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627:"The films you are about to see are a product of their time. They may reflect some of the prejudices that were common in American society, especially when it came to the treatment of racial and ethnic minorities. These depictions were wrong then and they are wrong today. These films are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed. While the following certainly does not represent Warner Bros.â opinion in todayâs society, these images certainly do accurately reflect a part of our history that cannot and should not be ignored."
31:
312:, who was the president of MGM at the time, to get the movie made by framing it more as a film that depicted African Americanâs sexual deviance. Schenck put it simply to Vidor, "Well, if you think like that, Iâll let you make a picture about whores". Vidor received the inspiration to create this film based on real incidents he witnessed as a child during his time at home in the south. He observed: "I used to watch the negroes in the South, which was my home. I studied their music, and I used to wonder at the pent-up romance in them". Vidor began shooting in
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348:), thinking this will ward off his desires for the sinful Chick. Chick attends a sermon, heckling Zekiel, then asks for baptism but is clearly not truly repentant. During a rousing sermon, Chick seduces Zekiel and he throws away his new life for her. Months later, Zeke has started a new life; he is working at a sawmill and is married to Chick, who is secretly cheating on him with her old flame, Hot Shot (William Fountaine).
793:
553:, with its clever negro cast, is one of the few talking pictures that is really a separate and distinct form of entertainment from a stage play". The combination of two groundbreaking aspects of the film, audible dialogue and an all-black cast, set the movie apart from its contemporaries. Some of the critiques of the film spoke to the particular spirit of the times, and would likely be vastly different today. In
1547:(Germany, 1925)." And: "In most industrial and post-industrial societies...these premises were well under way to obsolescence by mid-century. As a result, the concept of a loss of chastity leading inexorably to prostitution became no longer tenable. Most films with a fully-developed fallen woman pattern were in fact produced prior to 1940."
1231:, "executing sensuous bumps and grinds in the famous cabaret in Hallelujah was the movies' first black whore.... She played in King Vidorâs Hallelujah sound film, as a jezebel, of course, bamboozling a good man... screen stereotypes presented themselves in both mainstream and early black cinema. They stood as Negras' predominant roles."
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fallen on hard times due to unemployment, unwanted pregnancies, divorce, childhood deprivation or simply because they have been âborn on the wrong side of the track'." Throughout the silent film era, the cautionary tales of woman turning to prostitution had been uniformly presented as shameful and degrading. These
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was one of the early projects that gave
African Americans significant roles in a movie, and though some contemporary film historians and archivists have said that it had "a freshness and truth that was not attained again for thirty years", a number of contemporary film historians and archivists agree
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Thompson & Bordwell, 2010: âThe crew was racially mixed, including an assistant director, Harold
Garrison, who was black. More importantly, the musical director, responsible for the many musical numbers, was Eva Jessye, the first widely successful black female choral conductor. A few years later
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describes McKinneyâs character, Chick, as a 'black, exotic sex object, half woman, half child...She was a black woman out of control of her emotions, split in two by her loyalties and her own vulnerabilities. Implied throughout the battle with self was the tragic mulatto theme; the white half of her
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was the moviesâ first black whore....Almost every black leading lady in motion pictures owes a debt to the playfully sexy moves and maneuvers of McKinneyâs character Chick.' And: McKinney 'emerged as the first black actress of the silver screen.' And 'Vidor that it was McKinneyâs performance that
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Though McKinney was the first to portray a black prostitute, this âarchetypal narrativeâ goes back as far as 1900, when only white female actors played "the fallen woman" who turn to prostitution. Many of these films appeared in the silent era with narratives deploring the "plight of women who have
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The film gives, in some sections, an authentic representation of black entertainment and religious music in the 1920s, though some of the sequences are
Europeanized and over-arranged. In the outdoor revival meeting, with the preacher singing and acting out the "train to hell," is authentic in style
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Chick and Hot Shot decide to run off together; Zeke finds out about their affair and chases after them. The carriage carrying Hot Shot and Chick loses a wheel and throws Chick out, giving Zeke a chance to catch up to them. Holding her in his arms, he watches Chick die as she apologizes to him for
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The people inhabit a world of racial paternalism where, partly due to religion, the plantation workers are happy with the status quo. Zeke the plantation boy represents the morally upstanding country boy (the good) against the morally corrupt (due to
Hotshot's influence) city girl Chick (the bad)
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art and literature...ordained that âa womanâs fall ends in deathâ). Otherwise she may survive and save her soul through an act of redemption; frequently she is paired off with a good man whose upright character serves to cancel out the poor impression of the male sex given earlier in the filmâŚfor
1572:. Prostitutes, ladies of leisure, street walkers, and tramps, as the borderline women of depression America, flourished on the Hollywood screen of the period. The figure of the prostitute in film drama is largely a cinematic artifact and cannot be primarily construed as a countersign of reality."
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Campbell, 1999: "the key elements in what was to become recurrent tale, depicts the woman who descends into prostitution â to which a negative sign is almost invariably attached â as a figure of pathos." And: "Poverty may be the primary factor in the decision to venture into prostitution, as in
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Sharecroppers Zeke and Spunk
Johnson sell their family's portion of the cotton crop for $ 100. They are promptly cheated out of the money by the shill Chick (Nina Mae McKinney), in collusion with her gambling-hustler boyfriend, Hot Shot. Spunk is murdered in the ensuing brawl. Zeke runs away and
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Campbell, 1999: âIn the representation of the female prostitute in the cinema, the earliest archetypal narratives to emerge are those of the fallen woman and the white slave...tracing the fate of the innocent young woman lured into forced prostitutionâŚ.t carried a powerful appeal throughout the
740:, but it certainly sets the viewer up to interpret the film as merely a regrettable document of a dark period of US history. Warner Bros. demeans the work of the filmmakers, including the African-American ones. The actors seem to have been proud of their accomplishment, as well they should be."
