Hallelujah

It's important to realize this was only the first year of sound pictures. Seen in that light, HALLELUJAH! has a remarkable fluidity, and a freedom from the tyranny of the sound camera that is little short of astonishing. (See "Singin' in the Rain" for a realistic depiction of this problem.) The acting is on a high level, if somewhat dated. King Vidor did an admirable job in depicting his characters' life condition, and was deservedly nominated as Best Director of 1929/30.

Nina Mae McKinney portrayed Chick in this movie. The untrained, natural singing, dancing, acting talent stole everyone's heart who saw this movie, even till this day she's still winning hearts. A great actress, after this movie people named her "The Black Garbo" and "The Dark Clara Bow". Being the first black actress, she had to represent her race well, and show that Blacks could act, and show Hollywood that Blacks could hold their own on the silver screen. Norma Shearer, John Gilbert, Irving Thalberg, and King Vidor was breath-taken by her acting, and after her you saw many white actresses copying her style, the hands on the hips and facial expressions. This movie isn't stereotypical at all, its about Black Life in the South, the music and styles of the time. Nina Mae was promised many more movies, but never did anything else, but singing apperances, shorts, and maid apperances. But she did get to show her acting in the independent black movies. If you ever get to see them, you won't be sorry. People say this movie was ahead of its time, maybe so, But Nina was lucky she got to show all her talents, singing, dancing, comedy, and acting. Even Blacks don't get to show all of that today. People say that Lena Horne opened the doors, thats false, Nina Mae McKinney did, representing the Black race well, and showing that we could act, open the doors for Blacks in the future in Hollywood.

I want to thank TCM for showing this movie and all others that wouldn't see the light of day. Yes this movie is crude in all phases of a movie coming together today. Since it took place in 1928 it's wonderful. My mother grew up down south in N.C. so yes a lot of Blacks were poor,picking cotton,living in shacks and finding release in either the church and or what was called the "devil's business" ,vice. The first time I saw this movie I wanted to cry, everything was so sad,and ugly but it held my interest. I hated how Zeke abandoned his family and I wanted them to hate him too.The "hootchie mama" Chick was very pretty and had a natural performing talent. I felt sorry for her when she died since she only wanted to be free. Funny thing about the movie is all over the U.S. the same story about Church,Sin, the Man of God, and the Heathen Woman is still going on.I love old movies with shaky film,missing dialouge,unskilled actors and all. It's a walking, talking bit of history unfolding before your eyes. I think as I watch the movie, did any of the actors make something of themselves? was anyone shunned for even doing this? did any church come out for the movie since I know many churches probably were against it. I saw the remark about it being racist and I disagree. It's a fact that Blacks sang as a release from the real world and all the misery that awaited them day after day. What would have been racist is if the actors had been White but in blackface. TCM showed this yesterday 10/5/04 and it's the 4th time I've seen it.I rate this 8/10.

In 1929, MGM began the process of converting to sound. They were almost the "latecomers" of sound conversion compared to their competitors over at the Warners lot; Warners' Vitaphone was pretty much in full swing by 1929 after having experimented with orchestral sound on film in 1926 in "The Better 'Ole" and "Don Juan" and then with actual voice embedment on film in "The Jazz Singer" the following year.

Even for such a major film studio like MGM, the cost was almost prohibitive, so Louis B. Mayer was skeptical about financing a major film epic featuring an all black cast. In the first half of the 20th Century, the major film studios catered mostly to white audiences, so a project of this nature was almost unheard of. Director, King Vidor was personally convinced that this film would be a success at the box office that he offered to match MGM dollar for dollar in producing this film. That said, the executives at MGM agreed, reluctantly, to take on this project.

I was totally surprised by the candidness of the material. From the way the major studios depicted black people as individuals of little or no importance, usually portraying them in a very negative way, I was at first skeptical. I expected more singing, dancing and stereotyping. Little did I know what a surprise I was in for! MGM could not have done a better job at portraying individuals with such humanistic qualities. As with most backdrops featuring blacks, it takes place in the cotton fields of the South; the motion picture industry failed miserably to depict black urban or middle class life until decades later.

Amazingly, most, if not all, of these actors were untested individuals on the screen or stage. Vidor's direction, along with these actors' willingness to succeed on the screen, created a work of art for the cinema. A huge box office success, "Hallelujah" was an oasis in an otherwise all-white world of big business cinema. It is a shame that the movie moguls at the time did not take further advantage of the acting talents of minorities.

Leonard Maltin could not have put it more succinctly when he said about Hallelujah: "King Vidor's early talkie triumph, a stylized view of black life focusing on a Southern cotton-picker who becomes a preacher but retains all-too-human weaknesses." Definitely a home run! A must see!

One isn't sure if director King Vidor does more harm than good with the first major film studio sound production featuring an all black cast. While the film marks a progressive first in the industry, negative stereotypes abound. The story (also by Vidor) concerns a family of sharecroppers with the oldest son Zeke as the film's main character. It's a back breaking existence amid orderly squalor but the family retains high spirits in spite of their downtrodden social status.

After picking their cash crop Zeke along with his younger brother Spunk bring it to market to sell. With cash in hand Zeke decides to let off a little steam at a local dive where he is targeted as a rube by Chick a bar room seductress and her accomplice Hot Shot. He is quickly relieved of his cash by the two and things go from bad to worse when Spunk coming to fetch Zeke is accidentally shot and killed. A devastated Zeke turns to preaching and achieves a sizable following when Chick re-enters and diverts Zeke's spiritual vocation back to carnal desire. He once again abdicates his responsibility and runs off with Chick who soon bored with him once again takes up with Hot Shot, this time with disastrous results for all.

Hallelujah is a film of great power filled with scenes of incredible passion. A mass baptism down by a lake featuring hundreds of extras and a Saturday night church revival are riveting and daring in their intensity and energy. The church scene in particular is filmed and recorded with an audacious energy unlike any other from the early sound period. The wildness of this scene does however call into question the depiction of American blacks in the twenties by Hollywood. Segregation was very much a part of the American way back then and for many whites this film may have been their first exposure to black culture beyond jazz which was quickly dominating the country's music scene. In addition Zeke the male lead is portrayed as incapable of holding in check his libido while the female lead Chick is presented as an immoral, shameless, conniver.

In the lead roles Daniel Haynes as Zeke is not much of an actor but he does have an imposing presence and fine baritone voice. Nina Mae McKinney as Chick is a bit over the top most of the time but one has to admire the pluck of her monomania, particularly in one scene where she takes a fireplace poker to Hot Shot, informing him in no uncertain terms that nothing will get in her way of being saved. Fanny Belle DeKnight as Mammy Johnson nobly portrays the family matriarch while Rosa Spivy as Johnson's other love interest suffers with stoic dignity and beatific understanding.

Vidor must be commended for his desire to make this economically unsound project. He was as big as any director in Hollywood (The Crowd, The Big Parade) at the time and he waived his salary to get it made. His insight into black culture is respectful but at times naively heavy handed. With the best of intentions he does stumble along the way but with Hallelujah he presents us with a valuable document about race perception in that period as well as give a segment of uniquely American culture an opportunity and a stage to be more visible. The problem is there is a good deal of negativity to be found in Vidor's sincere and bold effort.