Say Amen, Somebody

Never have I responded so thoroughly to people in a documentary. I initially became curious about it because of Roger Ebert who rated it so highly.

Now I have it in my collection and whenever I am feeling down, I watch it. In addition to Willie Mae Ford Smith and Thomas A. Dorsey, I love all of the other singers too. In an era when it is possible to feel numb about life, this film and its vivid people help you to process pain and sadness. What survivors! How I would like to meet all of these people. Some of these people are not conventionally pretty, but, oh my! they help you feel again. It is so moving to hear their reminiscences when many are shown later in their lives.

So sadly, many of them are no longer with us. We are all a little poorer without them. That's why we can be so thankful that this film was able to capture what we might have missed. What a terribly sad end to the life of Sallie Martin!

God bless mother Smith and Thomas Dorsey.

We are all richer for them.

Documentaries really don't get much better than this. It's a look behind the scenes at a world few (particularly white) viewers get to see unless it appears on a religious TV show if you like in a town with a black population. We see the lives and performances of two gospel greats, Willie May Ford Smith and Thomas Dorsey. The documentary follows their lives from the early days and leads up to a big conference when the two dynamic subjects share an auditorium. The documentary shows the joy of gospel music in an age of cynicism. We feel the purity of expression here and see very little of the commercial trappings we see in so much of organized religion. People are singing because it feels good! People are responding to these singers because it feels good! People are saying amen because it feels good! Recommended as an antidote to the blahs.

Just wanted to say this movie/documentary was on last Sunday, April 20, 2008 and I had not seen it in years. Oh! what a joy it was to see it again. Mother Willie Mae Ford Smith is absolutely wonderful and her performances speaks for it self. What a lady she was & what a voice. The movie @ times is very funny especially the scenes with old "crusty" Sallie Martin & Mother Smith discussing when the 1st convention was and the look Mother Smith gives is to funny. The scenes in St. Louis, Mo are so familiar to me since I was born and raised in St. Louis. The scenes at the old Union Station (I remember when it was run down and dilapidated like that) and I later worked there after they remodeled it @ the Omni/Hyatt Hotel, and I also visited the church where they had the tribute to Mother Smith. My favorite parts are Delois Barret Campbell and her sisters singing and the scene with her selfish husband, Mother Smith @ the nursing home singing (her daughter Bertha could really belt out the tunes on that old piano), Mother Smith singing with her children "I'll Never Turn Back" and the scene at the end is the most poignant of all when Mother Smith sings the finale. Oh! overtone I hear her singing that song talking about being moved, the holy spirit gets in me and the tears flow and flow and I get so happy. I recommend that if you ever are feeling low, sad or lonely, buy or rent this movie and I am sure you will feel 100% better.

I'm shocked at how few people have seen this film and voted on it. I agree completely with Leonard Maltin's 4-star summary. It's not only a documentary on the lives of two of gospel's founders, Willie Mae Ford Smith and Thomas Dorsey, but it follows them and their families, along with other gospel singers, in the present day.

In some ways, it reminds me of HOOP DREAMS. In one scene, Zella Jackson Price is feeling insecure, talking over serious family issues in the kitchen. And then she's in church, belting out "I'm happy just to know that I'm His child", one of the most powerful, and moving gospel renditions I've heard. And I'm not religious.

As I write this, 2500 people have voted for HOWARD THE DUCK, only 10 for SAY AMEN, SOMEBODY. Something's definitely wrong here.

My review was written in October 1982 after a New York Film Festival screening.

"Say Amen, Somebody" is a superb documentary feature about the key progenitors of gospel music. Directed by George T. Nierenberg and his team of collaborators have fashioned a model of emotional communications in the non-fiction feature realm, deserving of the widest possible exposure in all media.

In contradistinction to 20th Century Fox''s "Gospel", a well-regarded performance film also headed for the marketplace, "Say Amen" emphasizes the people who sing (and live) the gospel, with the music itself featured amidst footage of their home life and recollections.

Two towering figures are at the film's core: "Mother" Willie Mae Ford Smith (with her family) and Thomas A. Dorsey. Both were instrumental five decades or so ago in bringing the rhythmic "ragtime" form of secular music called gospel into the spiritual church environment, over the resistance of religious figures. Important for the film, both are natural spellbinders in conversation (and in song), communicating colloquially to the camera with an uncanny mixture of humor and emotional fervor.

Nierenberg minimizes his reliance upon still photos and vintage footage, including a performance of the late Mahalia Jackson for historical purposes. Dorsey expounds on the tough early days of his music, his career as a popular blues singer and his writing of standard gospel songs. In a delightful scene, he is upstaged by Smith and his 87-year-old singer/accompanist Sallie Martin, as the women argue over whether the first gospel choir convention originated in Chicago or St. Louis.

Also revealing and moving are scenes of Smith and her family, recalling the old days and pointing up the deep religious faith of gospel practitioners. Despite the proselytizing of the lyrics, the film does not make a sales pitch but wisely stresses the emotional content over the religious.

Performance footage in churches and at a convention spotlights Dorsey, Smith and especially two younger groups. The Barrett Sisters deliver upper-register close harmonies. Sure to rouse any audience, while the O'Neal twin brothers display a rhythmic style closer to popular music (and discuss in bull sessions the need to "come down the middle" to reach the younger people with their music).

Nierenberg has enough coverage (using a 22:1 shooting ratio) to not only keep the film free of filler but to create pointed inserts to listeners with separate sound sources to match. This expertly underlines the basic call-and-response nature of the music, and the viewer of the film is engaged actively in the proceedings by use of surrogate, on-screen interplay. For example, whether listening to a song or a speaker, Mother Smith invariably will interject a pointed comment or verbal endorsement, with her uncanny timing matched by a camera and mic there to record it. Film's title comes from this responsiveness, as Dorsey in the midst of one of his passionate monologues declares: "Say amen, somebody" to the silent film crew. Despite this call, Nierenberg wisely lets his subjects do the talking, fulfilling his role as chronicler and organizer.

Among the top-notch technical credits, editor Fred Barnes deserves singling out for brilliant execution of the director's concepts. Particularly good is a perfectly-matched cut from Mother Smith privately chanting Dorsey's lyric: "Remember me, not just for me but for the work I've done" to her continuing the song in church as the picture's stirring finale. Still awaiting a pickup deal for domestic release, "Say Amen" should sustain a blowup to 35mm and is a clear frontrunner for Academy Award consideration as best documentary.