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IMDbPro

Hallelujah

  • 19291929
  • PassedPassed
  • 1h 49m
IMDb RATING
6.7/10
1.8K
YOUR RATING
Hallelujah (1929)
Official Trailer
Play trailer1:37
1 Video
33 Photos
  • Drama
  • Musical
A sharecropper decides to become a preacher after falling for a vamp from the city.A sharecropper decides to become a preacher after falling for a vamp from the city.A sharecropper decides to become a preacher after falling for a vamp from the city.
IMDb RATING
6.7/10
1.8K
YOUR RATING
  • Director
    • King Vidor
  • Writers
    • Wanda Tuchock(scenario)
    • Richard Schayer(treatment)
    • Ransom Rideout(dialogue)
  • Stars
    • Daniel L. Haynes
    • Nina Mae McKinney
    • William Fountaine
Top credits
  • Director
    • King Vidor
  • Writers
    • Wanda Tuchock(scenario)
    • Richard Schayer(treatment)
    • Ransom Rideout(dialogue)
  • Stars
    • Daniel L. Haynes
    • Nina Mae McKinney
    • William Fountaine
  • See production, box office & company info
    • 40User reviews
    • 29Critic reviews
  • See more at IMDbPro
    • Nominated for 1 Oscar
      • 2 wins & 1 nomination total

    Videos1

    Hallelujah
    Trailer 1:37
    Hallelujah

    Photos33

    Hallelujah (1929)
    Daniel L. Haynes and Victoria Spivey in Hallelujah (1929)
    Fanny Belle DeKnight in Hallelujah (1929)
    Daniel L. Haynes and Nina Mae McKinney in Hallelujah (1929)
    Fanny Belle DeKnight, Harry Gray, and Daniel L. Haynes in Hallelujah (1929)
    Hallelujah (1929)
    Harry Gray and Daniel L. Haynes in Hallelujah (1929)
    Hallelujah (1929)
    Daniel L. Haynes and Nina Mae McKinney in Hallelujah (1929)
    Hallelujah (1929)
    Hallelujah (1929)
    Hallelujah (1929)

    Top cast

    Edit
    Daniel L. Haynes
    • Zeke
    Nina Mae McKinney
    Nina Mae McKinney
    • Chick
    William Fountaine
    • Hot Shot
    Harry Gray
    • Parson
    Fanny Belle DeKnight
    Fanny Belle DeKnight
    • Mammy
    Everett McGarrity
    • Spunk
    Victoria Spivey
    • Missy Rose
    Milton Dickerson
    • Johnson Kid
    Robert Couch
    • Johnson Kid
    Walter Tait
    • Johnson Kid
    Dixie Jubilee Singers
    • Vocal Ensemble
    Matthew 'Stymie' Beard
    Matthew 'Stymie' Beard
    • Child
    • (uncredited)
    Evelyn Pope Burwell
    • Singer
    • (uncredited)
    Eddie Conners
    • Singer
    • (uncredited)
    William Allen Garrison
    • Heavy
    • (uncredited)
    Eva Jessye
    • Singer
    • (uncredited)
    Sam McDaniel
    Sam McDaniel
    • Adam
    • (uncredited)
    Clarence Muse
    Clarence Muse
    • Church Member
    • (uncredited)
    • Director
      • King Vidor
    • Writers
      • Wanda Tuchock(scenario)
      • Richard Schayer(treatment)
      • Ransom Rideout(dialogue)
    • All cast & crew
    • See more cast details at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      King Vidor had been hoping to make the film for several years, and jumped at the chance to make it with the advent of sound. He so wanted to produce the picture that he offered to give up his salary.
    • Goofs
      When Zeke confronts Chick and Hot Shot and strong-arms them in front of the crowd, the shadow of the microphone falls across Hot Shot as he is pushed to the background of the scene and tries to regain his composure. The shadow of the boom is also visible falling across the extras behind him.
    • Quotes

      Spunk: You knows you's just jokin'! Why, I never had no new pants in my life. Why, as soon as you grows out 'em, I steps in.

    • Alternate versions
      MGM also issued this movie in a silent version, with Marian Ainslee writing the titles.
    • Connections
      Featured in Fejezetek a film történetéböl: Amerikai filmtípusok - A zenés film (1989)
    • Soundtracks
      Sometimes I Feel Like a Motherless Child
      (uncredited)

      Traditional Spiritual

      Sung offscreen during the opening credits

    User reviews40

    Review
    Top review
    7/10
    A lot to unpack
    A film that has a lot to unpack, and a lot to consider. It was made with an all-black cast by director King Vidor with what I believe were good intentions, has some fantastic performances, and tells a good story, but it touches a nerve with its stereotypes. What was liberal in 1929 is known to be backwards today, and this is what makes it such a complicated film. I enjoyed it for its positives and would suggest viewers not dismiss the film entirely, but I'll start with acknowledging the problematic parts, at least the way I see them, FWIW.

