A black British dockworker named Johnny Zinga becomes a famous singer and learns that he is the rightful king of the African island of Casanga.A black British dockworker named Johnny Zinga becomes a famous singer and learns that he is the rightful king of the African island of Casanga.A black British dockworker named Johnny Zinga becomes a famous singer and learns that he is the rightful king of the African island of Casanga.
IMDb RATING
6.4/10
398
YOUR RATING
- Director
- Writers
- Claude Wallace(story "The Kingdom of Zinga")
- Dorothy Holloway(story "The Kingdom of Zinga")
- Ingram D'Abbes(adaptation and scenario)
- Stars
- Director
- Writers
- Claude Wallace(story "The Kingdom of Zinga")
- Dorothy Holloway(story "The Kingdom of Zinga")
- Ingram D'Abbes(adaptation and scenario)
- Stars
Elisabeth Welch
- Ruth Zinga
- (as Elizabeth Welch)
Bernard Ansell
- Sir James Pyrie
- (as Bernerd Ansell)
Cornelia Smith
- Queen Zinga
- (as Miss C. Smith)
Sydney Benson
- Gate-Keeper
- (uncredited)
Cathleen Cavanagh
- Woman
- (uncredited)
Alf Goddard
- Alf, the Bartender
- (uncredited)
- Director
- Writers
- Claude Wallace(story "The Kingdom of Zinga")
- Dorothy Holloway(story "The Kingdom of Zinga")
- Ingram D'Abbes(adaptation and scenario)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIn the film, Paul Robeson performs a scene from Louis Gruenberg's operatic version of "The Emperor Jones". He had earlier starred in Eugene O'Neill's original play on Broadway (1923) and in the film version of the play (Kuolonrumpu (1933)).
- Quotes
Gabriel Donozetti: What's the matter the color of his skin, when he has color in his voice! Power! Beauty! I go fighting!
- ConnectionsFeatured in That's Black Entertainment (1990)
Review
Featured review
Labor Solidarity
Sure, the movie is dated in both technique and appearance. But it does have the great Paul Robeson in the central role as a dockworker and social equal of his white work mates. This is at a time when Blacks in American movies were reduced to either menials or buffoons. In terms of stereotypes, Robeson's non-demeaning role takes some getting used to. But try imagining that powerful presence and commanding voice in anything other than a dignified role. No wonder he was widely viewed as a threat to Jim Crow stereotypes.
Perhaps the film's most interesting aspect is what the Westernized Robeson can do for his benighted tribe of ancestors once he returns to them, uninvited. Sure, he can bring those sanitation and medical advances that will improve their collective health. The movie does a pretty good job of dramatizing that aspect, and we're all rooting for him to win out over the tribe's non-scientific methods and the witch- doctor power structure keeping them in place. But what happens after that. Of course, the movie stops at that point, so we don't know. But we do know another area of the continent has been opened to Western presence. The question then is whether Robeson will also bring in Western commercial interests, of much more dubious benefit than the proved health benefits, as history shows. After all, penicillin is one thing, Chevron is another. This remains a point to ponder now that the movie has set up the initial stage.
Despite its shortcomings (the outrageously fey Donizetti, for one), the movie remains an interesting artifact of its time, especially for Robeson's and other Blacks' acceptance into the white working class of London's docks. I'm sure the leftist Robeson found that labor- solidarity aspect particularly appealing. Then too, Elisabeth Welch delivers a fine natural performance as Robeson's loyal wife. We root for the two of them just as we would root for a courageous white couple. Above all, however, the film remains a chance to view one of America's noblest forgotten figuresthe great Paul Robeson.
Perhaps the film's most interesting aspect is what the Westernized Robeson can do for his benighted tribe of ancestors once he returns to them, uninvited. Sure, he can bring those sanitation and medical advances that will improve their collective health. The movie does a pretty good job of dramatizing that aspect, and we're all rooting for him to win out over the tribe's non-scientific methods and the witch- doctor power structure keeping them in place. But what happens after that. Of course, the movie stops at that point, so we don't know. But we do know another area of the continent has been opened to Western presence. The question then is whether Robeson will also bring in Western commercial interests, of much more dubious benefit than the proved health benefits, as history shows. After all, penicillin is one thing, Chevron is another. This remains a point to ponder now that the movie has set up the initial stage.
Despite its shortcomings (the outrageously fey Donizetti, for one), the movie remains an interesting artifact of its time, especially for Robeson's and other Blacks' acceptance into the white working class of London's docks. I'm sure the leftist Robeson found that labor- solidarity aspect particularly appealing. Then too, Elisabeth Welch delivers a fine natural performance as Robeson's loyal wife. We root for the two of them just as we would root for a courageous white couple. Above all, however, the film remains a chance to view one of America's noblest forgotten figuresthe great Paul Robeson.
helpful•111
- dougdoepke
- Dec 4, 2008
Details
- Runtime1 hour 20 minutes
- Color
- Aspect ratio
- 1.37 : 1
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