The Jazz Fool

I assume that with this title, the Disney folks were parodying the title of the sound sensation "The Jazz Singer", though the film itself has nothing to do with this Jolson film. Instead, it mostly consists of Mickey entertaining the audience by playing the piano in a jazzy fashion. However, several times as he plays there are riffs that sound strongly inspired by George Gershwin. The music is all very pleasant but there just isn't much to the film. As a result of it having no plot and a lot of songs, it doesn't stand up as well as other early Mickey toons. Worth seeing for die-hard Mickey fans and film historians but pretty easy for others to skip.

This is not a bad little cartoon featuring Mickey and a host of other Disney characters, playing instruments, including a feisty piano, to some really catchy tunes. Not much of a story here, but a nice musical number that is sure to enchant the younger audience.

Grade B

The Jazz Fool isn't one of the Mickey Mouse cartoons that people go 'Oh, yeah, I LOVE that one!' But then it isn't presenting itself as anything super ambitious; it's something that has some fun ideas, and is there to show Mickey having a good time at the piano. The most creative parts of this involve actually some of the other characters or, you know, 'things'; it's hard to forget the clothes that come off the hanger to dance around, or the cow who takes out its teeth and uses them as xylophone keys and proceeds to make one of the best musical moments of the whole thing.

In this short, Mickey is playing in his 'Big Show' for the animals in the audience, and plays the piano in such a way that it's practically abuse (!) By the end the piano gets its just desserts, but for the most part this short almost acts like one of the Silly Symphony shorts (or a prototype of them); just showing characters having some dilly-dallying to swinging music is enough for five minutes sometimes.

This is a stunning little cartoon. I know that the levels of animation had not been met, but we can already see the genius that is Disney. First of all, there are a series of performances by farm animals as they use their various physical attributes to create percussion, strings, and brass. But the highlight here is when Mickey takes the stage to become the "Jazz Fool." His battle with his piano to produce a really catchy number is priceless. We can see his character develop and shine.

If you'd like to know what made the Disney studio's output so special, and stand out so strongly from the rest of the pack, take a look at some of the early Mickey Mouse cartoons from around 1929-30. The Jazz Fool was produced just as Mickey was catching on as a highly popular character, and like so many of the early efforts it's a plot-free, high-spirited romp consisting of non-stop music and dancing. This particular cartoon isn't one of the select few usually ranked among the "classics" by connoisseurs; it is, in essence, just another release in the ongoing Mickey series, but it's a charmer from start to finish which demonstrates just how good the Disney studio's routine product from this period could be.

The show kicks off with a parade: Mickey rolls along on a horse-drawn wagon, playing a goofy tune on a calliope while dozens of animals dance along behind. He's parading through a rural area, inspiring local cows to stop grazing and waltz to the music. Even pairs of flannel long johns drop off a clothes-line to join in. When the wagon halts Mickey plays for the gathering crowd, while his horse—who looks like an early version of Horace Horsecollar—provides percussion alternately on a drum, on a local cat who happens to be handy, and then on his own dentures. Once the crowd has gathered in the auditorium Mickey takes the stage looking dapper and self-confident: he wears a top hat, spins a cane, and carries a satchel. First he opens the satchel and it becomes a baby grand piano, then he smoothly turns his hat and cane into a stool. (Mickey possesses Felix the Cat-like magical powers in this cartoon.) Seated, he launches into a jaunty melody, and performs some cute musical gags: for instance, when he slams the keyboard several keys fly into the air, and land just in time to complete a melodic phrase.

As the performance continues, however, something interesting happens. Mickey's playing becomes more and more aggressive. He beats time on the side of the piano, then pounds the lid, then starts hammering the keys with his fists, and we gradually become aware that the piano itself is reacting angrily to this treatment. It grimaces, bears its "teeth" at its tormentor, and puts up resistance as the treatment gets rougher. Mickey responds by playing more intensely and actually spitting tobacco juice onto the keys. Finally, striking a masterful lion tamer stance, he beats his adversary into submission for an exhilarating finale. The piano crumples, exhausted—then, in a surprise finish, it comes back to life and bites the seat of Mickey's pants! This is a terrific cartoon, better seen than described. Hardly any words are spoken and none are needed: the progress of Mickey's battle with the baby grand is easily followed, told entirely through witty character animation, music, and sound effects. The Jazz Fool is simplicity itself, yet it somehow strikes a deeper chord, like the most memorable scenes in the best silent comedies.

P.S. The title of this short is a play on two of Al Jolson's then-recent successes for Warner Brothers, The Jazz Singer and The Singing Fool, but there are no Jolson impressions or specific references to either feature. This cartoon stands on its own, with no topical references to date it.