Hallelujah

Plot

Zeke Johnson is a hardworking but naive sharecropper in the Mississippi Delta who falls prey to the seductive charms of the manipulative Chick, leading to tragedy when his brother is killed in a gambling dispute. Consumed by guilt and grief, Zeke undergoes a religious conversion and becomes a traveling preacher, finding purpose and redemption through his ministry. However, his spiritual resolve is tested when Chick reappears in his life, tempting him away from his calling and back into a world of sin and desire. The film culminates in a dramatic chase sequence where Zeke must choose between his newfound faith and his earthly desires, ultimately finding redemption through sacrifice and devotion to his community.

Historical Background

Released in 1929, 'Hallelujah' emerged during a pivotal moment in cinema history - the transition from silent films to sound. The film was produced just two years after the first feature-length talkie, 'The Jazz Singer,' and represents early Hollywood's attempts to incorporate synchronized sound with musical elements. The late 1920s also saw the beginning of the Great Depression, making the film's themes of struggle, redemption, and community particularly resonant. This period marked the height of the Harlem Renaissance, a cultural movement celebrating Black artistic achievement, which likely influenced MGM's willingness to produce such a film. The stock market crash of October 1929 occurred just two months after the film's release, affecting its commercial performance despite critical acclaim.

Making Of

King Vidor fought for years to get this film made, confronting Hollywood's racial barriers and MGM's reluctance to finance a production with an all-Black cast. He mortgaged his own home to help fund the project when studio executives hesitated. The casting process was revolutionary - Vidor scoured Black communities, churches, and theaters to find authentic talent rather than relying on stereotypes. Nina Mae McKinney was discovered in a Harlem nightclub and immediately impressed Vidor with her natural charisma and singing ability. The production faced numerous challenges, including filming in the segregated South where cast and crew faced discrimination. Vidor insisted on location shooting in Arkansas cotton fields to achieve authenticity, though many scenes had to be completed in California due to logistical and racial tensions. The sound recording was particularly challenging as early microphones were cumbersome and restricted actor movement, requiring innovative blocking techniques.

Visual Style

The cinematography by Gregg Toland (who would later shoot 'Citizen Kane') was groundbreaking for its use of location shooting and natural lighting. The cotton field sequences utilize wide shots to emphasize the vastness and isolation of the rural Southern landscape, while intimate scenes employ soft focus to create emotional depth. The film makes innovative use of camera movement during musical sequences, following characters as they dance and sing through the fields. Toland employed early techniques for sound recording, carefully positioning microphones to capture both dialogue and musical performances while maintaining visual composition. The chase sequence at the film's climax features remarkable tracking shots that follow the characters through swamps and woods, creating tension and excitement. The black and white photography uses contrast effectively to highlight the emotional states of characters, with darker tones appearing during moments of sin and temptation.

Innovations

As one of the early sound films, 'Hallelujah' pioneered several technical innovations in synchronized sound recording. The production team developed new microphone placement techniques to capture both dialogue and musical performances while maintaining visual freedom for the actors. The film was shot simultaneously in silent and sound versions, requiring duplicate takes and careful planning. The chase sequence at the end features remarkable technical achievement for its time, with camera movement through difficult terrain while maintaining sound quality. The film's use of location sound recording was groundbreaking, as most early sound films were shot entirely on studio stages. The integration of musical sequences with narrative storytelling influenced the development of the movie musical genre. The film also experimented with early sound mixing techniques to balance multiple audio sources during crowd and musical scenes.

Music

The film's soundtrack was revolutionary for its time, featuring authentic African American spirituals and folk songs rather than composed Hollywood scores. The musical numbers include traditional spirituals like 'Waiting at the End of the Road' and 'Goin' to Heaven,' performed with genuine emotion by the cast. Nina Mae McKinney's seductive song 'Swanee' became particularly famous, showcasing her vocal talents and screen presence. The sound design was challenging due to early recording technology limitations, requiring actors to remain relatively stationary during dialogue scenes. The film's sound mix effectively balances dialogue, music, and ambient sounds from the rural locations. The musical sequences were recorded live on set, giving them an authentic quality that pre-recorded tracks would lack. The soundtrack helped preserve important examples of African American musical traditions from the rural South.

Memorable Scenes

• The opening sequence in the cotton fields, establishing the rural Southern setting and introducing Zeke's character through his hard work and devotion to family
• The dramatic baptism scene where Zeke converts to Christianity, filmed in a real river with authentic spiritual singing
• Nina Mae McKinney's seductive performance of 'Swanee,' showcasing her character's dangerous allure and musical talent
• The climactic chase sequence through the swamp, a technically impressive single-take sequence that builds tension as Zeke pursues Chick
• The final church scene where Zeke delivers his sermon, having found true redemption through his experiences and sacrifice

What Critics Said

Contemporary critics praised the film's technical achievements and Vidor's direction, with many noting its groundbreaking status as an all-Black cast production from a major studio. The New York Times called it 'a remarkable achievement' and praised its 'sincere and sympathetic' portrayal of Black life. However, some critics of the time, particularly in the Black press, had mixed reactions, with some feeling it still relied on stereotypes while others appreciated its artistic merits. Modern critics have reevaluated the film as an important historical document, acknowledging its limitations while recognizing its progressive elements for its era. The film is now studied in film schools as an example of early sound cinema and early attempts at racial representation in mainstream Hollywood.

What Audiences Thought

The film received positive responses from general audiences, particularly in Northern urban areas, though it faced bans and restrictions in many Southern cities due to its depiction of Black life and interracial themes. Black audiences had mixed reactions - some appreciated seeing themselves represented on screen by a major studio, while others were concerned about the perpetuation of certain stereotypes. The film performed moderately well at the box office, earning enough to be considered a modest success, though not the blockbuster hit MGM had hoped for. The musical elements and spirituals were particularly popular with audiences of all backgrounds. Over time, the film has developed a cult following among film enthusiasts and scholars interested in early Black cinema and the transition to sound.

You Might Also Like