Song of Freedom

Sure, the movie is dated in both technique and appearance. But it does have the great Paul Robeson in the central role as a dockworker and social equal of his white work mates. This is at a time when Blacks in American movies were reduced to either menials or buffoons. In terms of stereotypes, Robeson's non-demeaning role takes some getting used to. But try imagining that powerful presence and commanding voice in anything other than a dignified role. No wonder he was widely viewed as a threat to Jim Crow stereotypes.

Perhaps the film's most interesting aspect is what the Westernized Robeson can do for his benighted tribe of ancestors once he returns to them, uninvited. Sure, he can bring those sanitation and medical advances that will improve their collective health. The movie does a pretty good job of dramatizing that aspect, and we're all rooting for him to win out over the tribe's non-scientific methods and the witch- doctor power structure keeping them in place. But what happens after that. Of course, the movie stops at that point, so we don't know. But we do know another area of the continent has been opened to Western presence. The question then is whether Robeson will also bring in Western commercial interests, of much more dubious benefit than the proved health benefits, as history shows. After all, penicillin is one thing, Chevron is another. This remains a point to ponder now that the movie has set up the initial stage.

Despite its shortcomings (the outrageously fey Donizetti, for one), the movie remains an interesting artifact of its time, especially for Robeson's and other Blacks' acceptance into the white working class of London's docks. I'm sure the leftist Robeson found that labor- solidarity aspect particularly appealing. Then too, Elisabeth Welch delivers a fine natural performance as Robeson's loyal wife. We root for the two of them just as we would root for a courageous white couple. Above all, however, the film remains a chance to view one of America's noblest forgotten figures—the great Paul Robeson.

Greetings And Salutations, and welcome to my review of Song Of Freedom. Before we get into it, here are my ratings:

Story - 1.50 Direction - 1.25 Pace - 1.25 Acting - 1.25 Enjoyment - 1.25

TOTAL - 6.5 out of 10

Song Of Freedom surprised me by putting a smile on my face and a warmth in my heart. For a 1936 film about one African man's dream to find himself and help his people, I wasn't expecting much. Blissfully, I received so much more. The story is well written, intelligent, and finely structured. And not only does it address a couple of major issues it did so at a time other writers, directors, and producers would have steered clear of the subject matter. For one, it's the story of a black man, and Paul Robeson plays the part of John Zinga perfectly. Though it's not only this issue that's highlighted. John has a wife, Ruth, who is portrayed forcefully by Elisabeth Welch. Ruth is a powerful outspoken woman who speaks her mind. In 1936 this was pretty much unheard of, a strong female lead. And, she is a lead. Ruth, being finely constructed, works superbly alongside her husband, John. When they are on the screen together, they demand your attention. It's an ideal pairing of an actor and actress with their characters.

But my delight didn't stop there. The director does an admirable job in putting the tale onto celluloid. Even the stock shots of crowded theatres fit in the movie without drawing undue thoughts. He uses light and shade sublimely to build the tension and unease, especially in the night sequences and imprisonment scenes. But don't get me wrong, it's not perfect. As was the standard back then, whenever there was a chase scene - in Song it's on foot at the start - they speed the film up, giving the segment a Keystone Cops feel, which is terrible. However, it's only a slight thing, so it's easy to accept it and still enjoy the picture.

But, by and far, one of the most pleasurable things about Song Of Freedom is the cast. These actors and actresses are brilliant, and there are no small parts. In one scene, John has invited one of his dockworking buddies to watch his on-stage performance as he's made it as a famous singer. He's talking to him and his wife when he's interrupted by a Lord who may know the secret to the mysterious song that John keeps singing. The dockworker and his wife depart, but not before doffing his cap to the lord and giving an awkward curtsey - the look on the wife's face is outstanding. These trivial elements add depth and believability to the film.