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praised the film for its depiction of
African Americans and commented on the cast: "Every member of Vidor's cast is excellent. Although none of them ever worked before a camera or a microphone before, they give unstudied and remarkably spontaneous performances. That speaks a lot for Vidor's
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Thompson & Bordwell, 2010: Vidor âacknowledged that a gripping melodrama could be just as entertaining with an all-black cast as an all-white cast. That is, entertaining to those outside the deep South, where exhibitors refused to play the film, robbing it of its chance to become
635:, Vidor develops his characterizations of black rural workers with sensitivity and compassion. The âsocial consciousnessâ of the film and its sympathetic rendering of a tale of sexual passion, family affection, redemption and revenge performed by black actors earned enmity from the
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being unable to change her ways. Zeke then chases Hot Shot on foot. He stalks him relentlessly through the woods and swamp while Hot Shot tries to escape, but stumbles until Zeke finally catches and kills him. Zeke spends time in prison for his crime, breaking rocks.
304:, when heard of talking motion pictures emerging in the United States. He wanted an all-African American cast to sing "negro spirituals" after he had seen the success of it on Broadway. Vidor stated, "If stage plays with all negro casts, and stories like those by
515:'s "Swanee Shuffle." Although actually filmed in a New York studio using black actors, the sequence gives an accurate representation of a low-life black dance-hall - part of the roots of classic jazz. Most Hollywood films of the period sanitized black music.
508:, "while Stephen Foster and others were inspired by hearing negro songs on the levees, their music was not at all of the negro type". He went on to add that Fosterâs music had "the distinct finish and technique of European music, possibly of German Origin."
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McKinneyâs exuberant and highly seductive portrayal of Chick anticipates the change in perception towards female sexual expression. Her performance influenced both black and white actresses with her version of a "rough nightlife heroine", among them
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The formula that Vidor used for McKinneyâs Chick was modeled after conventional scenarios depicting white prostitutes in these earlier films: narratives that were already in decline. Film and social critic Russel
Campbell describes the formula:
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Reinhardt, 2020: Reinhardt quotes Lisa Gotto, critic for the
Retrospective at the Berlin Film Festival: Vidorâs film âis not without problems...combining the revolutionary potential of sound technology with a reactionary view of African-American
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Exhibitors were worried that white audiences would stay away due to the black cast. They hosted two premieres, one in
Manhattan and one in Harlem. The Black people who came to watch the film in Manhattan were forced to sit in the balcony.
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Smith-Shomade, 2002 p. 9-10: âIn these decades before televisionâs arrival, negras appeared in films as servants, harlots, mammies, tragic mulattoes and religious zealots. The nation's carefree attitude during the 1920s forwarded the
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s racial stereotyping, critics Kerryn
Sherrod and Jeff Stafford report that "the film set a high standard for all subsequent all-black musicals and still stands as an excellent showcase for the talents of Ms. McKinney and company."
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The film contains two scenes of "trucking": a contemporary dance craze where the participant makes movements backward and forward, but with no actual change of position, whilst moving the arms like a piston on a locomotive wheel.
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that they required King Vidor to invest his own salary in the production. Vidor expressed an interest in "showing the Southern Negro as he is" and attempted to present a relatively non-stereotyped view of African-American life.
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retains its entertaining quality. It is easy from a modern perspective to dismiss it as racist or dependent on stereotypes. But I think that put in the context of 1929, the film was as progressive as one could expect in the
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Thompson & Bordwell, 2010: "It is easy from a modern perspective to dismiss it as racist or dependent on stereotypes. But I think that put in the context of 1929, the film was as progressive as one could expect in the
834:, a white film star who also engagingly portrayed brothel whores and prostitutes. According to film historian Jean-Marie Lecomte, "prostitutes, ladies of leisure, street walkers, and tramps, as the borderline women of
298:, King Vidor had longed to make a film employing an all-African American cast. He had floated the idea around for years but "the studio kept turning the idea down". Vidorâs was in Europe during 1928 promoting his film
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Reinhardt, 2020: âVidor demonstrates his powerful humanitarian approach and his opposition to racism...In Hallelujah, Vidor sincerely and evocatively reveals the emotional world of his characters, universal, complex
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Thompson & Bordwell, 2010: âHallelujah is available on DVD from the Warner Brothers Archive Collection. Unfortunately the company has chosen to put a boilerplate warning at the beginning that essentially brands
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Given the equipment available at the time, the film's soundtrack was a technical achievement, employing a much wider range of editing and mixing techniques than was generally used in "talkies" in this period.
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The movie ends with Zeke returning home to his family, just as they are harvesting their crop. Despite the time that has passed and the way Zekiel left, the family joyfully welcomes him back into the flock.
707:"In these decades before televisionâs arrival, negras appeared in films as servants, harlots, mammies, tragic mulattoes and religious zealots. The nationâs carefree attitude during the 1920s forwarded the
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was one of the first films with an all-African American cast produced by a major studio. (Although frequently touted as Hollywood's first all-black cast musical, that distinction more properly belongs to
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The emphasis these critics place on Vidorâs white prejudiceâall the more apparent today âgiven the enormous changes in ideology sensibilitiesâ since 1929âcovers a spectrum of opinions. Vidor biographer
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clearly reinforces the stereotypes of Blacks as childishly simple, lecherously promiscuous, fanatically superstitious, and shiftless Vidor could never be accused of the overt racial venom exhibited by
703:, there issued forth racist characterizations of black rural figures, in particular âthe black harlotâ, establishing these stereotypes in both black and white motion pictures for decades.
