A minister is malevolent and sinister behind his righteous facade. He consorts with, and later extorts from, the owner of a gambling house, and betrays an honest girl, eventually driving ... See full summary »
In this musical comedy, Paul Robeson stars as Joe, a Marseilles docker hired by a wealthy English couple to find their missing son. When Joe finds him, he learns he escaped of his own will,... See full summary »
An examination of the life of actor and singer Paul Robeson, from his first major triumphs on the stage in the 1920s through his gradually increasing social activism in the 1930s and 1940s,... See full summary »
Saul J. Turell
At a Baptist prayer meeting, the preacher leads a prayer for Brutus Jones, who is leaving to become a railway porter. Jones joins the congregation in a spiritual. Once on the train, Jeff, a porter, shows Jones the ropes. Jones secretly takes up with Jeff's girl, Undine. He makes some money in a deal with a rich businessman on the train. Jones proves to be a cunning manipulator and a good liar. In a crap game, Jones stabs Jeff over a pair of loaded dice. Now doing hard labour, Jones kills a white prison guard and escapes. Shovelling coal on a ship in the Caribbean, Jones swims to an island. He is brought before the island's ruler, where Smithers, a crooked white trader, buys his freedom. Jones schemes his way into a partnership in Smithers' business, then finally control of the entire island through a touch of witchcraft, or so it seems. Brutus declares himself to be The Emperor Jones... Smithers reports on the unrest that Jones' rule is causing. One morning, the palace is empty of ... Written by
Fredi Washington's scenes were reshot using dark pancake makeup because she looked "too white" in the first rushes. It was feared audiences would think Paul Robeson was embracing a white woman. See more »
Oddly, the O'Neill Climax Is Not As Effective As Heyward's Prologue
Not a great deal of the O'Neill play is retained in this adaptation, and I thought that climax was the least effective portion of the film despite its tinted visuals and stereo sound effects. The preceding 45 minutes, enhanced by Robeson's virile presence and his superlative singing, were much more impressive. Just about every scene took place at night where Haller's noirish photography contributed to the fascinating atmosphere.
Once we arrive on the island, however, and are confronted by Dudley Digges as a stage Cockney and other theatrical contrivances, the narrative's admirably headlong pace not only slows down considerably, but the movie itself starts to fall apartalthough we still have some great moments as the vain Jones takes over the kingship and attempts to bleed the natives white.
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