Raphaelson objected, and on his own initiative adapted it into a drama. The play, starring George Jessel, opened on Broadway to generally tepid reviews. But it glided along for a week run that ended only because Jessel signed a contract with Warner Brothers. Jack quickly agreed, but Jessel demanded that Harry also approve. Here he badly miscalculated. The last thing Jack Warner wanted was to be held accountable to his brother. Jessel was dismissed.
Years later, Jessel would claim that his was less a squabble over money than over script changes Jessel saw as a betrayal of the material. Probably neither story got at the truth, which may have been that Jessel was considered too Jewish for the kind of assimilationist fable Jack Warner had in mind.
Jack and Sam could never have identified with a strident Jew like Jessel. In fact, Raphaelson had been inspired to write the story after seeing Jolson perform.
My father still dwelt in the consciousness of the strict, orthodox teachings and customs of the Old World. Cantor Rabinowitz, the seventh Rabinowitz to become a cantor, assumes that his only son, Jakie, will follow the tradition. But Jakie would rather sneak off to the local saloon to entertain, and when his father catches him and forbids him from setting foot there again, the boy runs away.
Years pass, and Jakie Rabinowitz has become Jack Robin, a nightclub singer. But Jack is barely scraping by until a pretty chorus girl named Mary persuades a producer to sign him up for a new musical revue. Though Jack now returns home and is welcomed back by his mother, his father is unforgiving.
The dilemma is set when Cantor Rabinowitz cannot sing the Kol Nidre, the Jewish plea for forgiveness, on Yom Kippur, the Jewish day of atonement and the holiest of Jewish holidays.
Jack Warner never did. It was one of the sources of their success in the movie industry and one of their advantages over Gentiles. The movie defines this advantage as something like soul. The inheritance of the Jews and their gift, the film seems to say, is that they inform what they do with their hearts and their pain. After centuries of persecution, Jews feel more. It is one of the things that distinguishes and exalts them, though even within the context of the movie Jack seems reluctant to broadcast this.
He appears on stage, as Jolson himself did, in blackface--one minority disguised within another. It is alien to it. Like the Hollywood Jews, he is caught between the old life and the new. In the play, Jack yields to Jakie and replaces his father on Yom Kippur. Of course, this surrender would never do for Jack Warner. The answer is that the movie, swiftly and painlessly, dissolves the problem altogether. The movies can redefine us. The movies can make us new. And that is precisely how the Hollywood Jews would use them.
But the success of Warner Brothers coincided with personal tragedy and dissension. Sam Warner, who had been largely responsible for the film, died of complications from a sinus infection the day before the movie premiered. Jack was a self-confessed womanizer, and with the power of his position he never lacked opportunities. He had fallen in love with the wife of a Valentino imitator. Ann Page Alvarado was a bit actress and a remarkably beautiful woman. A Catholic from New Orleans, she was also as remote from a Jewish woman as one could possibly be.
Jack was infatuated. His father and Harry were indignant. This is Bugs at his most goading. Faithful to Dr. The end is particularly violent and dark. He is a caricature of comedian Jerry Colonna, who was best known as a foil for Bob Hope on his radio show and in his films. Two castaways find refuge on an island and food in the form of Bugs Bunny, who manages to keep them at bay.
This is the one with the indelible image of the ravenous castaways imagining each other as a hot dog and hamburger. Daffy and Porky together again, but this time working in tandem to outwit the manager of the Broken Arms Hotel, who blocks their exit until their bill. A Bugs Bunny cameo represents the first time all three Warner Bros.
Gweetings, music lovers. What this glorious Fantasia parody lacks in gravitas or tutu-wearing hippos, it more than makes up for in transgressive gags in the Bugs Bunny segment. Bugs Bunny had yet to be acknowledged by the Motion Picture Academy. Can Daffy Duck resist the charms of voluptuous spy Mata Hari, or will he be coerced into revealing a military secret?
In the year , old codger Elmer finally gets his rabbit. But flashbacks to their first encounter as babies anticipate the same-as-it-ever-was reversal of burial fortunes.
Elmer chases Bugs Bunny into a vaudeville house, where Bugs tricks Elmer into a series of onstage embarrassments. Mel Blanc debuts his Yosemite Sam voice in the character of a sheriff. A put-upon cat disguises himself as a skunk to avoid being kicked around by humans. Enter a skunk with an outrageous French accent whose amorous advances will not be denied.
Bugs Bunny throws railroad surveyor Elmer off-track in one of their funnier outings. Striking imagery and dramatic angles conjure up such fearsome foes as Jukebox Jaw, Snake Eyes, 88 Teeth, Hammerhead, Pumpkinhead, and more.
A star is hatched. Foghorn Leghorn makes his Oscar-winning debut as a chicken who uses young chicken hawk Henery Hawk in his feud with the barnyard dog. Robinson and Peter Lorre. By the time Bugs is through with him, Rocky will be begging for the police to take him. Finally fed up with Bugs getting the best of him in all these cartoons, Elmer tears up his Warner Bros. Never heard of him. This is his first pairing with Sylvester here called Thomas. In one of Warner Bros. In his sophomore appearance, Bugs will have to make like Gary Cooper to run him out of town.
In the early twenty-first century, Warner Bros. Entertainment was a subsidiary of Time-Warner Inc. It was one of the largest producers of movies and television programs in the world. Toggle navigation. Jump to: navigation , search. Warner Bros. The Warner Brothers were exhibitors, distributors and producers of motion pictures.
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