Truly the worst movie I've ever seen in a theater

recommended

Great Film overall

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Al Jolson was justly well-known for having starred in the first widely-distributed talking feature. Here, six years later, it was announced that he would headline another first in sound film-making -- the inaugural picture all in "rhythmic dialogue." This makes it a highly stylized piece and the experiment has rarely if ever been repeated, but I think that hardly means it fails. The rhythmic dialogue, sometimes subtle and hardly noticed but for the jaunty kick it gives the scenes, sometimes cleverly rhyming, and sometimes blending seamlessly into full-on song, is enormous fun to hear (Rodgers and Hart largely live up to their reputation with words and music, and the occasional almost-rhymes are alright when they're in the middle of dialogue) and as a result of it "Hallelujah, I'm a Bum" simply breezes along.Al Jolson radiates energy and presence, and it is no secret from this film why he was known as The Great Entertainer. His comic and musical timing (which are maybe one in the same for him) are perfect, and he can play credibly when he needs to be serious within the rhythmic conceit. The plot is unlikely but sweet; it works well and it doesn't need much tending. Jolson is Bumper, "The Mayor of Central Park," a hobo with a heartfelt philosophy that enjoying the world around him trumps working. He's possibly the best man in the world, too, returning the $1,000 bill he finds, portioning it out when given it, saving a woman from drowning, not even tempted to take advantage of her in some very suggestive scenes after her, abandoning his way of life for her, and then sacrificing his love because it's the right thing to do. It may not be often you meet someone so good, but Jolson pulls it off, and he needs to be how he is to take live for what it is even when it beats him down in the end.The great comedian of the silent era, Harry Langdon, plays Egghead, a socialist garbage man, and he is wonderful as always. It's interesting to note that while the sound era (ushered in by Jolson) was a big part of bringing Langdon's career as a feature film star to a standstill, he plays brilliantly in this film that depends totally on his delivery of rhythmic, musical, well-timed sound. Egghead fits being a manifestation of Harry usual befuddled, stunned child-man character better than one might expect; it's amusingly almost as if somebody told him to be a Socialist, so he's just doing his best to do as he's told. The little bewildered expressions and bits of business that he adds in between his lines or in the back of shots really do add to the movie.Egghead's a big part of "Hallelujah, I'm a Bum's" neat trick of folding some actually thoughtful material about money, wealth, and poverty into its breezy, cheerful framework. It must say something that one of the quintessential films of the depression should be such a happy piece, but with such a sad ending, and that the citizens of Central Park it follows should not be en who can't work, but one's who are simply happier not to.

A bum named Bumper and his pals named Acorn and Egghead live a pleasant life in New York with a philosophy that it is better to be a bum than to work for a living. They just happen to be acquaintances with the mayor of New York who is a bit of a playboy. When the mayor and his lady friend have a quarrel, she despairs and jumps off a bridge to end her life. Bumper happens to see her jump and rescues her from the river. The result of her trauma is that she has temporary amnesia, and she falls in love with Bumper while he is taking care of her. This is a charming film, with many attributes that make it commendable. "Hallelujah, I'm a Bum" is first and foremost a musical with some drama and comedy added in. Al Jolson's voice and singing are simply wonderful and this movie is good enough to see for the songs alone. The songs are snappy and cheery and if you'd like to be introduced to the famous Al Jolson, this is a good choice. There is also quite a bit of rhythm and rhyme to much of the dialogue in the film which is unique and fascinating. The credits on the film for 'Songs and Musical Dialogue' go to one of the most famous teams of songwriters in the history of film, Richard Rodgers and Lorenz Hart. Their musical brilliance is in evidence in this film.The cinematography is very good, and it takes us back to 1933 with a 'feel' for what the atmostphere would have been to be bum living in a park in New York, albeit a very happy go lucky bum in a very idealistically happy world. Lewis Milestone, who directed the film is an extremely well known director from the 1930's and 1940's and his skill is evident here.Al Jolson is a great fit for his role in this movie as the good natured bum, Bumper. His friends Egghead (Harry Langdon) and Acorn (Edgar Connor) are also delightfully cast; these two actors light up the screen anytime they are present. Harry Morgan is terrific as the mayor (He would later be immortalized as the wizard in 1939 in "The Wizard of Oz." Madge Evans is beautiful as the rejected girl friend of the mayor.This movie is just plain fun to watch and to listen to. I think you might be surprised to find out that this is one of the early 'talking films' which may still have appeal for many film lovers today. There is something timeless about "Hallelujah, I'm a Bum" which makes it well worth watching. I give it a 9/10.

Slap-happy musical film that tries to use music and images together to meld a new format -- and ends up entertaining and likeable. Many of the songs are "recited" in operatic fashion, as when Jolson, the "Mayor of Central Park" (a famous bum) sings his case in court against a singing tribunal that he's been brought before on chargest of betraying his office by taking a job at a bank. A wonderful tracking shot introduces his job through sucessive levels of importance, beginning with high rollers and ending up with lyricist Lorenz Hart telling a customer he doesn't have a dime to give him. After we see all the varying levels of importance in the bank, we finally come on Jolson and his friend, doing the banking equivalent of peeling potatoes. Wonderful charm of Jolson and Langdon is dulled slightly by Morgan and Evans' stiff leads. Rodgers music and Hart's lyrics are splendid, making this one of the most original, best written original musicals of all time. It should be noted that in his years later working with Oscar Hammerstein, Rodgers only wrote one original play for film (excluding the televised "Cinderella") -- "State Fair" -- which in my opinion, though charming, has got nothing on "Hallelujah, I'm a Bum!" After the failure of this and several other Rodgers/Hart film projects, the duo returned to Broadway to become almost its only reliably successful writers in the later 30s. They left behind this little Hollywood gem to be rediscovered.

I can't think of an earlier film example of ethnic parity than Al Jolson's "Hallelujah, I'm a Bum", 1933. It's a fun musical (with bit parts played by composers, Rodgers and Hart) and co-starring Harold Lloyd and Frank Morgan. Lots of delightful rhyming dialogue. Among Depression era musicals, it's an oddity in that it doesn't dodge the poverty issue, yet remains light-hearted while dishing out the political/economic statements. I particularly liked the bank sequence where the camera tracks from the entrance, through the bank and ends behind the tellers' cages. It begins with a pair of big-wheeling businessmen discussing a deal involving an immense fortune. As successive conversations are overheard, the monies involved become smaller and more paltry. A guy can't get a loan for some small pittance. Finally one teller asks another for a measly buck is it just a dime?], and his buddy says he hasn't got one to give (this teller played by lyricist, Lorenz Hart).Anyway, I'm off the point of the introductory statement: Jolson's the unofficial "mayor of Central Park" -- a leader amongst all the hoboes living there. And his best friend, his friend mind you -- not some Rochester-style servant, not some lackey -- his FRIEND, who alone can get in his face to defy him when none of the other bums can -- his friend is an African-American wonderfully played by Edgar Connor.