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represented the spiritual, the black half the animalistic.' screen stereotypes presented themselves in both mainstream and early black cinema. They stood as Negrasâ predominant roles."
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invites criticism for its stereotypes; blacks are depicted as either naive idealists or individuals ruled by their emotions.â Media critic Beretta Smith-Shomade considers Vidorâs
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s production, as they were in the industrialized countries globally. As a result "the concept of a loss of chastity leading inexorably to prostitution became no longer tenable."
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Campbell, 1999: "Complicit to an indeterminate extent in her downfall, the fallen woman in the cinema often has a sense of fun which mitigates her newly acquired cynicism."
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was King Vidor's first sound film, and combined sound recorded on location and sound recorded post-production in Hollywood. King Vidor was nominated for a Best Director
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Sometime later, he returns and preaches a rousing revival. After being ridiculed and enticed by Chick, Zekiel becomes engaged to a virtuous maiden named Missy (
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and launched the Colored woman as featured artist on screen. Nina Mae McKinney distinguished herself as the first colored harlot. She played in King Vidorâs
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reveals "a now-disconcerting paternalism...His vision of the black as a mindless hedonist singing the day away may be specious, but it was of its time."
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reforms his life: becoming a Baptist minister, and using his full name - Zekiel. This is the first example of black character development in cinema.
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essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010
494:'s "Waiting at the End of the Road". Similarly, an outdoor group of workers near the beginning of the film are singing a choral arrangement of "
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argue that âthe film was as progressive as one could expect in the day.â Film critics Kerryn Sherrod and Jeff Stafford agree that âseen today,
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1280:, all of whom eventually paid a heavy price for it... He understood the mind of underdogs â and like King Vidor â felt sympathy for them."
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643:. Vidorâs film crew was racially mixed, and included Harold Garrison (1901â1974) as an assistant director. Black female choral conductor
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Rediscovering Hallelujah (1929), director King Vidor's sensitive film with all-black cast: 70th Berlin International Film Festival.
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and others, could have such great success, why shouldnât the screen make a successful negro play?" Vidor was able to convince
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beyond its aesthetic importance? I think there is, and I think it lies in Vidorâs personality as we know it from his films...
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A sequence which is of vital importance in the history of classic jazz is in the dancehall, where Nina Mae McKinney performs
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Hall, Mordaunt (August 25, 1929). "Vidor's Negro Film: Hallelujah" Reveals Adroit Blending of Photography and Dialogue".
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Hall, Mordaunt (August 25, 1929). "Vidor's Negro Film: Hallelujah" Reveals Adroit Blending of Photography and Dialogue".
780:, a contemporary of McKinney, described her as âone of the most beautiful women of our timeâ She was dubbed âthe Black
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identifies McKinney as the silver screens' âfirst black whoreâ, with respect to the role Vidor had fashioned for her in
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Thompson & Bordwell, 2010: "Well established as a classic of both early sound cinema and African-American cinema,
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Forgeries of memory and meaning : Blacks and the regimes of race in American theater and film before World War II
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Eyman, Scott. The Speed of Sound: Hollywood and the Talkie Revolution 1926-1930. Simon and Schuster, New York: 1997.
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Kramer, Fritzi. 2019. Why We Need to Keep Searching for Lost Silent Films. Smithsonian Magazine, January 9, 2019.
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as being "culturally, historically, or aesthetically significant." In February 2020, the film was shown at the
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America's film legacy : the authoritative guide to the landmark movies in the National Film Registry
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and launched the Colored woman as featured artist on screen. Nina Mae McKinney distinguished herself as
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portrayed Chick, the object of Zekeâs desire and victim in the filmsâ tragic denouement. Theater critic
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The overall assessment of the film from film historians ranges from condemnation to qualified praise.
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a template for racist and degrading portrayals of "Negras" in the movie industry in subsequent years.
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Toms, coons, mulattoes, mammies, and bucks : an interpretive history of Blacks in American films
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Bogle, 2001 p. 31: Nina May McKinney, âexecuting sensuous bumps and grinds in the famous cabaret in
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registers an objection to Warner Bros.â disclaimer attached to its Hallelujah archive edition:
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displayed a social consciousness that could only be matched by mavericks such as King Vidor,
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to its success... ' M-G-M was so impressed they signed her to a five-year contract."
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The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine
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Hallelujah (1929). L to R: William Fountaine, Daniel L Haynes, Nina Mae McKinney
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1645:. Simon & Schuster, Inc. Monarch Film Studies. LOC Card Number 75-23544.
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Lecomte, 2010, p. 1-2: "A spate of 'vice films' ...was released during the
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Reinhart, 2020: "Nina Mae McKinney, only 17 or so at the time of filming
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Smith-Shomade, 2002 p. 9-10: â...first colored harlotâ in Vidorâs film.
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can and should be accepted as the remarkable achievement it is."
895:(paperback ed.). Oxford: Oxford University Press. p.
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Nina Mae McKinney, coming from the recent stage production of
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sound film, as a Jezebel, of course, bamboozling a good man...
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silent era but tailed off during the early years of sound..."
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The Talkies: American Cinema's Transition to Sound, 1926â1931
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Media critic Beretta Smith-Shomade asserts that from Vidorâs
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Outcast Lilies: Prostitutes in Pre-Code Movies (1929-1934).
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and a remarkable performer, appeared in the Broadway show
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923:(Berkeley: University of California Press, 1999), p. 405.
