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The Jazz Singer (1980 film)

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The Jazz Singer (film)
Company typeFilm
IndustryMotion picture
Founded1980
FounderJerry Leider (producer), Richard Fleischer (director)
Headquarters
United States
ProductsMusical drama film

The Jazz Singer is a 1980 American musical drama helmed by director Richard Fleischer and produced by Jerry Leider. Marking the acting debut of Neil Diamond, the cast also features Laurence Olivier and Lucie Arnaz. The narrative centers on a young vocalist caught between honoring his heritage and chasing success as a pop artist. Adapted from the 1925 play by Samson Raphaelson, this film represents the fourth rendition, following earlier versions released in 1927, 1952, and a televised adaptation in 1959.

Conceived as a starring opportunity for Diamond during his resurgence in popularity in the late 1970s, the project initially involved Paramount and Associated Film Distribution (AFD), with Sidney J. Furie set to direct and Deborah Raffin attached to star. However, the production encountered setbacks including delays, script modifications, and key personnel changes.

Distributed by AFD on December 19, 1980, The Jazz Singer did not meet critical expectations but managed to earn $27.1 million at the box office, more than doubling its $13 million budget. While critics were unfavorable toward the performances of Diamond and Olivier, they commended Arnaz's portrayal, the soundtrack, and the live musical sequences. The soundtrack achieved multi-platinum certification, becoming Diamond’s most commercially successful album and ranking among the top-grossing film soundtracks ever.

Plot

Yussel Rabinovitch, a fifth-generation Jewish cantor serving at his father’s synagogue, leads a devout life alongside his wife Rivka. Secretly pursuing songwriting for a black vocal group, he occasionally performs in blackface at nightclubs to cover for an absent member. After an altercation leading to his arrest, Yussel’s father discovers that he performs under the stage name Jess Robin and strongly disapproves, insisting that his son’s voice be dedicated to religious service.

Bubba, Yussel’s close friend from the Four Brothers ensemble, informs him about an opportunity in Los Angeles supporting singer Keith Lennox. Motivated by this news, Yussel writes what becomes "Love on the Rocks." Despite Rivka’s concerns and his father’s objections, Yussel travels to Los Angeles after receiving reluctant approval from his father during his 25th anniversary as cantor.

Once in LA, Jess is introduced by agent Molly Bell to Lennox’s studio where his ballad is being transformed into a hard rock number. Jess convinces them to listen to his original rendition, which Molly favors; however, Lennox dismisses Jess and his band. Molly then approaches booking agent Eddie Gibbs who initially rebuffs her but agrees to attend Jess’s live performance. Impressed by what he sees, Gibbs arranges for Jess to open for Zany Grey’s television special.

Back in New York, Cantor Rabinovitch urges Rivka to bring Jess home. She arrives on opening night when Jess receives a standing ovation and secures a recording contract; nevertheless, Rivka opts to leave in pursuit of a different path. Jess confesses his feelings for Molly; their relationship develops alongside his rising career. When his father visits and learns of Jess’s divorce and Molly’s presence, he disowns him.

Jess falls into emotional turmoil, abandoning recording sessions and living aimlessly until Bubba locates him—Molly has given birth to their son. Molly persuades Gibbs to allow Jess another performance on the television special.

On the eve of Yom Kippur, Jess discovers that his father is hospitalized and unable to perform Kol Nidre. With Molly’s encouragement, he returns to the synagogue. After revealing that he has a grandson, Jess reconciles with his father.

The film concludes with Jess singing "America," accompanied by his supportive father and Molly.

Cast

Production

Producer Jerry Leider embarked on the remake project after witnessing Neil Diamond’s performance on a 1976 television special, aiming to emulate the crossover appeal achieved by performers such as Elvis Presley and Barbra Streisand. Motivated by the success of the A Star Is Born remake, Leider sought to secure the rights to The Jazz Singer. This process extended over a year due to conflicting claims from both Warner Bros. and United Artists.

