After the smash hit THE SINGING FOOL, audiences waited several years for Jolson to bring out this disappointment. Lightning did not strike twice, however, and the picture coughed, wheezed, and finally died at the box office. Jolson is a big-time musical star with a radio show. His
secretary is Horton, his valet is Jenkins, and Mitchell and Durant are his gag writers (though their jokes are so lame that one wonders how they could have kept their jobs). Jolson loses his voice and takes a vacation in the country to recover. He meets and falls for Roberts but it's Jason, as her
young niece, who brings life to the screen whenever she's on. In the end, Jolson is back on Broadway with his voice better than ever and a woman to love. Ray Heindorf got one of his earliest film credits for his arrangements of the songs by Harold Arlen and E.Y. "Yip" Harburg, which include "My,
How This Country Has Changed," "I Love To Sing-a," "Here's Looking at You" (sung by Jolson), "You're the Cure for What Ails Me" (Jolson, Jason), "Save Me, Sister" (Jolson, Shaw, Calloway, Chorus). Cab Calloway and Irving Mills wrote "You Gotta Have That Hi-Di-Ho in Your Soul." Robert Lord, who
wrote the bearded story whence the equally hoary screenplay sprung, was the supervisor on the film, an old title that was in use before people became known as producers. He'd won an Oscar for writing the story for ONE WAY PASSAGE in 1932 and later teamed with Humphrey Bogart to form their own
productioon company, Santana, named after Bogie's yacht. Director Keighley, who would later take the helm on such superior films as THE MAN WHO CAME TO DINNER; GEORGE WASHINGTON SLEPT HERE; THE PRINCE AND THE PAUPER; and EACH DAWN I DIE, could do little with this tired tale.
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