Minstrel Man

Frustrated when network brass reject his sitcom idea, producer Pierre Delacroix pitches the worst idea he can think of in an attempt to get fired: a 21st century minstrel show. The network not only airs it, but it becomes a smash hit.

A songwriter leaves his chorus girl sweetheart to join the US Army in WWI. In France he falls in love with French singer Madelon. He is crippled in action. Back in the States, his girl friend there leaves him. But Madelon can't forget him and comes to the USA to work there as singer. Per chance she meets the songwriter, and he is cured. Singing one of his love songs, he knows that he has found the right girl.

At the end of the 15th century, a man and a woman, posing as traveling minstrels, are sent by the Devil to a castle to seduce its inhabitants.

No one suffered more magnificently in the early-talkie era than the inimitable Helen Twelvetrees. In Grand Parade, the actress is cast as Molly, the sweetheart of minstrel-show performer Jack Kelly. Rising to the top of his profession, Kelly plummets to the bottom thanks to his fondness for intoxicating beverages. Molly nurses and coddles Kelly back to health, giving nary a thought for her own comfort or happiness.

In a small Japanese town, Ko-Ko is appointed to the unenviable position of executioner. Knowing he must successfully perform before the appearance of the Mikado in a month's time, Ko-Ko finds a suitable victim in Nanki-Poo, who is distraught over his unrequited love for the maiden Yum-Yum. Nanki-Poo agrees to sacrifice his life if he is allowed to spend his remaining days with Yum-Yum, who is betrothed to Ko-Ko.

Roy and Gabby fight bad guys to save the town of Deadwood.

A young boy finds himself in a home for retired minstrel acts. He's anxious to find out as much as he can about them, and flashbacks show what it was like back in the days of the minstrel shows.

Mammy features Al Jolson as the star of a travelling minstrel show, appearing in cities and towns across the U.S. Jolson falls in love with an actress in the troupe (Lois Moran), but she loves another (Lowell Sherman). Sherman is shot onstage as part of a comedy bit, and it is assumed that Jolson is guilty of putting the bullet in the gun.

Amusing cake walk of three men and two women (colored) in costume, showing the usual antics that occur in affairs of this kind.

In Fox's contribution to the all-star revue cycle of early talkies, showboat singer Margie, hearing that the show is in arrears, goes to New York to gather all of the former stars to stage a minstrel show as a benefit.

At its peak, The Black and White Minstrel Show was watched by a Saturday night audience of more than 20 million people. David Harewood goes on a mission to understand the roots of this strange, intensely problematic cultural form: where did the show come from, and what made it popular for so long? With the help of historians, actors and musicians, David uncovers how, at its core, blackface minstrelsy was simply an attempt to make racism into an art form - and can be traced back to a name and a date.

Unusually elaborate for a PRC film, Minstrel Man is a lively musical drama built around the talents of veteran vaudevillian Benny Fields. The star is cast as Dixie Boy Johnson, who rises from the ranks of minstrel shows to become a top Broadway attraction. On the opening night of his greatest stage triumph, Dixie Boy's wife dies in childbirth. Profoundly shaken, he walks out of the show, leaving the baby to be raised by his showbiz pals Mae and Lasses White (Gladys George, Roscoe Karns). The kid grows up to be an attractive young woman named Caroline (Judy Clark), who follows in her dad's footsteps by billing herself as-that's right-Dixie Girl Johnson. This leads to a tearful reunion between Caroline and the father she'd long assumed to be dead. If Minstrel Man seems at times to be a dress rehearsal for Columbia's The Jolson Story (1946), it shouldn't surprising: the PRC film was directed by Joseph H. Lewis, who went on to helm Jolson Story's musical highlights.

A young songwriter leaves his Kentucky home to try to make it in New Orleans. Eventually he winds up in New York, where he sells his songs to a music publisher, but refuses to sell his most treasured composition: "Dixie." The film is based on the life of Daniel Decatur Emmett, who wrote the classic song "Dixie."

A young man from a wealthy New York family pursues a career as the leader of a dance band.

In this entertaining short, famous literary figures step out of the pages of books after dark.

Four black minstrels turn into white clowns and back again when they hit or kick each other.