Customer Reviews

Hallelujah [VHS]

5 star:		(25)
4 star:		(6)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

The first all-African American feature film ever made, "Hallelujah!" was also King Vidor's first "talkie," and one that he was willing to forfeit his salary for in order to make.
Those who might be troubled by "racial stereotypes" are failing to see the exquisite beauty of this film, and its place in cultural history; it is an astounding film for all Americans, especially those of African descent, to watch and be proud of.
A melodramatic morality tale, it is about a naive cotton farmer who falls into the net of a pretty but corrupt girl, and his rocky road from sin to redemption.
It also shows the hardship of the life of a sharecropper; the wrenching poverty and backbreaking labor, as well as the faith to survive it all.

Daniel L. Haynes is extraordinary as Zeke. Had he been born 50 years later, he would no doubt have been a major world superstar. Incredibly handsome and charismatic, he was also blessed with a marvelous voice, and great acting ability. Thank goodness this film exists, as a remembrance of his enormous talent.
The other members of the cast are also excellent, with Nina Mae McKinney as the seductive Chick and Fanny Belle DeKnight, as Mammy Johnson, Zeke's mother who never gives up hope for her wayward son. The scene where Mammy holds the children in her arms and sings a lullaby is one that moves me to tears; this is a film that expresses much love, and the best of human characteristics.

The music is glorious, combining spirituals like "Sometimes I Feel Like a Motherless Child" with songs like Irving Berlin's "Waiting at the End of the Road," and there are also some superb dance numbers. I was particularly delighted by the short but well executed sand soft shoe in the bar scene, a style that started in the early 1910s during the minstrel shows. Tap dancing has its roots in slavery, and the history of this unique American art form is fascinating; anyone interested in the evolution of American dance will love this film.
The b&w cinematography by Gordon Avil is crisp and uses stark contrasts, and for the most part, there is little evidence of its age. Coming from the same era, and with similar themes of good and evil, this film shares a kinship with the DuBose Heyward and Gershwin versions of "Porgy and Bess." Total running time is 1 hour and 40 minutes.

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.

I would broadly agree with the Maltin review quoted here; but it's worth commenting on the musical side. The film gives, in some sections, a remarkably authentic representation of black entertainment and relgous music in the 1920s, which no other film achieves. Unfortunately some of the sequences are rather Europeanised and over-arranged. For example, the outdoor revival meeting, with the preacher singing and acting out the 'Train to hell', is entirely authentic in style until the end, where he launches into the popular song 'Waiting at the End of the Road'. Similarly, an outdoor group of workers singing near the beginning of the film are saddled with a choral arangement of 'Way Down upon the Swanee River'(written by Stephen Foster, who never went anywhere near the South) - no black workers would sing that!. The best sequence is the dancehall, where Nina Mae McKinney gives a stunning performance of 'Swanee Shuffle' - just the right sort of popular song; although actually filmed in a New York studio using black actors, the sequence gives the most accurate representation I've ever seen of a low-life black dance-hall -part of the roots of classic jazz. Nothing else on film comes near this: most Hollywood films sanitize black music out of all recognition; and later, in the 1930s, when black artists began to show their real styles, jazz had moved on to become more sophisticated and the whole style of behaviour had changed. All this makes the film a unique document: and it's worth adding that the soundtrack is a remarkable achievement, given the primitive equipment available at the time, using a much wider range of editing and mixing techniques than is generally thought to have been used so early on in talkies. (Reviewed by Roger Wilmut)

For an all black movie made by a white director in 1929 I kind of expect to see ignorance or all-out racism in the film. I couldn't have been more wrong. This is easily one of the most provactive movies on religion I have ever had the pleasure of watching. It peaks during it's sermon scenes. There are times when King Vidor lingers on the faces of men and women, raptured with God; or an even more beautiful scene of young black children waving little American flags.
This movie is about Zeke (man) who after accidently killing his brother finds God and becomes a preacher. But Temptation and the Devil is just around the corner in the form Chick and her sugar daddy, Hot Shot. Poor Zeke and Chick go back and forth, running to and then abandoning God.
Victoria Spivey plays Missy Rose, a girl that loves Zeke. Missy Rose is the embodiment of God, loving Zeke, mourning him when he leaves her, and then rejoicing when he returns.
When Zeke asks Missy Rose if she remembers him and she replies: "Of course, Zeke. I love you so much, I would never forget you." This scene in itself is enough to bring tears to a person's eyes.
King Vidor and his movie Hallelujah was light years ahead of his time. Simply beautiful!!!

What a gem of a movie! I purchased it only because I wanted to see more of Nina Mae McKinney and it was certainly worth it. The extra footage of the Nicholas brothers makes this one a keeper!

I watch this movie on Cable every chance I get, and I never get tired of it. This story of lust and redemption is classic. Nina Mae McKinney never got her props, and it's a shame. I'm reading a book on the early years of Black Hollywood, and she ended up working as a maid for some of Hollywood's top actors and execs. I hope she's looking down, proud that people are really getting a chance to see what a true talent she was!

PS- She was actually married to Sarah Vaughan's husband first... :-)

This film is age-less. The dance scenes are wonderful. The acting is sharp. You get drawn right into the center of story despite the technical shortcomings of 1929. This is one of my all time Favorites.

I love watching old black classics movies I have been looking for this movie for the past 2yrs. This is a very excellent move. I would like to see it again or to purchase this movie. And I love religious movies. How can I purchase this movie. I love the music too.

This movie is just what I needed to see -- all all-black cast movie with "old-time" religious theme.

The music is excellent.

There should be more movies (not just all-black, but also religious) like this made.

I'll definitely order more like it.

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.