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https://www.wsws.org/en/articles/2020/04/07/ber2-a07.html
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Shaded lives : African American women and television
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reports âa now-disconcerting paternalismâ that pervades
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https://www.nybooks.com/articles/1964/07/09/hells-angel/
736:
as a racist film...I donât think this description fits
549:, wrote approvingly of the all-Black cast, stating, "
3786:
I Got the Sun in the Mornin' (and the Moon at Night)
838:
America, flourished on the Hollywood screen" in the
1748:
http://www.tcm.com/watchtcm/movies/2120/Hallelujah/
1711:LECOMTE FILM JOURNAL. University of Nancy, France.
1055:. Chapel Hill: University of North Carolina Press.
668:film archivist Charles Silver made this appraisal:
560:
270:was selected for preservation in the United States
1722:World Socialist Web Site. Retrieved May 24, 2020.
1445:
1385:
1356:
4227:
3828:I'm Gonna Pin My Medal on the Girl I Left Behind
1911:
1392:. New Brunswick, NJ : Rutgers University Press.
1076:
1074:
1072:
1581:Bogle, 2001 p. 33-34: "rough nightlife heroine"
4044:The Song Is Ended (but the Melody Lingers On)
3253:
2474:
1897:
1383:
1069:
870:List of early sound feature films (1926â1929)
651:; she would later act as music director with
329:who tempts him from the straight and narrow.
991:"Berlinale 2020: Retrospective "King Vidor""
888:
532:was commercially and critically successful.
320:and Southern California at the MGM studios.
2409:(1954) (TV special, with 6 other directors)
4261:United States National Film Registry films
3260:
3246:
2481:
2467:
1904:
1890:
1666:University of California Press, Berkeley.
29:
4286:Films with screenplays by Richard Schayer
1826:Classic Black Films Stand as History, Art
1742:Sherrod, Kerryn and Stafford, Jeff. TCM.
1477:more than any other actorâs helped carry
1452:(4. ed.). New York, NY : Continuum.
1300:she would participate in the premiere of
966:"Complete National Film Registry Listing"
4023:Someone Else May Be There While I'm Gone
1050:
791:
575:
331:
233:and chronicling the troubled quest of a
4276:Films with screenplays by Wanda Tuchock
3960:Oh! How I Hate to Get Up in the Morning
280:70th Berlin International Film Festival
4228:
4086:There's No Business Like Show Business
3842:I've Got My Captain Working for Me Now
3533:There's No Business Like Show Business
1425:was the moviesâ first black whore....â
490:until the end, where he launches into
3835:I'm Putting All My Eggs in One Basket
3241:
2462:
1885:
1775:Observations on film art: Hallelujah.
1443:
1354:
1158:
1019:
3632:The Best Thing for You (Would Be Me)
2641:The Student Prince in Old Heidelberg
1143:
1128:
889:Nowell-Smith, Geoffrey, ed. (1997).
418:Uncredited (in order of appearance)
2488:
1838:, first broadcast January 13, 2006.
1363:(. ed.). New York: Continuum.
1027:. Littlehampton Book Services Ltd.
13:
1384:Smith-Shomade, Beretta E. (2002).
892:The Oxford History of World Cinema
14:
4307:
4100:They Were All Out of Step But Jim
3267:
1784:
687:...Is there, then, a defense for
4170:You Keep Coming Back Like a Song
3911:Let's Take an Old-Fashioned Walk
3904:Let's Have Another Cup of Coffee
3849:I've Got My Love to Keep Me Warm
1735:. The New York Review of Books.
561:Hallelujah and black stereotypes
4051:Stay Down Here Where You Belong
3702:For Your Country and My Country
2673:White Shadows in the South Seas
1617:
1608:
1575:
1560:
1550:
1510:
1501:
1484:
1466:
1437:
1428:
1415:
1406:
1377:
1348:
1327:
1318:, she was musical director for
1293:
1283:
1262:
1248:
1234:
1209:Durgnat and Simmons, 1988 p. 99
1203:
1183:
1152:
1137:
1122:
1098:
438:Child listening to Zeke's song
4271:African-American musical films
4241:American black-and-white films
4163:You Can't Get a Man with a Gun
3974:A Pretty Girl Is Like a Melody
3897:Let's Face the Music and Dance
3049:The Barretts of Wimpole Street
1601:(1932)... is a prostitute and
1193:Thompson & Boardwell, 2010
1089:
983:
958:
933:
913:
882:
647:served as musical director on
496:Way Down Upon the Swanee River
478:Member of Zeke's congregation
468:Member of Zeke's congregation
458:Member of Zeke's congregation
428:Adam, one of the dice players
289:
1:
3814:I Want To Go Back To Michigan
2569:Ben-Hur: A Tale of the Christ
1635:
35:Advertisement illustrated by
4251:Films directed by King Vidor
4246:1920s English-language films
4114:Top Hat, White Tie and Tails
3751:Heaven Watch the Philippines
1798:AFI Catalog of Feature Films
1614:Sherrod & Stafford, 2010
1220:Sherrod & Stafford, TMC
1214:Baxter, 1976 p. 43: Vidorâs
1051:Robinson, Cedric J. (2007).
875:
522:
484:
7:
3946:No Strings (I'm Fancy Free)
3226:The Love of the Last Tycoon
2505:The Hunchback of Notre Dame
1412:Thompson and Bordwell, 2010
1345:Smith-Shomade, 2002 p. 9-10
1200:Sherrod & Stafford, TMC
1198:Smith-Shomade, 2002 p. 9-10
863:
407:Walter Tait as Johnson Kids
10:
4312:
3891:Let's All Be Americans Now
3870:It's a Lovely Day Tomorrow
3681:Doin' What Comes Natur'lly
2889:The Sin of Madelon Claudet
1605:runs a rubber plantation."
