Not to be out done by his late rival Al Jolson, Eddie Cantor got a biographical film of his own. It's no more true to life than The Jolson Story in fact it may be less true. Cantor had his faults, but on the whole was a nicer person than Jolson. But in fact these films are only an excuse to hear the many songs identified with Cantor over the course of his almost 50 years as an active performer beginning with him as a child working in one of Gus Edwards productions for talented kids.

Keefe Brasselle is superficially suggestive of Cantor and the lipsynching of Cantor standards is performed well. I don't think he came close to capturing the inner Cantor. Best in the film is Aline McMahon as Eddie's fabled Grandma Esther who raised him after he was orphaned.

At least the Jolson Story got it right that Al Jolson was not the man's birth name, he's presented to us as Asa Yoelson the cantor's son (no pun intended) from the beginning. Eddie Cantor's real name was Izzy Ishkowitz, but that was never brought up at all. It's the biggest error of the film.

The film stops in the early 30s and Cantor had at least 20 more years of active performing. It's adequate, but catch some of his films if you want to know what a marvelous performer Eddie Cantor was.

The story of Eddie Cantor with plenty put in and taken out by 1950's Hollywood standards. Here Eddie grows up in a tough part of New York City, living with his grandmother. He catches a break when he wins a local amateur contest and gets a part with a group of young performers in a traveling show. When he grows out of the role, he marries his girlfriend Ida and struggles in getting new parts. Pal Jimmy Durante gives him a break in a show out in Los Angeles and leaves Ida pregnant with his first (of five) daughters. He comes back from LA and manages to get a part in a Ziegfeld show and his career takes off despite the loss of his grandmother and the strain it puts on his and Ida's marriage.

Plenty of liberties were taken with Cantor's life here, but the film is entertaining. Brasselle looks like Cantor but his performance isn't acting, its more on the line of an imitation. The fact that Cantor dubbed in all of the singing and the cameo by Eddie and Ida at the end of the movie are nice touches. It would have been nice to make more of Eddie's charitable work rather than condense it to 3 minutes at the end.

Like I said, a good film, but one I would have liked to enjoy more.

Rating 5 out of 10.

I love Eddie Cantor and was looking forward to finally seeing this biopic. I really enjoyed the musical numbers, but I have to say the dramatic scenes were painful. I'm sure Eddie Cantor didn't carry his stage personna into his personal life. I'm sure he didn't mug and roll his eyes when conversing with his friends and his wife. But that's what Keefe Braselle did. It got pretty annoying. On the other hand, the musical numbers were tremendous and Mr. Braselle nailed the moves and the facial expressions. Of course, hearing the voice of Eddie Cantor was wonderful. I'm wondering if the songs were recorded for the movie, (as in The Jolson Story) or whether older recordings were used.

While this film is not as good as The Jolson Story, it is nevertheless very entertaining. Eddie Cantor dubbed the songs for Keefe Brasselle, and it is Cantor's great voice and the exciting songs that make the movie. Songs like Ida, Sweet As Apple Cider, If You Knew Susie, Potatos Are Cheaper, Margie, and I'd Like To Spend each Sunday With You are just great. Brasselle has taken criticism for his portrayal of Cantor, but he really does a pretty good job. Parks was better in the Jolson bio, but in fact, Brasselle resembled Cantor in appearance more than Parks resembled Jolson.

It is not a good movie. But it is leaps and bounds more entertaining than "The Jolson Story." I found Brasselle to be grotesque most of the time during the dramatic scenes. The poor guy was directed to do the bulging eyes even when he was not doing a song. That isn't true to what Eddie Cantor was. Just look at him in an interview and he never looks freakish unless he is clowning. Keefe is great in the musical numbers and actually quite believable in the dramatics. Marilyn Erskine is very fine and underrated. "She doesn't look Jewish"??? is a rather insulting comment to make. Aline McMahon is great in a role that is now completely clichéd. She approached every line with complete seriousness. It has that sort of el cheapo Warner Brothers musical look and should have been a lot shorter, but this was a sincere attempt and it really is never boring. Had the approach been original instead of trying to do a scene for scene match of other biographies of the great vaudevillians, this could have been something.

While the real life Eddie Cantor is seen going into a screening room at Warner Brothers to watch this movie with his beloved wife Ida, you sort of have to wonder what he really thought about it. The story and songs are there, but it is really an imitation of his life with a poorly cast Keefe Brasselle in the title role. He's sort of creepy for the most part with enlarged eyes that seem to parody Cantor rather than portray him, and even without the eyes, he really doesn't resemble Cantor, with a speaking voice too shrill to match Cantor's real voice for those of us familiar with the real deal.

What starts off as "The Bowery Boys Meet Banjo Eyes" turns into "Cantor Sings Again", covering his discovery by Gus Edwards as a child (after being used by some street gang members to distract audience members from their pick-pocketing), his struggles to get into the "Ziegfeld Follies", and then his moving on to light-hearted book musicals like "Kid Boots" and "Whoopee!". Dramatically, it also tells of his childhood romance with Ida, their issues with his constantly being away, and finally some health issues which threaten to curtail his career for good.

