WillSushyMedia
This movie was so-so. It had it's moments, but wasn't the greatest.
Whitech
It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.
AnhartLinkin
This story has more twists and turns than a second-rate soap opera.
Juana
what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.
mark.waltz
Off camera for possibly only a few minutes during this film version of one of his biggest Broadway hits, All Jolson does all he can to worm his way into the hearts of his fans. His schtick may fate but the urge to smile at least is always there. Even his now taboo if black-face us forgivable, a part of a by-gone era that can never return. When he breaks into traditional Negro spirituals, it is as if his whole soul has been taken over by some spirit of the past, crying out for peace. His rendition of "Tomorrow is Another Day" must have been pretty potent stuff for depression era audiences, and the passion in his singing still strikes today. It is a shame, however, that all movie audiences got with this was an obviously truncated version of what he had done on stage, and it is not memorable for anything else but Jolson's singing.The slight story concerns an alleged Creole stable boy who works past his station, eventually becoming a singing waiter (again!) and later a jockey in the Kentucky Derby. Such respected players as Claudia Dell, Noah Beery and Louise Closser Hale stand up with their dignity intact, but as he admits even here in the script, if you are what you eat, then he is the Easter ham to end all Easter hams. Still, ham sliced thin makes for an awfully nice sandwich.
wes-connors
Descended from slaves, horse trainer Al Jolson (as Gus) wants to ride "Big Boy" all the way to the Kentucky Derby, and help his master's family regain their fortune. Criminal forces conspire to get Mr. Jolson off his high horse, although he is the only one who has a chance to win. Jolson is exceptionally close to his horse, claiming he has, "Greta Garbo's eyes and Clara Bow's legs." Not coincidently, both actresses were ahead of Jolson in Quigley Publications' "Money-Making Stars" for 1930 list. Jolson's #7 position was nothing to scoff at, but fewer people were seeing him in "Big Boy" than in still exhibited hits like "The Singing Fool" (1928).One of the reasons for this film's relative failure may be the original Broadway show's altered and lackluster soundtrack. Jolson was the first in a Crosby/Sinatra/Presley continuum of pop recording artists. But now his usual string of million selling #1 hits was no longer in evidence. The attempt to make "Tomorrow Is Another Day" a hit was unsuccessful. Bing Crosby was taking over.None of the veteran character actors make much of an impression alongside Jolson. Helping more are John Harron (as Joe Warren), who romances pretty Claudia Dell (as Annabel Bedford) while helping her brother Lloyd Hughes (as Jack) and Jolson expose the criminal element. At the end of this film, Jolson is asked to sing "Sonny Boy" but declines - and there is nothing here even remotely approaching the quality of that song. "Big Boy" was also notable in that Jolson plays in "blackface" until appearing as himself in the end. He actually looked better with the darker skin, and sang with dignity, but his white lips are too pronounced in this picture.*** Big Boy (9/11/30) Alan Crosland ~ Al Jolson, Claudia Dell, John Harron, Lloyd Hughes
ndimeo09
The movie "Big Boy" can be thoroughly enjoyed if you put into the context of when it was made. It may seem very bizarre to audiences today to see someone in black-face but be rest assured this was the norm for the 20's and 30's. This is not the norm for the 2000's or is it? In 2004 a Wayans Brothers movie called "White Chicks" was released and featured black men in white-face. I was truly offended that in the year 2004 such racism on screen could still be depicted.Although "Big Boy" is not considered a classic it still has key elements of hilarity. Just as "White Chicks" relied on the exaggerated mannerisms of The Wayans Brothers in white-face Jolson's exaggerated black man is one of the elements that keeps the viewer smiling throughout. This is a recommended movie that was made 74 years before the dismal racist "White Chicks"!
Ron Oliver
If faithful Gus can only help the racehorse BIG BOY to win the Kentucky Derby the white folks who employ him will be saved from financial ruin.Strange, offbeat, bizarre, unique. All of these terms can describe this film which features legendary entertainer Al Jolson in blackface, playing a black man. While acted with tongue very firmly planted in cheek, and meant solely for lighthearted entertainment, this movie will definitely not be to every viewer's taste. Not until the final minutes does Jolson appear as himself, joking with the audience and reprising the film's dullest song yet once again.The movie obviously has its roots in the minstrel tradition in which a group of musical white men would perform, made-up as blacks. Also, Jolson's own career involved extensive use of blackface routines and he had become quite celebrated for them. For their time, these were all considered quite normal and not offensive (to white audiences). It should also be noted that racial meandering was engaged in routinely in films for decades, with several top white stars (Helen Hayes, Paul Muni, Kate Hepburn, Ramon Novarro, Edward G. Robinson) playing Asian roles, although these were usually done for a serious, and not a comedic, purpose.Once past the initial oddity, it must be said that Jolson is certainly fun to watch and is obviously having a great time. Singing constantly (none of his big hits, but he does well with a couple of old Spirituals), wisecracking and ad-libbing shamelessly, he is impossible to ignore. In his heyday, he was one of the most popular performers in the world and it's easy to see why.Although Jolson dominates the film, there are a couple of other performers worth noting. Wonderful old character actress Louise Closser Hale, always a joy to watch, plays the plantation matriarch. In a lengthy & superfluous flashback scene, beefy Noah Beery appears as a bullying braggadocio who harasses Jolson.It probably goes without saying that there is a fair amount of racism woven into the plot.