1268:Lecomte, 2010, p. 13-14: â
392:Everett McGarrity as Spunk
4256:Metro-Goldwyn-Mayer films
4200:
4058:Steppin' Out with My Baby
3567:
3440:
3282:
3275:
3217:
3190:
3171:
2496:
1958:The Chocolate of the Gang
1934:The Grand Military Parade
1920:
1780:Retrieved August 5, 2020.
1715:Retrieved August 5, 2020.
1701:Retrieved August 4, 2020.
1679:. 2020. Liminal Sounds -
1662:and Simmon, Scott. 1988.
1656:Retrieved August 5, 2020.
1311:Four Saints in Three Acts
188:
180:
170:
156:August 20, 1929
147:
137:
121:
111:
101:
91:
73:
69:Ransom Rideout (dialogue)
53:
43:
28:
23:
4142:Who Do You Love, I Hope?
3856:Isn't This a Lovely Day?
3807:I Used to Be Color Blind
3709:Get Thee Behind Me Satan
3576:Alexander's Ragtime Band
3449:Alexander's Ragtime Band
3001:Rasputin and the Empress
2729:The Last of Mrs. Cheyney
2166:Bardelys the Magnificent
1750:Retrieved August 6, 2020
1739:Retrieved August 5, 2020
1718:Reinhardt, Bernd. 2020.
1648:Campbell, Russel. 1999.
619:, who own the rights to
4296:Films shot in Tennessee
4093:They Say It's Wonderful
4037:Slumming on Park Avenue
3863:It's a Lovely Day Today
3333:The Cohan Revue of 1918
3145:Broadway Melody of 1938
2705:The Trial of Mary Dugan
2406:Light's Diamond Jubilee
2382:Lightning Strikes Twice
2134:The Wife of the Centaur
1763:Retrieved June 24, 2020
1758:King Vidor's Hallelujah
1746:Turner Movie Classics.
1159:Mills, Michael (2011).
359:
323:
131:A King Vidor Production
16:1929 film by King Vidor
4291:Films shot in Arkansas
4072:That International Rag
3779:I Got Lost in His Arms
3765:How Deep Is the Ocean?
3065:What Every Woman Knows
2313:(1939) (Kansas scenes)
1926:Hurricane in Galveston
1444:Bogle, Donald (2001).
1355:Eagan, Daniel (2010).
1104:Kreuger, Miles (ed.),
827:
825:others, death awaits."
797:
742:
722:
697:
629:
597:, while film scholars
585:
434:Matthew "Stymie" Beard
337:
294:Years before creating
272:National Film Registry
4191:You're Laughing at Me
3988:Reaching for the Moon
3716:The Girl That I Marry
2649:London After Midnight
2254:The Stranger's Return
1835:All Things Considered
1664:King Vidor, American.
1652:. November 12, 1999.
1538:The Salvation Hunters
818:
795:
745:Nina Mae McKinney as
730:
705:
684:The Birth of a Nation
670:
666:Museum of Modern Arts
625:
579:
413:Dixie Jubilee Singers
335:
4281:1920s American films
3967:Play a Simple Melody
3932:My Defenses Are Down
3800:I Never Had a Chance
3660:Count Your Blessings
3097:A Night at the Opera
3089:Mutiny on the Bounty
2601:The Road to Mandalay
2070:Conquering the Woman
1990:The Turn in the Road
1861:Museum of Modern Art
1641:Baxter, John. 1976.
852:While acknowledging
580:Daniel L. Haynes in
387:Fanny Belle DeKnight
383:Harry Gray as Parson
210:musical directed by
4184:You're Just in Love
4079:That Mysterious Rag
4002:San Francisco Bound
3981:Puttin' On the Ritz
3625:At the Devil's Ball
3618:Anything You Can Do
3382:Stop! Look! Listen!
3206:Irving Thalberg Jr.
2737:The Hollywood Revue
2697:The Broadway Melody
2665:Laugh, Clown, Laugh
2625:Flesh and the Devil
2529:He Who Gets Slapped
2342:An American Romance
2086:The Woman of Bronze
1966:Tad's Swimming Hole
1705:Lecomte, Jean-Marie
1171:on February 2, 2017
970:Library of Congress
945:Library of Congress
419:
276:Library of Congress
208:Metro-Goldwyn-Mayer
203:is a 1929 American
142:Metro-Goldwyn-Mayer
4266:1929 musical films
4214:Mary Ellin Barrett
4177:You'd Be Surprised
4107:This Year's Kisses
3953:Now It Can Be Told
3667:A Couple of Swells
3456:Annie Get Your Gun
3354:Louisiana Purchase
3298:As Thousands Cheer
3291:Annie Get Your Gun
3137:A Day at the Races
2945:Tarzan the Ape Man
2753:His Glorious Night
2721:Where East Is East
2438:Truth and Illusion
2414:Man Without a Star
2390:Japanese War Bride
2334:H. M. Pulham, Esq.
