Editing The Jazz Singer (section)

==Critical analysis==
[[Image:McAvoyJolsonJazzSinger.jpg|thumb|283px|Mary ([[May McAvoy]]) and Jack, preparing for dress rehearsal: the first blackface scene]]

Jack Robin's use of [[blackface]] in his Broadway stage act—a common practice at the time, which is now widely condemned as racist<ref name=Kenrick>{{cite web|last1=John|first1=Kenrick|url=https://www.musicals101.com/blackface.htm|website=Musicals 101|title=Blackface and Old Wounds|access-date=May 25, 2016}}</ref>—is the primary focus of many ''Jazz Singer'' studies. Its crucial and unusual role is described by scholar Corin Willis:

<blockquote>In contrast to the racial jokes and innuendo brought out in its subsequent persistence in early sound film, blackface imagery in ''The Jazz Singer'' is at the core of the film's central theme, an expressive and artistic exploration of the notion of duplicity and ethnic hybridity within American identity. Of the more than seventy examples of blackface in early sound film 1927–53 that I have viewed (including the nine blackface appearances Jolson subsequently made), ''The Jazz Singer'' is unique in that it is the only film where blackface is central to the narrative development and thematic expression.<ref>Willis (2005), p. 127.</ref></blockquote>

The function and meaning of blackface in the film is intimately involved with Jack's own Jewish heritage and his desire to make his mark in mass American culture—much as the ethnically Jewish Jolson and the Warner brothers were doing themselves. Jack Robin "compounds both tradition and stardom. The Warner Brothers thesis is that, really to succeed, a man must first acknowledge his ethnic self," argues W. T. Lhamon. "[T]he whole film builds toward the blacking-up scene at the dress rehearsal. Jack Robin needs the blackface mask as the agency of his compounded identity. Blackface will hold all the identities together without freezing them in a singular relationship or replacing their parts."<ref>Lhamon (1998), pp. 109, 110.</ref>

Seymour Stark's view is less sanguine. In describing Jolson's extensive experience performing in blackface in stage musicals, he asserts, "The immigrant Jew as Broadway star...works within a blackface minstrel tradition that obscures his Jewish pedigree, but proclaims his white identity. Jolson's slight Yiddish accent was hidden by a Southern veneer."<ref>Stark (2000), p. 112.</ref> Arguing that ''The Jazz Singer'' actually avoids honestly dealing with the tension between American assimilation and Jewish identity, he claims that its "covert message...is that the symbol of blackface provides the Jewish immigrant with the same rights and privileges accorded to earlier generations of European immigrants initiated into the rituals of the minstrel show."<ref>Stark (2000), p. 116.</ref>

Lisa Silberman Brenner contradicts this view. She returns to the intentions expressed by Samson Raphaelson, on whose play the film's script was closely based: "For Raphaelson, jazz is prayer, American style, and the blackface minstrel the new Jewish cantor. Based on the author's own words, the play is about blackface as a means for Jews to express a new kind of Jewishness, that of the modern American Jew."<ref>Brenner (2003) [p. 1 online].</ref> She observes that during the same period, the Jewish press was noting with pride that Jewish performers were adopting aspects of African American music.

According to [[Scott Eyman]], the film "marks one of the few times Hollywood Jews allowed themselves to contemplate their own central cultural myth, and the conundrums that go with it. ''The Jazz Singer'' implicitly celebrates the ambition and drive needed to escape the ''[[shtetl]]s'' of Europe and the ghettos of New York City, and the attendant hunger for recognition. Jack, Sam, and Harry [Warner] let Jack Robin have it all: the satisfaction of taking his father's place ''and'' of conquering the Winter Garden. They were, perhaps unwittingly, dramatizing some of their own ambivalence about the debt first-generation Americans owed their parents."<ref>Eyman (1997), p. 142.</ref>