Jolson and Blackface

There are many people who apparently say that this film is no longer "acceptable" because it shows Jolson in blackface... where he blackens his face with burnt cork and adds a kinky wig to make himself appear as Black (except for a white portion left around the mouth).

For those who think that Jolson's (and therefore this film's) use of blackface is demeaning to Blacks... and should therefore perhaps be banned or boycotted... I have two things to say:

First of all, whatever you think of the practice of blackface - it is now part of history. That is what performers at a certain time in America did. Therefore, a musical biography of Jolson is BOUND to show him in blackface - with no comment for or against; That's simply the way it was.

Second: here is what I found on Wikipedia about the real Al Jolson:
"He enjoyed performing in blackface makeup – a theatrical convention in the early 20th century. With his unique and dynamic style of singing black music, like jazz and blues, he was later credited with single-handedly introducing African-American music to white audiences. As early as 1911, at the age of 25, he also became noted for fighting black discrimination on the Broadway stage. Jolson's well-known theatrics and his promotion of equality on Broadway helped pave the way for many black performers, playwrights, and songwriters, including Cab Calloway, Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters....

...While growing up, he had many black friends, including Bill 'Bojangles' Robinson, who later became a legendary tap dancer."[6] As early as 1911, at the age of 25, he was already noted for fighting discrimination on the Broadway stage and later in his movies:[11]

* "at a time when black people were banned from starring on the Broadway stage,"[12] he promoted the play by black playwright Garland Anderson,[13] which became the first production with an all-black cast ever produced on Broadway;
* he brought an all-black dance team from San Francisco that he tried to feature in his Broadway show;[11]
* he demanded equal treatment for Cab Calloway with whom he performed a number of duets in his movie The Singing Kid.
* he was "the only white man allowed into an all Black nightclub in Harlem;"[11]
* he once read in the newspaper that songwriters Eubie Blake and Noble Sissle, neither of whom he had ever heard of, were refused service at a Connecticut restaurant because of their race. He immediately tracked them down and took them out to dinner "insisting he'd punch anyone in the nose who tried to kick us out! [14]

Brian Conley, former star of the 1995 British play Jolson, stated during an interview, "I found out Jolson was actually a hero to the black people of America. At his funeral, black actors lined the way, they really appreciated what he'd done for them."[15] Noble Sissle, then president of the Negro Actors' Guild, represented that organization at his funeral.[16]

According to the St. James Encyclopedia of Popular Culture: "Almost single-handedly, Jolson helped to introduce African-American musical innovations like jazz, ragtime, and the blues to white audiences.... [and] paved the way for African-American performers like Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters.... to bridge the cultural gap between black and white America."[1] Jazz historian Amiri Baraka wrote, "the entrance of the white man into jazz...did at least bring him much closer to the Negro." He points out that "the acceptance of jazz by whites marks a crucial moment when an aspect of black culture had become an essential part of American culture."[17]:151

In a recent interview, Clarence 'Frogman' Henry, one of the most popular and respected jazz singers of New Orleans, said, "Jolson? I loved him. I think he did wonders for the blacks and glorified entertainment."

So - in or out of blackface - who can really put Jolson down?
The blackface convention was a way of letting people know that the style of music was primarily black. So even if the theatres would not allow a real Black person in - at least some of the artists of the day were - by wearing blackface - giving a nod in the direction of the originators of some of their styles. A homage if you will.

Instead of protesting, people should realize that this was not necessarily what we imagine it to be today. And as the Wikipedia article shows, the Black people of the day did NOT consider Jolson's use of blackface as unacceptable.

I personally believe that - once again - Political Correctness is going too far. If blackface was used in minstrel shows which WERE stereotypical and presented Blacks in negative stereotypes, that is not a reason to ALSO insist that performers like Jolson or Eddie Cantor were ALSO unacceptable because of using blackface.