There is also of course, his use of blackface, but it never really goes into detail of why he chose that route since he had been popular as himself. Certainly, that aspect of his entertainment personality is dated now and quite offensive, but it is a part of our history that we can't change and certainly shouldn't repeat. Of course, there's going to be comparisons to "The Jolson Story", and the one good thing which can be said is that Cantor didn't have Jolson's massive ego, and mentions of him in Broadway and Hollywood memoirs describe him as a very giving performer. The movie, however, doesn't cover of any of Cantor's film career which saw him under contract to Sam Goldwyn from 1930-1936.

Cantor's marriage to Ida (Marilyn Erskine) wasn't nearly as troubled as Jolson's to Ruby Keeler, but the real love of his life seems to have been his delightfully spry grandmother (lovingly played by Aline MacMahon). One very touching moment in the film is Cantor's Follies debut where he looks out into the audience and sees only her. I really wanted to like this movie more, but the severe miscasting makes a major difference between being a predictable but enjoyable by-the-numbers musical bio and a missed opportunity that perhaps nobody could have succeeded in.

As Cantor does get to do all his own singing, there are all those great numbers, and Brasselle, at least in the black face, does capture his glove hand clapping and prancing routines downpacked. The various Ziegfeld production numbers, however, seem more 50's in style than 20's and 30's, and that also becomes a minus here.

Someone who knows how to make a musical in Hollywood should take a look at the career of Eddie Cantor and give it the FUNNY GIRL treatment. Now before you all roll your own banjo sized eyes, we are edging closer to a time in this clever new century where good nightclub/theater musicals are being released: DE LOVELY, CHICAGO, BEYOND THE SEA, RAY and WALK THE LINE are each quality musicals that are creative screen musical biographies and each are successes. Some even won a clutch of Oscars. The public like them all. What the public do not like now days is Rogers and Hammerstein style screen musicals (pity, though)... but will happily embrace a showbiz musical with songs sung in places people sing and perform in real life; in a nightclub, a theater or in a movie/movie. THE EDDIE CANTOR STORY as made in the 50s is a revered bio pic hampered by the conservative 'musical style' of the time. Keith Braselle creates a passable imitation and the tinkly songs from vaudeville are fun in a Doris Day or Betty Grable way... which suits 1953. Cantor's own ribald 1944 comedy SHOWBUSINESS is a faux life story of himself anyway, and more closer to the real vaudeville tawdriness than his own biography here. . However, if someone has the sense to license the hilarious musical films Cantor made from 1930-1937 produced by Samuel Goldwyn, lift all the original musical numbers whole as directed by Busby Berkeley directly into a new production.... get Caroline O'Connor from DE LOVELY who already does a great Ethel Merman, find an actor to play Cantor in the story scenes.. there is a spectacular and hilarious musical ready to hit audiences right in both the funny-bone and box office. If you have seen THE NIGHT THEY RAIDED MINSKYS and THE PRODUCERS and maybe even SHOWBUSINESS you will get the picture. The thing with the original Cantor films of '30-'37 is that the songs are so good, hilarious and well staged. As BEYOND THE SEA and DE LOVELY proved one does not need to tinker with the songs, just show them in situ as written. The bonus with any Cantor idea is that the film musical sequences from WHOOPEE or PALMY DAYS or KID FROM SPAIN are modern enough still to be lifted straight into a new film. STAR! the bio of Gertrude Lawrence did the reverse: color musical numbers burst from a B/W newsreel of Gertie's life as watched by Julie Andrews. The EDDIE CANTOR STORY follows that format.... but if remade today, prefer the reverse: make a new color movie story using original Cantor b/w screen musical movie footage from the 30s is the way to go. And it's cheaper! The music numbers are already in the can still fresh from 70 years ago! They are so spectacular, rude and hilarious they will translate to this century and a young audience very well.

I don't know where to begin except with George Burns quote on this movie "They managed to make Eddie Cantor's life look boring". From the misconceptions (he is called Eddie at age 13 in the movie wen in fact, he didn't change his name to this until he was 21.) as well as the very bad Jimmy Durante imitation that seemed like something out of a Saturday Night Live sketch (replete with the fake putty nose that looks even faker with a big screen high def TV). I couldn't get into the movie because of Keefe Brasselle's crazy eye rolling at the most inopportune times. I finally got through the movie thinking "Here's two hours of my life that I'll never get back". Eddie Cantor had a much more interesting life than what was shown here from his work with the March of Dimes as well as his film work, which was never even mentioned!!! Hopefully someone will do a much better biography on his life one day.

Aline MacMahon proved that you didn't have to be Jewish to nail such a role in the film. As Grandma Esther, she was quite good with a wonderful inflection and accent for a Jewish woman with wisdom to match.

As for Keefe Braselle, he did well in the part but was constantly rolling those eyes to everyone. It was as if he were being forced into his part and you get the impression that he doesn't take on the Cantor persona. Marilyn Erskine, as Ida, looked as much Jewish as the pope's sister.

Film deals with a young Cantor left with no parents and living with an aged grandmother who made it big in show business, but was an habitual worker which would lead to health problems. Film showed that Cantor could have gone the wrong way in life had it not been for a youth organization.

The music numbers were marvelously staged.