiered October 1926), like three more that followed in early 1927 (''[[When a Man Loves]]'', ''[[Old San Francisco]]'', and ''[[The First Auto]]''), had only a synchronized instrumental score and sound effects. ''The Jazz Singer'' contains those, as well as numerous synchronized singing sequences and some synchronized speech: Two popular tunes are performed by the young Jakie Rabinowitz, the future Jazz Singer; his father, a cantor, performs the devotional [[Kol Nidre]]; the famous cantor [[Yossele Rosenblatt]], appearing as himself, sings an excerpt of another religious melody, [[Kaddish]], and the song "Yahrzeit Licht". As the adult Jack Robin, Jolson performs six songs: five popular "jazz" tunes and the Kol Nidre. The sound for the film was recorded by British-born [[George Groves (sound engineer)|George Groves]], who had also worked on ''Don Juan''. To direct, the studio chose [[Alan Crosland]], who already had two Vitaphone films to his credit: ''Don Juan'' and ''Old San Francisco'', which opened while ''The Jazz Singer'' was in production.{{citation needed|date=September 2022}}
{{listen|filename=Jolson-WaitAMinute.ogg|title="Wait a minute, wait a minute..."| description= The spoken words that made movie history (over considerable crowd noise) and "[[Toot, Toot, Tootsie (Goo' Bye!)|Toot, Toot, Tootsie (Goo' Bye)]]" |format=[[Ogg]]}}
Jolson's first vocal performance, about fifteen minutes into the picture, is of "[[Dirty Hands, Dirty Face]]", with music by [[James V. Monaco]] and lyrics by [[Edgar Leslie]] and [[Grant Clarke]]. The first synchronized speech, uttered by Jack to a cabaret crowd and to the piano player in the band that accompanies him, occurs directly after that performance, beginning at the 17:25 mark of the film. Jack's first spoken words—"Wait a minute, wait a minute, you ain't heard nothin' yet"—were well-established stage patter of Jolson's. He had even spoken very similar lines in an earlier short, ''[[A Plantation Act]]'' (1926).<ref>{{cite web|author=Kehr, Dave|url=https://www.nytimes.com/2007/10/16/movies/homevideo/16dvd.html?_r=1&|title=New DVDs: ''The Jazz Singer''|work=The New York Times|date=October 16, 2007|access-date=October 16, 2007|archive-url=https://web.archive.org/web/20220626224257/https://www.nytimes.com/2007/10/16/movies/homevideo/16dvd.html?_r=1&|archive-date=June 26, 2022|url-status=dead}}</ref> The line had become virtually an in-joke. In November 1918, during a gala concert celebrating the end of World War I, Jolson ran onstage amid the applause for the preceding performer, the great operatic tenor [[Enrico Caruso]], and exclaimed, "Folks, you ain't heard nothin' yet."<ref>Bloom (2004), p. 266.</ref> The following year, he recorded the song "You Ain't Heard Nothin' Yet".<ref>Rees (1999), p. 261.</ref> In a later scene, Jack talks with his mother, played by [[Eugenie Besserer]], in the family parlor; his father enters and pronounces one very conclusive word, "Stop!", the final line of dialogue in the film.

In total, the movie contains barely two minutes' worth of synchronized talking, much or all of it improvised. The rest of the dialogue is presented through the caption cards, or [[intertitles]], standard in silent movies of the era; as was common, those titles were composed not by the film's scenarist, Alfred Cohn, but by another writer&nbsp;– in this case, Jack Jarmuth.<ref name=block-wilson/>

While Jolson was touring with a stage show during June 1927, production on ''The Jazz Singer'' began with the shooting of exterior scenes by the [[second unit]]. In late June, Alan Crosland headed to New York City to shoot the Lower East Side and Winter Garden exteriors on location. Jolson joined the production in mid-July (his contract specified July 11). Filming with Jolson began with his silent scenes; the more complex Vitaphone sequences were primarily done in late August.<ref>Carringer (1979), pp. 18–19.</ref> Both Jolson and Zanuck would later take credit for thinking up the ad-libbed dialogue sequence between Jack and his mother; another story had it that [[Sam Warner]] was impressed by Jolson's brief ad-libbing in the cabaret scene and had Cohn come up with some lines on the spot.<ref name=C110>Crafton (1999), p. 110.</ref> On September 23, ''Motion Picture News'' reported that production on the film had been completed.<ref>Carringer (1979), p. 19.</ref>

The production cost for ''The Jazz Singer'' was $422,000<ref name=Crafton111>Crafton (1999), p. 111.</ref> (approximately US${{Formatprice|{{Inflation|US-GDP|422000|1927}}}} in {{Inflation-year|US-GDP}} dollars),<ref name=block-wilson/> a large sum, especially for Warner Bros., which rarely spent more than $250,000. It was by no means a record for the studio, however; two features starring [[John Barrymore]] had been costlier: ''[[The Sea Beast (1926 film)|The Sea Beast]]'' (1926), a loose and entirely silent adaptation of ''[[Moby-Dick]]'', at $503,000 and ''Don Juan'' at $546,000.<ref>Glancy (1995) [pp. 2, 4 online]. Both Schatz (1998), p. 63, and Gomery (2005), p. 44 (possibly relying on Schatz), claim ''The Jazz Singer'' cost $500,000 and was the most expensive picture in Warners history. Glancy's and Crafton's well-sourced figures belie those claims.</ref> Nonetheless, the outlay constituted a major gamble in light of the studio's financial straits: while ''The Jazz Singer'' was in production, Harry Warner stopped taking a salary, pawned jewelry belonging to his wife, and moved his family into a smaller apartment.<ref>Eyman (1997), p. 137.</ref>