"The Jolson Story": Fact Vs. Fiction & Ruby Keeler's Role

Did the silver screen truly reflect the life of Al Jolson, or was it a carefully constructed illusion? The 1946 film, "The Jolson Story," painted a picture of a singing sensation, but it also played fast and loose with the facts, creating a narrative that was more Hollywood than history.

The biggest example of this, as film historians and keen-eyed viewers have long noted, lies in the film's treatment of Jolson's relationships. "The Jolson Story" implies a first marriage to a character named Julie Benson, which is presented as happening around the time Jolson was making "The Jazz Singer" in 1927. In reality, the narrative is already diverging from the documented truth. Jolson did not marry Julie Benson; he married Ruby Keeler in 1928. The films creative license allowed it to merge and alter the truth, crafting a more dramatic, yet less accurate, portrayal of the mans life.

The film further compresses and simplifies Jolsons romantic history. He falls in love with the fictional musical comedy star, Julie Benson, portrayed by Evelyn Keyes. While this character was modeled on Ruby Keeler, the real Ruby Keeler refused to allow her name to be used in the film. This forced a creative solution, turning Keeler into a composite character, Julie Benson. The movie then presents a marriage fraught with issues, claiming the fictional wife lives solely for applause, and that their marriage is on the rocks. These details, although perhaps offering dramatic flair, also remove the viewer further away from the genuine reality of Al Jolson's private life.

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The truth is that Jolson's life, like any human life, was much more complex than the neatly packaged narrative of the film. Even before Ruby Keeler, the film doesnt even acknowledge Jolsons first two wives, presenting a highly selective and, in many ways, inaccurate depiction of his personal journey. Ethel Delmar, whose real name was Alma Osborne, also played a role in his life as the second Mrs. Jolson. Her story, and that of the other women in his life, are either omitted or heavily adapted for the screen.

The film's focus on the idealized career of Jolson, a Jewish boy overcoming familial objections to pursue show business, is at the core of this reimagining. The Jolson Story focuses on the trajectory of Jolson's career, including details such as Al Jolson's mother dying in 1895, long before he gained widespread fame. The biopic, by design, chose to infer that Jolson had no personal life before meeting Julie Benson/Ruby Keeler, which, as we now know, isn't factual. Scenes like the one where Jolson sings "Liza" from the audience while his wife is on stage were fabricated, and they add color while sacrificing accuracy.

The movies treatment of Ruby Keeler, the third Mrs. Jolson, highlights this trend of fictionalization. Keeler, a renowned dancer, actress, and singer, was paid $25,000 for her collaboration on the film, which, in 1946, was a considerable sum. However, she firmly refused to permit her name to be used, leading the filmmakers to employ the character of Julie Benson. This alteration further underscores the film's tendency to prioritize dramatic storytelling over historical accuracy.

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The film was a highly fictionalized account of the singer's life, so much so that the reality was distorted in various ways. The casting choices, the selective storytelling, and the dramatic license taken with the truth all contribute to a narrative that, while entertaining, diverges substantially from historical fact. The movie simplifies and romanticizes the complexities of his life and relationship. For instance, "The Jolson Story" suggests that Jolson's personal life remained absent before the introduction of Julie Benson. This is untrue, as Jolson was married twice before meeting and marrying Ruby Keeler.

The film stars Larry Parks as Jolson, and Evelyn Keyes as Julie Benson (who represents Ruby Keeler). William Demarest, plays Jolson's manager, and Ludwig Donath and Tamara Shayne play his parents. Scotty Beckett portrays the young Jolson in the film. Jolson's love for singing and performing is emphasized in the film, at the expense of detailing his personal life. The scene in the nightclub with Julie Benson was also influenced by another film.

The movie simplifies the relationships and, in some cases, the historical timeline. For instance, Jolsons mother, Naomi Yoelson, passed away in 1895, long before her son achieved significant stardom. During World War II, while entertaining troops in North Africa, Jolson contracted malaria, eventually leading to the loss of his left lung. This event is mentioned briefly, which shows the sacrifices he made for his craft.

When the film "The Jolson Story" was released in 1946, it was clear that it presented a heavily dramatized account. The film aimed for entertainment. Jolson contracted malaria during World War II while entertaining the troops in North Africa, ultimately losing his left lung. The movie aims for emotional impact rather than a strictly biographical approach, using dramatic storytelling to captivate its audience, but in the process, it sacrifices some elements of historical accuracy.

Ruby Keeler began her career as a dancer on Broadway and later transitioned to Hollywood, where she starred in Warner Bros. musicals. After her divorce from Jolson, she stepped away from the spotlight for almost 30 years, eventually returning to Broadway in 1971 in "No, No, Nanette," under the direction of Busby Berkeley. This period of her life is only partially alluded to, and with significant omissions in the film.

The films narrative choices, such as the creation of the Julie Benson character and the downplaying of other relationships, contribute to a sanitized and, at times, misleading portrayal. Although the film was very successful and considered a landmark movie, it doesnt provide a comprehensive and accurate biographical portrait. Its important to recognize that while it offers a glimpse into the world of Al Jolson, it is filtered through the lens of Hollywood drama and, as such, may be more of a reflection of the eras storytelling conventions than a truly factual account of his life. The story is more of a Hollywood narrative, which prioritizes drama and audience appeal.