Though I'm not a great fan of musicals, Song is not a typical musical. The music is not integrated into the telling of the story. The music is there because John Zinga is a singer. And a bloody good one at that. Though I will say, Robeson does sound better at acapella than with accompaniment. I would highly recommend Song Of Freedom to anyone who enjoys this style of drama. I thoroughly enjoyed it and will be revisiting it soon.

Please feel free to visit my Dramatisation Of Life to see where I ranked Song Of Freedom.

Take Care & Stay Well.

Although no-one could call this a great movie, it is of compelling historical interest. At a time when Black people in the movies were servants or scoundrels, Paul Robeson portrayed a London dock-worker who is discovered by an impresario and launches a great singing career; after that, he goes to Africa to bring education and enlightenment to the tribespeople.

It's easy to be harsh on this movie; it shows the people of Africa as benighted savages in need of guidance (only this time they get it from Robeson, playing an Afro-cockney). The whole second half plays in tropical-adventure mode, with all the clichés of the 1930s.

But you have to realize that the film's sympathies are with the London dock-workers, black and white; it goes to great lengths to show them treating each other with friendship and respect, and this is the most notable part of the story. Everyone else is a caricature - the impresario, the aristocratic explorer, the witch-doctor, and so on.

Anyone who has a tolerance for 1930s films will quickly realize that this is much better than most of them, and is worth a look for many reasons, not the least is the opportunity to hear Robeson's great singing voice. One curious fact is that this is from Hammer Studios, which later became identified with horror films.

A must see for anyone interested in cinema.

This was a fairly good film dating back to 1936 from Hammer Productions in Britain. Starring Paul Robeson, whose extraordinary vocal talents are properly utilized. It's the story of a African-Briton living in England after slavery has been abolished in the European nation. He works on the docks and his one dream in life to discover his ancestry in Africa. His interest is fueled by a song that he sings often, be it to his wife or during his job on the docks. A song that he never learned, but as he would put it, was always inside of him. His amazing bass singing voice is over-heard by a theater yuppie and he is quickly recruited to the stage appearing in theatrical productions while utilizing his singing talents. After creating a fan following and with the help of some knowledge from a theater-goer, he decides to finally take the trip to Africa to find his "roots." Overall, the film is good, if not a bit too idealistic. But it doesn't harm the film's integrity and Robeson's great talent as both an actor and singer. Seeing how this film is not known well, I would recommend it. It's not a very long picture; it runs just under and hour and twenty minutes. So take some the time, and find this movie. If not for the film, then do it for Robeson's incredible vocal talents.***

If you can possibly see The Song Of Freedom by all means do so. It's a chance to see Paul Robeson sing and give a fine acting performance in a story set partially in Africa. It's a mini-version of the famous American mini-series Roots. Paul in fact carries his roots with him both in a song that's been with him since birth and a medallion handed down to him from an ancestor who was sold into slavery and who was king of his people. That's all dealt with in a short prologue.

Fast forward to 1936 and Robeson is working on the London docks and also provides a bit of entertainment for his fellow stevedores. Impresario Esme Percy discovers him and turns Robeson into a concert/opera singer. But one night a backstage visitor tells Robeson that this melody which he has engraved in his soul is the chief's song from a particular tribe in Africa. Robeson and wife Elisabeth Welch go to that part of Africa where he attempts to reassert his royal prerogatives.

As a colonizing power in Africa, the British picked up knowledge about the place that Americans only gleaned from Edgar Rice Burroughs and other such pulp fiction authors. And in these years prior to World War II did film a lot of stories on location there such as The Four Feathers in the Sudan. Song Of Freedom was shot on location in Sierra Leone for the African part of the story. It's light years more real than anything you would get from Hollywood.

Incidentally the gambit of the 'lost song' may very well have been lifted from the Victor Herbert operetta Naughty Marietta. No matter, it's well done and provides Robeson with a number.

Elisabeth Welch who was a fine singer in her own right gets to do Sleepy Rivers. I wish she had been given more to do.

Seeing both Paul Robeson and a glimpse of the real Africa is a chance no one should pass up.