Hallelujah
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Movie Reviews of Hallelujah
Movie Review: all-talking, all-singing, all-black and just about all-wonderful
Summary: 5 Stars
Zeke, his younger brother Spunk, and their Mammy and Pappy are sharecroppers, in some nameless part of the south. Zeke has a powerful lust for Missy Rose, and tries to get some of the good stuff while she's playing the organ for a neighbor's wedding! But she fends him off, and the next day when he goes into town to sell some cotten, he forgets all about her as he spies the lighter-skinned dancer Chick. This powerful seductress convinces him to blow all the money he's earned for the family gambling so as to be able to have more to spend on her, but unbeknownest to Zeke she has a confederate, Hot Shot, and the two of them will change his life forever....
King Vidor's 1929 all-talking, all-singing, all-dancing, "all-colored" film remains a landmark in Hollywood history and would probably be better known and more highly regarded today if not for political correctness. The all-black cast isn't exactly what most African or European-Americans want to think of as representing blacks on film even in that era - there's no question it's full of stereotypes, and even if overall only the most unforgiving critics would call it an overtly "racist" film, it's still a bit hard to watch at times. But those who shun this film are missing a marvel of camerawork and sound - Vidor was a major innovator in the area of post-dubbing and sychronizing sound, and in an era when many films featured nailed-down cameras and whispery, tinny low-volume soundtracks, HALLELUJAH! is alive, movin' and jammin'. There are great tracking shots through smoky bars, down a town street at night, and perhaps most memorably through a cypress swamp at the climax, as murder is about to be done.
Sure, the story is hoky, and the mammys, bucks, gamblers and loose women don't always present the subtle and nuanced views that we'd like to see of black characters at the time - but then again, no films from black or white directors did. Oscar Micheaux, the only significant African-American director of the silent period who is remembered today, is every bit as stereotypical in his films. And HALLELUJAH! conveys the joys and sorrows of a people pretty effectively I think through the character of Zeke, always beautifully voiced and sometimes fairly well acted by Daniel Haynes, as he falls into the gutter, rises up as a respected preacher, falls again through uncontrollable urges, and slowly picks himself up once again. When he gets the godly mojo going, you'll want to believe him - he's got an extraordinary charisma, and the film is at its best in the overtly religious scenes. The rest of the cast, similarly, is impressive in the musical numbers and sometimes a little rough in the more dramatic moments, but with scenes like the powerful revival meeting as Zeke meets Chick and tries to stave off the Devil, I can't say it much bothered me.
The music is a mix of gospel, old-time, jazz and accoustic blues, and it's all pretty effortlessly melded into the admittedly thin plot. One touch I particularly liked was the appearance twice of Irving Berlin's "Waiting At the End of the Road" - first as a joyous, secular song and second as a rather somber religious number, with only minimal changes in lyrics and style.
Included on this fine Warner Brothers disc are a couple of jazzy musical shorts from the 30s, PIE PIE BLACKBIRD and THE BLACK NETWORK, both lots of fun if not essential, as the feature is. There's also a commentary track that I've listened to bits of which seems fairly valuable. Certainly HALLELUJAH! is far from a flawless film, being amateurish and laughable even at times, but it is heartfelt, unique and extremely powerful in its best moments, and another masterpiece from one of the greatest directors of this era. Anyone interested in the director, the history of African-Americans on film, the development of the musical - or just in great and unique cinema - really has to check this out.
Movie Review: King Vidor's first talkie is a great story of human redemption
Summary: 5 Stars
This early talkie was advertised as being a musical even though it is actually a drama with some very good musical numbers included. The movie was set and filmed in Memphis with an all black cast and directed by King Vidor. In fact, this is King Vidor's first talking picture. By today's standards, it overflows with stereotypes. Yet, as Warner says in its disclaimer, these images should be kept alive rather than hidden away so that we may learn from them. By the standards of 1929, Vidor was actually sympathetic in his treatment of the characters considering the times. If you want to see really horrific jaw-dropping stereotypes, go watch the best picture of 1930-1, "Cimarron". It is not at all atypical of what went on in motion pictures in those days in how African Americans were portrayed. Apparently King Vidor was quite insistent on not giving in to these commonly accepted stereotypes as much as was possible in the late 1920's, since he even agreed to direct the film for free in order to tell the story he wanted to tell the way he wanted to tell it. This film is actually not about race at all. Instead Vidor intended it to be a look into rural African American culture as he observed it growing up in the South himself set within the context of a morality play.
The plot is this - A family of sharecroppers, the Johnsons, have just finished harvesting the year's cotton crop. Being the oldest son, Zeke (Daniel L. Haynes) is responsible for selling the crop at market. Younger brother Spunk (Everett McGarrity) tags along. Zeke does as he is instructed, and gets good money in return for the family's cotton. However, things go wrong when Zeke is tempted by beautiful grifter Chick (Nina Mae McKinney) before he can return home with the cash. She and her partner "Hot Shot" procede to cheat Zeke out of his money. Zeke reacts violently when he discovers that he has been had both romantically - hurting his pride, and financially - hurting his entire family. Violence begets violence, and a tragedy ensues that brings about Zeke's religious conversion. He becomes a preacher, and takes up with a girl that is on the straight and narrow, much to the approval of his parents, his own father being a preacher himself. However, Chick soon returns to Zeke's life, at first mocking his conversion, then experiencing conversion herself while listening to Zeke preach. However, it seems Chick is just born to be bad. She tempts Zeke away from his devout girlfriend and his preaching, and eventually leads him to tragedy once again. After Zeke finishes his prison sentence for the violence he has wrought, he is seen being welcomed back into the loving arms of his family - a prodigal son returning.
