Hallelujah, I'm a Bum (1933)

In 1927 no man in Hollywood was more on top of the world than Al Jolson, star of the first feature film to utilize audio recording, The Jazz Singer. He was a man that could do everything that defined the word entertainer. He was a singing, dancing, and acting star, and all around performer. His face and voice was everywhere. He continued to perform both on stage and screen, and in 1933 he would make, what some would consider, a different film for himself. Jolson would continue to sing, as he would in his many other films, but being leant out by Warner Bros. to United Artists for Hallelujah, I’m a Bum, Jolson would play a far more free character and not be type casted with his usual “Mammy”-type musical numbers.

Hallelujah, I’m a Bum is a musical/comedy about carefree tramps of Central Park during the heart of the Depression, sharing their theme living and enjoying life instead of working, lead by their self-proclaimed  “mayor” played by Al Jolson. Bumper (Jolson) is a rather popular tramp in New York who seems to know everyone, including his large band of tramps that make homes all around the town and even was good friends with the honorable Mayor Hastings (Frank Morgan). When Bumper becomes romantic with an amnesia stricken woman, June (Madge Evans), he begins asserting himself into part of the working world to help her, against the wishes of his tramp friends. When it is realized that June is in fact the lady love of the Mayor, Bumper does the right thing reuniting the two lovers and returns to the only other thing that brought him joy, life as a carefree bum.

The film is a small departure from the usual musical roles of Jolson fame. His character is much more free and happy, with little drama. Jolson’s upbeat demeanor makes him as much of an attractive character to watch as Bumper is to his fellow characters that surround him in the picture. He is without the usual Jolson-type music, which is a refreshing change for a man that was so talented for his time. The film’s story, itself, is rather forgettable, but the difference from the usual Jolson faire makes the film interesting to check out. The film contains a subtle message of enjoying life and helping others, which is honorable, but there is nothing lost in not viewing this picture.

Al Jolson, of course, was very popular at that time, but was going through a small dip in success preceding the production of this movie, perhaps spurring him on to find the work in this film. Coming off of a poorly received play in New York, “Wonder Bar,” Jolson was lent out by Warner Bros. to United Artists which resulted in this musical, directed by acclaimed filmmaker Lewis Milestone. Originally meant as just the producer of the film, Milestone was not intended to direct the picture. Later he would e called on as a replacement when the first director, Harry d’Abbadie d’Arrast, was let go claiming Jolson to be too difficult, and his replacement, Chester Erskine, produced a very poor first cut of the film. Milestone would be ordered by the studio to do extensive retakes, ending in the picture we see today.

Other actors that contributed to the supporting cast included the likes of many different actors from very different career paths.  The most notable would be Frank Morgan who played the Mayor. Morgan would be best known for his work in the 1939’s all-time hit The Wizard of Oz, where he played the title character, among many other roles in the picture, a movie that greatly over shadowed rather well looked at career. Madge Evans, who played June, the movies love interest, was a child model/performer turned movie actor, never rising above supporting love interests to leading men. This sad truth would lead to her quick exit from Hollywood in 1939 when she got married. A wonderful actor of note is Harry Langdon, who played a fellow supporting tramp named Egghead. Langdon was a silent comedian from the old Mack Sennett studios who would find work into the talking age, mainly in comedy shorts or small features, such as this one.

Despite the lack of overall interest in this film within the scope of cinema history, Hallelujah, I’m a Bum does bring with it a significant look into the age it was made. We take an interesting look at African Americans, an ever present issue in almost every Jolson picture. Usually Jolson was known to play selected musical segments in black-face, but for this film he does not. Instead there is a black character, named Acorn, who accompanies Bumper. Acorn does come off a little stereotypical for its time, but if one was to look past the contemporary view of 1930 racism, it is seen that Acorn is actually a positive character. He is treated like an equal among the tramps and even is given a respectable job in the film alongside Bumper when they work in a bank, never thought less of, despite the glimmers of some of the usual stereotype. Acorn follows, but does so with the support of Bumper and their friends. This is progress from the usual black-face.

Another issue of interest is the idea of socialism being the theme of the film. To get this straight, in no way is the film anti-American, but the picture does preach an all-for-one-and one-for-all mentality. That one gives to the entire group and does not hold back for his own selfish needs. The tramps look down of the capitalist world of the working, even referring negatively to June as “dressing like a capitalist.” The theory is of one being selfless, and helping others, and in this movie it is romanticized making it appear as a wonderful harmony. Is this movie teaching socialism is better than capitalism? I am not sure, but it is interesting to note. The film is not negative, it just speaks to people being happy.

Critics enjoyed the difference seen in Jolson’s role from his previous pictures, a breath of fresh air, as it were. Though it was overshadowed by the larger musicals of 1933, this would push Jolson’s career back in the correct direction, and when he returned to Warner Bros. in 1934 Jolson would officially begin his comeback. If nothing else is taken away from the viewing of this film in the context of film historical significance, Hallelujah, I’m a Bum marked the beginning of a change for Jolson’s onscreen image.