2054:The Real Adventure
2030:The Jack-Knife Man
1912:Films directed by
1848:TCM Movie Database
1544:The Joyless Street
1496:Blackbirds of 1928
1245:as a racist film.â
1225:Harlem Renaissance
1191:Baxter, 1976 p. 43
1146:The New York Times
1110:Dover Publications
840:Pre-Code Hollywood
798:
773:Blackbirds of 1928
709:Harlem Renaissance
586:
555:The New York Times
546:The New York Times
505:The New York Times
417:
338:
57:King Vidor (story)
4223:
4222:
4016:Say It with Music
3925:Moonshine Lullaby
3821:I'm an Indian Too
3723:God Bless America
3563:
3562:
3235:
3234:
3210:
3202:
3009:Strange Interlude
2713:Voice of the City
2553:The Tower of Lies
2456:
2455:
2430:Solomon and Sheba
2374:Beyond the Forest
2318:Northwest Passage
2286:The Texas Rangers
2270:The Wedding Night
1767:Thompson, Kristin
1693:978-3-86505-265-0
1595:James, 1993: "In
1541:(USA, 1925), and
1229:Nina Mae McKinney
796:Nina Mae McKinney
778:Richard Watts Jr.
482:
481:
464:Madame Sul-Te-Wan
448:Dancehall singer
378:William Fountaine
372:Nina Mae McKinney
306:Octavus Roy Cohen
220:Nina Mae McKinney
196:
195:
86:William Fountaine
82:Nina Mae McKinney
4303:
4156:You Can Have Him
3695:Follow the Crowd
3674:Daddy, Come Home
3611:Any Bonds Today?
3540:This Is the Army
3498:Follow the Fleet
3431:Ziegfeld Follies
3389:This Is The Army
3319:The Century Girl
3280:
3279:
3262:
3255:
3248:
3239:
3238:
3208:
3200:
3161:Marie Antoinette
3113:Romeo and Juliet
2977:Red-Headed Woman
2969:As You Desire Me
2833:Way for a Sailor
2809:The Unholy Three
2689:West of Zanzibar
2633:Twelve Miles Out
2593:Brown of Harvard
2537:The Unholy Three
2483:
2476:
2469:
2460:
2459:
2366:The Fountainhead
2358:On Our Merry Way
2310:The Wizard of Oz
2238:Bird of Paradise
2094:Three Wise Fools
2022:The Family Honor
1974:The Accusing Toe
1906:
1899:
1892:
1883:
1882:
1876:, pages 159-160
1660:Durgnat, Raymond
1629:
1621:
1615:
1612:
1606:
1583:Sigal, 1964: In
1579:
1573:
1564:
1558:
1554:
1548:
1526:The Painted Lady
1520:Out of the Night
1514:
1508:
1505:
1499:
1488:
1482:
1470:
1464:
1463:
1451:
1441:
1435:
1432:
1426:
1419:
1413:
1410:
1404:
1403:
1391:
1381:
1375:
1374:
1362:
1352:
1346:
1343:
1334:
1331:
1325:
1314:, and alongside
1297:
1291:
1287:
1281:
1266:
1260:
1252:
1246:
1238:
1232:
1207:
1201:
1187:
1181:
1180:
1178:
1176:
1167:. Archived from
1156:
1150:
1149:
1141:
1135:
1134:
1126:
1120:
1102:
1096:
1093:
1087:
1086:
1078:
1067:
1066:
1048:
1039:
1038:
1017:
1006:
1005:
1003:
1001:
987:
981:
980:
978:
976:
962:
956:
955:
953:
951:
937:
931:
919:Donald Crafton,
917:
911:
910:
886:
858:
848:
811:
751:
726:Kristin Thompson
641:MasonâDixon line
599:Kristin Thompson
420:
416:
401:Milton Dickerson
366:Daniel L. Haynes
310:Nicholas Schenck
216:Daniel L. Haynes
163:
161:
78:Daniel L. Haynes
33:
21:
20:
4311:
4310:
4306:
4305:
4304:
4302:
4301:
4300:
4226:
4225:
4224:
4219:
4196:
4135:White Christmas
4128:When I Lost You
4009:Say It Isn't So
3939:The Near Future
3884:Let Yourself Go
3730:Goodbye, France
3646:Change Partners
3559:
3554:White Christmas
3436:
3424:Yip Yip Yaphank
3410:White Christmas
3403:Watch Your Step
3375:Music Box Revue
3271:
3266:
3236:
3231:
3213:
3186:
3167:
3057:The Merry Widow
2985:Smilin' Through
2841:A Lady's Morals
2545:The Merry Widow
2492:
2490:Irving Thalberg
2487:
2457:
2452:
2350:Duel in the Sun
2278:So Red the Rose
2262:Our Daily Bread
2078:Peg o' My Heart
2046:Love Never Dies
1916:
1910:
1787:
1771:Bordwell, David
1754:Silver, Charles
1638:
1633:
1632:
1622:
1618:
1613:
1609:
1594:
1582:
1580:
1576:
1567:
1565:
1561:
1555:
1551:
1515:
1511:
1506:
1502:
1489:
1485:
1471:
1467:
1460:
1442:
1438:
1433:
1429:
1420:
1416:
1411:
1407:
1400:
1382:
1378:
1371:
1353:
1349:
1344:
1337:
1332:
1328:
1316:George Gershwin
1298:
1294:
1288:
1284:
1274:Charlie Chaplin
1270:William Wellman
1267:
1263:
1258:
1255:
1253:
1249:
1239:
1235:
1221:
1219:
1213:
1210:
1208:
1204:
1199:
1197:
1194:
1192:
1190:
1188:
1184:
1174:
1172:
1157:
1153:
1142:
1138:
1127:
1123:
1103:
1099:
1094:
1090:
1085:. June 2, 1929.