Although the movie does give us a rare glimpse into Black culture in the south during the early twentieth century, the story being told transcends race and time. It has much to say about how men and women of the cloth are only human and religious conversion often has only a temporary effect on changing a person's behavior when it comes to the temptations of everyday life. Extras include commentary by black cultural scholars Donald Bogle and Avery Clayton and there are two musical numbers sung by Nina Mae McKinney. One is "Pie, Pie Blackbird" and the other is "The Black Network". These two musical numbers have nothing to do with the film. The only connection to "Hallelujah" is that the featured performer just happens to be one of the leads in this movie. Finally there are some theatrical trailers for the film.
Movie Review: "It was wrong then and it's wrong now."
Summary: 5 Stars
Before the main feature we have two musical shorts that include the stage tapping Nicholas Brothers. Little Harold, a remarkably energetic dancer, would later perform a fine rendition of "Across the Sea" in the opening Las Vegas segment of FUNNY BONES (1995). He's here with older brother Fayard; both look dapper. (As we learn from the PBS special entitled VAUDEVILLE, the brothers always refused to dress in rags or do anything that denigrated African-Americans. This steadfastness limited their movie career.)
The first short, PIE, PIE BLACKBIRD (1932) has Eubie Blake and a small jazz band playing from inside an open pie crust! The Nicholases dance, but they don't get near those blackbirds in their pie.
The second two-reeler is equally egregious.
THE BLACK NETWORK (1934) is about a radio show sponsored by "Pullman Porter Shoe Polish." A rather homely comedienne named Amanda Randolph sings badly on this live broadcast while her movie husband, 'Basement' Brown grimaces behind her back and makes "get outta here with that" motions. The Washboard Serenaders are enjoyable; Harold and Fayard sing and dance in their sharply-tailored matching suits. It's solid entertainment despite stereotypes.
HALLELUJAH! (1929) is preceded by a lengthy disclaimer from WARNER's that decries the film's stereotypes: "It was wrong then and it's wrong now."
After duly-noted warnings, what we see is how life was for Southern sharecroppers, who still existed much as their Antebellum ancestors had: laboring long hours in cotton fields, living in dirt floor shacks and sharing a fervent, demonstrative faith. Arkansas pickaninny dialect is the only regrettable element in King Vidor's presentation of what was at that time a way of life for many.
A subsequent story of the floozie who, along with a loaded-dice carrying ally, cheat an unsophisticated farmer out of his hard-earned hundred dollars also rings true. A skirmish between this fleeced man and the cheater results in the accidental shooting of the victim's kid brother. Back home, our grief-stricken farmer wails a song of pain to the Lord. Other mourners encourage him to become a minister, which he does.
HALLELUJAH! is a beautifully-rendered motion picture of great power, easily the best of the first generation of talkies. Transfer quality from a well-preserved print is excellent. Highest recommendation!
Movie Review: American Realism and the Prodigal Son Revisited
Summary: 5 Stars
Religion vs Christ (it's not what you know, but Whom you know)
I'm amazed I had'nt seen this great King Vidor film before. Absent from most lists of 100 best films I've seen, I hardly knew it existed. The American social drama was exposed by Vidor as nobody else could (comparable only to Ford's 'The Grapes of Wrath' and few others). Lots of things happen here, but it's not to be told, it's to be watched and felt personally. But to me the theme is very spiritual: How real sin is. How some people will blind themselves to its evil nature ("For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God." 1 Cor. 1:18), like the drunk who denies his alcoholism; and how others will struggle and stumble but eventually -God willing- they will repent and be saved.
People may say this film is about social conditions, poverty, injustice, religious fanaticism, racism, whatever. But it's about none of those (because all those don't matter). This is about choice.
It's also the story of the prodigal son, retold, the Black American way. A biblical story that is always true, no matter when or where it happened. And as all biblical stories it's there for us to learn from them. And we'll have learned when we have acted upon it. A beautiful film, a wonderful story, and a knock on your door.
Movie Review: Moving Depiction of Human Weakness and Redemption
Summary: 5 Stars
Warner Brothers prior to the film issues a disclaimer apologizing for racial stereotypes depicted in "Hallelujah" that could be potentially offensive to modern audiences. I cannot pretend to speak for the African-American community but I cannot imagine anybody being offended by King Vidor's film which affirms the sanctity of faith, fidelity, and family. The film follows the personal odyssey of Zeke (Daniel L. Haynes) a decent cotton farmer who tries to lead a good life but is waylaid at various junctures by the temptress, Chick(Nina Mae McKinney) with tragic consequences. Zeke succeeds at one point in the religious ministry only to have Chick scuttle that endeavor. Credit Vidor for recognizing that his characters are essentially good people with flaws that are inherent to everybody. Haynes does a superlative job portraying a man whose moral and religious fibre is constantly being tested. The real revelation here is McKinney, though. Aside from being a visual stunner she manages to engender sympathy for a character saddled with the "Eve" role. What is more amazing is that McKinney was only 16 years old when she tackled this complex character. The film is an accomplishment unto itself but what makes this disc indispensible is the inclusion of two short subjects featuring McKinney and the young Nicholas Brothers.