Al Jolson, Spike Lee, the Past and the Present

The commentary by Robert F. Moss (“Was Al Jolson ‘Bamboozled’?,” Oct. 20) was of keen interest to me as a longtime Jolson fan. However, one aspect of the article needs a closer examination. The author states that “during his lifetime, [Jolson] was never the object of pickets or protests.”

After “The Jolson Story” was released in 1946, it ultimately found its way to the local neighborhood theaters. At that time, I was a teenager working at the Loews Victoria theater, which was a few doors away from the famed Apollo Theater in the heart of Harlem. Loews scheduled a one-day promotional appearance by Jolson at a number of its theaters in the greater New York area, including the Victoria. About an hour before Jolson was due to arrive, a number of black pickets arrived at the theater protesting Jolson’s appearance. The basis of the protest was clear from a reading of the picket signs, which referred to his use of a black-faced character.

Indeed, unlike the other theaters on Jolson’s tour that day, which were located in primarily white neighborhoods and which were packed, less than half of our seats were occupied. To give Jolson the benefit of playing to an audience of respectable size, we stood outside and invited people to come into the theater and see the show at no cost. Some accepted the invitation while many others did not. A later discussion of these events with the theater’s black employees left no doubt in my mind that Jolson’s use of black-face offended many.

RICHARD W. HECHT

Santa Monica

*

Thank you to Robert F. Moss for setting the record straight about Al Jolson’s affection for and support of blacks.

Spike Lee insists on driving wedges between the races, emphasizing differences, underscoring conflicts and ultimately pulling us farther apart with snide, undeserved recriminations.

Moss presented the true story of a Russian Jewish immigrant who joined with and advanced black entertainers, breaking down barriers in a predominantly white, Christian nation to the substantial benefit of all.

A few more Al Jolsons and a few less Spike Lees are called for in order that we all can be judged by the quality of our character, not the color of our skin.

MARK LANDSBAUM

Diamond Bar

*

Moss offers no statements of Jolson nor any other evidence to support his contention that Jolson intended to slay racial dragons with his Mammy act. The truth is that Jolson made a mint off of affecting the dance, moves and so-called Negro dialect of blacks, becoming one of Broadway’s biggest showmen. Moss even admits that in his first Broadway show in 1911, Jolson sang a song called “Paris Is Paradise for Coons.” This hardly sounds like a man on a mission to wipe out racial stereotypes.

Moss notes that the NAACP did not picket Jolson for performing in blackface, that black performers such as Louis Armstrong and Cab Calloway said nice things about him, and that he was personally free of racial bigotry. This is admirable and certainly worthy of praise. But this does not absolve Jolson of at least some of the blame for perpetuating stereotypes that continue to poison racial relations to this day.

EARL OFARI HUTCHINSON

Los Angeles

*

No amount of soul-searching and liberal mea culpas can help me understand what it’s like to be black in America, but a good movie can. Spike Lee has made many movies that stick in your craw in just that way.

His latest movie, hilariously drenched in anger, will prompt many moviegoers to leave the theater scratching their heads, saying, “What does Spike Lee want? How are we supposed to feel?”

And it’s true, before Spike makes another one of these, he needs to step back and ask himself what the world should look like. I saw a movie ad featuring a little boy suggesting that freely given favors could change the world. Maybe at some point in the future, the young protagonist could be black, and no one would think anything of it.

But then, does “Bamboozled” promote such a future, hint at or aid its possible making? I don’t think it does.

WINSTON STEWARD

Los Angeles