Development commenced at Metro-Goldwyn-Mayer in 1977, with filming initially slated for autumn 1978. However, MGM abandoned the project in 1978 amid concerns—according to writer Stephen H. Foreman—that the film might be perceived as "too Jewish." Subsequently, rights were acquired by Associated Film Distribution, which scheduled shooting for May 1979 under director Sidney J. Furie. Neil Diamond underwent back surgery early that year and invoked a contractual provision allowing him to complete his musical contributions before filming began. The studio briefly contemplated substituting Diamond with Barry Manilow, but ultimately retained him. Jacqueline Bisset was approached for the female lead role but requested a substantial salary; director Furie initially preferred Lucie Arnaz, who was engaged in a Broadway production at the time, leading to Deborah Raffin’s casting instead. Sir Laurence Olivier joined the cast under a $1 million contract spanning ten weeks.

Principal photography started on January 7, 1980, though Diamond faced challenges adapting to acting. Furie mandated extensive script revisions, which sparked creative disagreements with Foreman; Foreman departed and was succeeded by Herbert Baker. Baker’s rewrite altered the script’s conclusion and modified Molly Bell’s character, resulting in Raffin’s exit and enabling Arnaz to join after consulting with her predecessor. Filming paused when Furie was dismissed on March 3; Richard Fleischer took over directing duties and wrapped principal photography by April 28.

Arnaz observed Diamond’s anxiety and irritability during his initial acting experience; Furie tailored the script to better accommodate Diamond’s strengths, while Fleischer collaborated closely with him to reduce tension. Arnaz became pregnant early in production and was absent from the premiere due to childbirth.

In one recording booth scene, Diamond struggled to convincingly express anger until Fleischer captured an authentic outburst triggered when Diamond overheard his band playing a Barry Manilow song—a spontaneous moment that Fleischer utilized for an effective take.

Box office

Investor Lew Grade characterized the financial performance as "disappointing," noting that the film did not recover its expenses related to prints and advertising. Nonetheless, pre-selling television rights in the United States for $4 million helped mitigate losses. The soundtrack proved more commercially successful than the movie itself, earning over $27 million against a $13 million production budget.

Critical

The remake was met with mostly unfavorable critiques. On Metacritic, it holds a rating of 37/100 from 8 reviewers, reflecting "generally unfavorable reviews." Meanwhile, Rotten Tomatoes shows a 26% approval rating based on 23 critiques, with consensus pointing to Neil Diamond's acting shortcomings and Laurence Olivier’s overly theatrical performance.

Domestic reception

The film faced significant criticism from domestic reviewers. Roger Ebert assigned it a single star, highlighting numerous deficiencies. While Gene Siskel commended Arnaz for his restrained portrayal, he took issue with Diamond’s performance and the script’s antiquated themes, noting a clash between the protagonist’s pop music aspirations and conservative values.

Janet Maslin of The New York Times found Diamond lacking in charisma, and Ernest Leogrande from New York Daily News described the narrative as outdated. Several critics viewed the film more as a showcase for Diamond's songs than as a compelling story, emphasizing weak performances and an absence of emotional depth. Nancy Scott of the San Francisco Examiner regarded it as a commercial exploitation of the title; David Eden from the Minnesota Star Tribune criticized its clichéd depiction of Jewish culture.

Although some acknowledged Diamond’s vocal abilities, many pointed out his limited screen charisma. Kevin Thomas of the Los Angeles Times suggested the film primarily caters to devoted Diamond enthusiasts, resembling an extended concert experience. Peter Goddard of the Toronto Star noted that despite narrative flaws, the movie was clearly designed to highlight Diamond.

Michael Blowen from the Boston Globe summarized the film as an outdated melodrama that functioned mainly to promote Diamond's soundtrack, which had already achieved chart-topping success before the film’s release. He argued that a modestly budgeted concert film would have been more effective.

Positive feedback was scarce; Dave Kehr of the Chicago Reader praised Fleischer’s direction and Diamond’s intense presence despite his limited acting skills. Peter Bellamy of The Plain Dealer described it as "surprisingly good" with moments of genuine emotional impact.