1080:
1079:
1070:
1063:
1049:
1042:
1035:
1025:Blacks in Films
1018:
1009:
999:
997:
989:
988:
984:
974:
972:
964:
963:
959:
949:
947:
939:
938:
934:
918:
914:
907:
887:
883:
878:
866:
856:
846:
809:
789:
754:
749:
672:"On one level,
653:George Gershwin
563:
525:
487:
454:Blue Washington
396:Victoria Spivey
362:
346:Victoria Spivey
326:
292:
245:Hearts in Dixie
214:, and starring
173:
166:
159:
157:
150:
133:
126:
124:
84:
80:
68:
65:Richard Schayer
63:
58:
39:
17:
12:
11:
5:
4309:
4299:
4298:
4293:
4288:
4283:
4278:
4273:
4268:
4263:
4258:
4253:
4248:
4243:
4238:
4221:
4220:
4218:
4217:
4211:
4204:
4202:
4198:
4197:
4195:
4194:
4187:
4180:
4173:
4166:
4159:
4152:
4145:
4138:
4131:
4124:
4117:
4110:
4103:
4096:
4089:
4082:
4075:
4068:
4061:
4054:
4047:
4040:
4033:
4026:
4019:
4012:
4005:
3998:
3991:
3984:
3977:
3970:
3963:
3956:
3949:
3942:
3935:
3928:
3921:
3914:
3907:
3900:
3893:
3887:
3880:
3873:
3866:
3859:
3852:
3845:
3838:
3831:
3824:
3817:
3810:
3803:
3796:
3793:I Love a Piano
3789:
3782:
3775:
3772:How's Chances?
3768:
3761:
3754:
3747:
3740:
3733:
3726:
3719:
3712:
3705:
3698:
3691:
3684:
3677:
3670:
3663:
3656:
3653:Cheek to Cheek
3649:
3642:
3635:
3628:
3621:
3614:
3607:
3600:
3597:All of My Life
3593:
3586:
3579:
3571:
3569:
3565:
3564:
3561:
3560:
3558:
3557:
3550:
3543:
3536:
3529:
3522:
3515:
3508:
3501:
3494:
3487:
3480:
3473:
3466:
3459:
3452:
3444:
3442:
3438:
3437:
3435:
3434:
3427:
3420:
3413:
3406:
3399:
3392:
3385:
3378:
3371:
3364:
3357:
3350:
3343:
3340:Face the Music
3336:
3329:
3322:
3315:
3308:
3301:
3294:
3286:
3284:
3277:
3273:
3272:
3265:
3264:
3257:
3250:
3242:
3233:
3232:
3230:
3229:
3221:
3219:
3215:
3214:
3212:
3211:
3203:
3194:
3192:
3188:
3187:
3185:
3184:
3175:
3173:
3169:
3168:
3166:
3165:
3157:
3153:The Good Earth
3149:
3141:
3133:
3125:
3117:
3109:
3101:
3093:
3085:
3077:
3073:No More Ladies
3069:
3061:
3053:
3045:
3037:
3029:
3021:
3013:
3005:
2997:
2989:
2981:
2973:
2965:
2957:
2949:
2941:
2933:
2925:
2917:
2909:
2901:
2893:
2885:
2877:
2869:
2865:The Secret Six
2861:
2853:
2845:
2837:
2829:
2821:
2813:
2805:
2797:
2793:The Rogue Song
2789:
2781:
2773:
2765:
2757:
2749:
2741:
2733:
2725:
2717:
2709:
2701:
2693:
2685:
2677:
2669:
2661:
2653:
2645:
2637:
2629:
2621:
2613:
2605:
2597:
2589:
2581:
2573:
2565:
2561:The Big Parade
2557:
2549:
2541:
2533:
2525:
2517:
2513:Merry-Go-Round
2509:
2500:
2498:
2494:
2493:
2486:
2485:
2478:
2471:
2463:
2454:
2453:
2451:
2450:
2442:
2434:
2426:
2418:
2410:
2402:
2394:
2386:
2378:
2370:
2362:
2354:
2346:
2338:
2330:
2322:
2314:
2306:
2298:
2290:
2282:
2274:
2266:
2258:
2250:
2242:
2234:
2226:
2218:
2210:
2202:
2194:
2186:
2178:
2170:
2162:
2154:
2150:The Big Parade
2146:
2138:
2130:
2122:
2114:
2106:
2098:
2090:
2082:
2074:
2066:
2058:
2050:
2042:
2034:
2026:
2018:
2014:Poor Relations
2010:
2006:The Other Half
2002:
1994:
1986:
1978:
1970:
1962:
1954:
1946:
1938:
1930:
1921:
1918:
1917:
1909:
1908:
1901:
1894:
1886:
1880:
1879:
1863:
1853:"King Vidor's
1850:
1839:
1823:
1812:
1801:
1800:
1786:
1785:External links
1783:
1782:
1781:
1764:
1751:
1740:
1726:
1716:
1702:
1695:
1674:
1657:
1646:
1637:
1634:
1631:
1630:
1616:
1607:
1574:
1570:pre-Code years
1559:
1549:
1529:A(USA, 1924),
1523:(USA, 1918)...
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1459:978-0826412676
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1398:
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1370:978-0826429773
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1326:
1321:Porgy and Bess
1306:Gertrude Stein
1302:Virgil Thomson
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1233:
1202:
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1151:
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1131:New York Times
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1083:New York Times
1068:
1062:978-0807858417
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1034:978-0289703267
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603:David Bordwell
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500:Stephen Foster
498:" (written by
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3769:
3766:
3762:
3759:
3758:How About Me?
