Starring Al Jolson, Frank Morgan, Harry Langdon, and Madge Evans
Directed by Lewis Milestone
Music by Richard Rodgers; Lyrics by Lorenz Hart
Here's a truly unique musical experience to tide you over until the election results come in. After their Love Me Tonight was a critical (though not commercial) success, Rodgers and Hart opted to combine that film's rhyming dialogue and whimsical tone with something that more accurately reflected the political climate of the early 30's. It was also Al Jolson's attempt at a film comeback after his success in the late 20's and early 30's fizzled out. How does this mix of reality, poverty, and comedy look now? Let's begin with homeless men Bumper (Jolson) and Acorn (Edgar Connor) as they encounter Mayor John Hastings (Morgan) of New York on a hunting trip and find out...
The Story: Bumper is perfectly happy as the head of the New York homeless folks. They're not interested in working again, content with living a meager but friendly existence in Central Park and occasionally teasing Egghead (Langdon), a communist who works as a street sweeper. He's friendly with Mayor Hastings, as he once saved his life, and he hopes to be like him someday.
Mayor Hastings wishes he were as happy as Bumper and his carefree followers. He thinks his latest mistress June Marcher (Evans) is cheating on him and slips a $1,000 bill in her purse. When she leaves her purse behind, he thinks she's seeing someone else. Bumper does manage to return the purse, but June thinks Hastings is no longer interested and jumps off a bridge. He rescues her, then falls for her when he realizes she's lost her memory. He's willing to give up his shiftless ways to be with her...not thinking of what will happen when she regains her memories...
The Song and Dance: This is one of the most original musicals ever made in Hollywood. There aren't too many movies, let alone musicals, dealing with financial hardship, communism, and Marxist theory. Though Jolson is subdued compared to his earlier movies, he's also a lot easier to take as the head of the New York homeless than he was in his early talkies vehicles like Say It With Songs. (And note this is one of only two movies he made where he wears no blackface whatsoever.)
While not their absolute best, the Rodgers and Hart score is still pretty good, and contains at least one standard in Jolson's ballad "You are Too Beautiful." Morgan matches him well as the troubled mayor, whose mind is on his lady rather than his job. The rhyming dialogue, with music often seamlessly flowing into words and back again, makes this into almost an opera at times.
The Numbers: We open with Bumper proclaiming "I've Gotta Get Back to New York" as he and Acorn hit the road. He and the others sing their ode to "My Pal Bumper" after they arrive at Central Park. After a choir sings "My Country Tis of Thee" at the dedication of a new building, Mayor Hastings shows how they're "Laying the Corner Stone.
Acorn, Bumper, and Egghead know they owe "Dear Jane," whom they've never seen, for finding that thousand dollar bill, because "Bumper Found a Grand." After they argue over who gets a share of the cash, Bumper reminds them that it's not so important. After all, "What Do You Want With Money?" because "Hallelujah, I'm a Bum." He gets his answer when a "Kangaroo Court" puts him on trial for getting a job. Bumper admits that he did it for love, and "I'd Do It Again." He finally tells his Angel as they dance in their new apartment that "You are Too Beautiful."
Trivia: Harry Langdon and Chester Conklin (the carriage driver in Central Park) were popular comedians in the silent era.
Known as Hallelujah, I'm a Tramp in England, where "bum" has entirely different connotations.
What I Don't Like: This is the definition of "not for everybody." If you're not a fan of musicals, like your musicals more traditional, don't like the rhyming dialogue, or don't agree with the leftist politics in question (or are unable to overlook them), you will not be into this. It's not for those who aren't fans of Jolson or prefer him in bombastic mode, either. Madge Evans isn't nearly as interesting as the guys. She has very little personality whether she's Bumper's angel or the mayor's mistress, making the love triangle not nearly as romantic as the movie wants to think it is.
Milestone's lack of experience with musicals shows in his constant cutting away from songs before they finish. Even the lovely "You are Too Beautiful" barely gets a chance to end before he's off somewhere else. No wonder his only other musical would be the more traditional Anything Goes from 1936. The whimsical rhyming dialogue doesn't always work all that well with the social commentary, either.
The Big Finale: This may be one of the most polarizing musicals in existence. Either you'll get a kick out of what Milestone, Jolson, and writer S.N Behrman were trying to do, or you'll find the rhyming dialogue, political waffling, and Jolson's ego insufferable. Give it a chance this Election Day and see which side of the debate you fall on.
Home Media: It's on DVD, and YouTube and the Internet Archive have it streaming at press time.