    As African-American intellectuals like Lorraine Hansberry, James Baldwin, and others explained it so well in the late 1950's, one of the mechanisms white Americans used to cope with the outrageous horror of slavery after it ended was to continue thinking of blacks as somehow different than human. An outright racist considered them lesser, inferior beings. Well-intentioned liberals often embraced the idea that they were a simple, rhythmical people, steeped in Christianity, and possessing a deep wellspring of forgiveness. This reduced the collective guilt over a horror which simply could not be faced, and which to this day has not been reconciled. The liberal view of the day, what we see manifested in this film, is of course preferable to what we might see from someone like D.W. Griffith, but either characterization is dangerous, and robs African-Americans of their humanity.

    In the film, the characters are way too happy being poor and picking cotton. I mean, it's better than 'Gone with the Wind', where they're happy to be the slaves of masters who are portrayed as benevolent and genteel, but it still falls into the trap of thinking of them as just simple folk who like to dance after a long day in the field. See, they're all free and happy now, slavery is over, and we certainly don't need to think about some form of reparations for our part in 300+ years of slavery and the death of upwards of 100 million Africans. The film is trying to give its mostly white audience a window into African-American life, similar to how the 'expedition' films from the period presented Polynesians, Inuits, etc ... many of which were made with cultural condescension, and it's telling that there are no white characters, discriminating against them or terrorizing them, as if they were in their own little bubble, or on an island somewhere. And unfortunately, coming along with the singing, dancing, and revival preaching are stereotypes. One of the worst is in the way the main character (Daniel L. Haynes) simply cannot control himself around women, and one (Nina Mae McKinney) in particular. Even though we may see some of that in white individuals from other films (Lionel Barrymore as a preacher in 'Sadie Thompson' from 1928 comes to mind), here it's associated with such a negative stereotype, the sexual aggressiveness of black men, and amplified by Haynes's eyes twitching in tight shots.

    On the other hand, I think we have to give the film and Vidor some credit too. To make his first sound picture with an all-black cast is impressive. The main story line could have been based on white characters, and we see a range of human emotion and folly. The musical performances and the dancing from the main characters and various others are excellent. Daniel L. Haynes has quite a presence, and his deep voice and preaching style might just convert you if you're not careful. I loved his imitating a train chugging down the tracks in one of his sermons. Nina Mae McKinney is a revelation too - so well-cast, conveying depravity, wildness, deceit, and contrition all very well. It's all the more impressive considering she was just 17 years old when the film came out, and 16 when it was filmed. The acting is a little uneven, consistent for the period, but one thing I noticed was that the performances are uniformly less reserved and restrained, and that along with pretty damn good sound quality results in more energy and vibrancy on the screen - especially as it compares to other early talkies in 1929 and 1930, many of which are incredibly creaky and brittle. I had a little bit of the same feeling I had about 'Stormy Weather' (1943), another film containing stereotypes, that the performances transcended the narrow framework they were placed in.

    Because of all of the concerns about race, I think some of Vidor's great shots in the film get overlooked. He shows us the cotton ginning process, and Haynes up on a huge lumber saw cutting long boards from a tree. He gives a shot of a fantastic drummer in a ragtime band, throwing and catching his sticks as he plays. He shows us the orgiastic gyrations of a wild church scene with excellent camera work, and gives us a chase through a swamp that was likely influential to other filmmakers. Lastly, while McKinney's character falls into the age-old (and misogynistic) temptress type, we also see that she can take care of herself, in one scene beating the hell out of a guy with a fireplace poker after he tries to force himself on her, which despite the violence was frankly great to see.

    The bottom line though ... was this film a step forward? That's hard for me to answer. It's worth seeing and the dialog which probes a little deeper than the extreme positions (e.g. distilling it down to "old-timey racism" or "what's the problem, there's no racism here") is worthwhile. If you want to get a better window into the African-American experience from this period, however, you should check out 'Within Our Gates' (1920) by director Oscar Micheaux.
    helpful•3
    0
    • gbill-74877
    • Feb 5, 2019

    Details

    Edit
    • Release date
      • August 20, 1929 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Halleluja!
    • Filming locations
      • Arkansas, USA
    • Production company
      • Metro-Goldwyn-Mayer (MGM)
    • See more company credits at IMDbPro

    Technical specs

    Edit
    • Runtime
      1 hour 49 minutes
    • Color
      • Black and White
    • Aspect ratio
      • 1.20 : 1

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