3755:
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3748:
3745:
3741:
3738:
3737:Happy Holiday
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3688:Easter Parade
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3590:All by Myself
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3527:
3526:Second Fiddle
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3520:
3519:On the Avenue
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3491:Easter Parade
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3484:The Cocoanuts
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3470:Call Me Madam
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3368:Mr. President
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3326:The Cocoanuts
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3305:Call Me Madam
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3269:Irving Berlin
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3198:Norma Shearer
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2921:Private Lives
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2897:The Guardsman
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2881:Just a Gigolo
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2825:Billy the Kid
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2817:Let Us Be Gay
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2801:The Big House
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2769:Anna Christie
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2118:Wine of Youth
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2038:The Sky Pilot
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1535:(USA, 1924),
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541:Mordaunt Hall
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513:Irving Berlin
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492:Irving Berlin
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474:Clarence Muse
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184:United States
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116:Irving Berlin
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60:Wanda Tuchock
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37:Al Hirschfeld
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27:
22:
19:
4208:Ellin Berlin
4121:What'll I Do
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3361:Miss Liberty
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2785:The Divorcee
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2446:The Metaphor
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2222:Street Scene
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2062:Dusk to Dawn
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2028:
2020:
2012:
2004:
1998:Better Times
1996:
1988:
1980:
1972:
1964:
1956:
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1942:The Lost Lie
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1290:sentiments.â
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1278:Orson Welles
1264:
1257:profitable.â
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1175:November 11,
1173:. Retrieved
1169:the original
1165:Modern Times
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172:Running time
149:Release date
18:
4065:Supper Time
3512:Holiday Inn
3347:Holiday Inn
2953:Grand Hotel
2873:A Free Soul
2857:Trader Horn
2849:Inspiration
2681:Show People
2398:Ruby Gentry
2302:The Citadel
2206:Not So Dumb
2190:Show People
2142:Proud Flesh
1744:HALLELUJAH!
1677:Gotto, Lisa
1603:Clark Gable
1189:Silver,2010
1108:(New York:
975:October 13,
950:October 13,
849:s release.
832:Jean Harlow
591:John Baxter
551:Hallelujah!
380:as Hot Shot
290:Development
96:Gordon Avil
67:(treatment)
44:Directed by
4236:1929 films
4230:Categories
4216:(daughter)
3639:Blue Skies
3505:Hallelujah
3463:Blue Skies
3312:The Canary
3081:China Seas
2777:Redemption
2745:Hallelujah
2198:Hallelujah
1914:King Vidor
1874:0826429777
1866:Hallelujah
1855:Hallelujah
1843:Hallelujah
1816:Hallelujah
1805:Hallelujah
1792:Hallelujah
1685:King Vidor
1681:Hallelujah
1643:King Vidor
1636:References
1625:Hallelujah
1492:Hallelujah
1479:Hallelujah
1474:Hallelujah
1423:Hallelujah
1243:Hallelujah
1216:Hallelujah
1112:), p. 70.
1021:Pines, Jim
854:Hallelujah
844:Hallelujah
842:following
807:Hallelujah
786:Hallelujah
765:Hallelujah
752:s "harlot"
747:Hallelujah
738:Hallelujah
734:Hallelujah
713:Hallelujah
701:Hallelujah
693:Hallelujah
689:Hallelujah
674:Hallelujah
649:Hallelujah
645:Eva Jessye
637:Deep South
633:Hallelujah
621:Hallelujah
611:Hallelujah
607:Hallelujah
595:Hallelujah
582:Hallelujah
571:Hallelujah
566:Hallelujah
530:Hallelujah
444:Eva Jessye
296:Hallelujah
268:Hallelujah
257:Hallelujah
239:Hallelujah
225:Filmed in
212:King Vidor
200:Hallelujah
160:1929-08-20
123:Production
62:(scenario)
54:Written by
48:King Vidor
24:Hallelujah
3744:Heat Wave
3583:All Alone
3025:Bombshell
2929:Mata Hari
2913:Possessed
2905:The Champ
2657:The Crowd
2585:La Bohème
2326:Comrade X
2230:The Champ
2182:The Patsy
2174:The Crowd
2158:La Bohème
2110:Happiness
1982:I'm a Man
995:Berlinale
876:Footnotes
822:Victorian
803:Victorian
535:Photoplay
523:Reception
485:The music
301:The Crowd
266:In 2008,
227:Tennessee
106:Hugh Wynn
102:Edited by
4149:With You
3995:Remember
3477:Carefree
3417:Wise Guy
3276:Musicals
3180:The Trap
3105:Riffraff
2993:Red Dust
2761:The Kiss
2617:Valencia
2521:His Hour
2497:Producer
2126:His Hour
1821:AllMovie
1773:. 2010.
1756:. 2010.
1731:. 1964.
1707:. 2010.
1683:(1929).
1598:Red Dust
1023:(1975).
864:See also
756:Source:
679:Griffith
659:(1935).
389:as Mammy
374:as Chick
314:Arkansas
231:Arkansas
205:pre-Code
189:Language
112:Music by
74:Starring
4201:Related
4030:Sisters
3547:Top Hat
3396:Top Hat
3283:Theatre
3218:Related
3129:Maytime
3121:Camille
3041:Riptide
2577:Torrent
1859:at the
1846:at the
1795:at the
759:Critic
368:as Zeke
318:Memphis
274:by the
192:English
181:Country
158: (
125:company
4210:(wife)
3604:Always
3201:(wife)
3191:People
3183:(1922)
3172:Writer
3164:(1938)
3156:(1937)
3148:(1937)
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2937:Freaks
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2516:(1923)
2508:(1923)
2449:(1980)
2441:(1964)
2433:(1959)
2425:(1956)
2417:(1955)
2401:(1952)
2393:(1952)
2385:(1951)
2377:(1949)
2369:(1949)
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2241:(1932)
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2201:(1929)
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1276:or
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681:in
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