The film is included in Golden Raspberry Award founder John J. B. Wilson's The Official Razzie Movie Guide among The 100 Most Enjoyably Bad Movies Ever Made.

International reception

Meaghan Morris from The Sydney Morning Herald criticized the 1980 adaptation for primarily appealing to Neil Diamond's loyal fans, noting that the lead appeared older than appropriate and that the film lacked wider appeal. John Lapsley of the The Sun-Herald found the screenplay insufficient despite a strong soundtrack. Neil Jillett from The Age observed that audience responses varied according to their appreciation for Diamond’s musical style.

In the United Kingdom, opinions ranged from mixed to positive. David Bridgman of the Manchester Evening News described it as "pleasant, old-fashioned entertainment" that would satisfy Diamond fans, though he acknowledged some aspects felt dated. Arthur Thurkell from the Daily Mirror praised Diamond’s relaxed performance but criticized the social commentary embedded in his ballads. Richard Williamson of Birmingham's Sunday Mercury noted its saccharine tone but credited its production values for appealing to fans.

Conversely, certain UK critics were less enthusiastic. Time Out London characterized Diamond’s debut as cautious and unremarkable. Stan Gebler Davis from The Standard labeled the movie chaotic but conceded it had occasional charm. Patrick Gibbs of The Daily Telegraph found both director and star lacking in originality, describing Diamond as “deathly dreary.” Derek Malcolm of The Guardian likened it unfavorably to a blend of Victorian melodrama and 1980s disco films. David Castell from The Sunday Telegraph criticized its outdated characters and themes, while Philip French of The Observer dismissed it as slack and unnecessary.

David Robinson in The Times argued that remaking The Jazz Singer in 1980 was ill-advised because its themes on Jewish immigrant struggles felt obsolete. He noted that the film primarily served as a platform for a Neil Diamond concert rather than offering a faithful adaptation. Robinson emphasized that Diamond’s music fits within middle-of-the-road (MOR) rock and pop aimed at family audiences, contrasting sharply with the original jazz singer identity suggested by the title.

Awards and nominations

Neil Diamond was uniquely nominated for both a Golden Globe Award and a Golden Raspberry Award for the same performance, ultimately securing the Razzie. This rare distinction has been shared by only a handful of performers, such as Pia Zadora, James Coco, and Orson Welles, with Zadora being the only individual to have won both accolades for a single role.

Award Category Nominee(s) Result
ASCAP Film and Television Music Awards Most Performed Feature Film Standards "America" – Neil Diamond Template:Won
Golden Globe Awards Best Actor in a Motion Picture – Musical or Comedy Neil Diamond Template:Nom
Best Supporting Actress – Motion Picture Lucie Arnaz Template:Nom
Best Original Song – Motion Picture "Love on the Rocks" – Neil Diamond and Gilbert Bécaud Template:Nom
Golden Raspberry Awards Worst Picture Jerry Leider Template:Nom
Worst Director Sidney J. Furie and Richard Fleischer Template:Nom
Worst Actor Neil Diamond Template:Won
Worst Supporting Actor Laurence Olivier Template:Won[lower-alpha 1]
Worst Original Song "You, Baby, Baby!" – Neil Diamond Template:Nom
Grammy Awards Best Album of Original Score Written for a Motion Picture or a Television Special Neil Diamond, Gilbert Bécaud, Alan E. Lindgren,
Richard Bennett, Doug Rhone 		Template:Nom
1980 Stinkers Bad Movie Awards Worst Remake Template:Nom
Worst Supporting Actor Laurence Olivier Template:Nom
Most Annoying Fake Accent (Male) Laurence Olivier Template:Nom

The movie has also received recognition from the American Film Institute:

Soundtrack

Released on November 10, 1980, through Capitol Records, Neil Diamond’s soundtrack climbed to number three on the Billboard 200 chart and achieved 5× Platinum certification. It featured three singles that reached the top ten on the US Billboard Hot 100: "Love on the Rocks", "Hello Again", and "America".

References


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