This early talkie was advertised as being a musical even though it is actually a drama with some very good musical numbers included. The movie was set and filmed in Memphis with an all black cast and directed by King Vidor. In fact, this is King Vidor's first talking picture. By today's standards, it overflows with stereotypes. Yet, as Warner says in its disclaimer, these images should be kept alive rather than hidden away so that we may learn from them. By the standards of 1929, Vidor was actually sympathetic in his treatment of the characters considering the times. Apparently King Vidor was quite insistent on not giving in to commonly accepted stereotypes as much as was possible in the late 1920's, since he even agreed to direct the film for free in order to tell the story he wanted to tell the way he wanted to tell it. This film is actually not about race at all. Instead Vidor intended it to be a look into rural African American culture as he observed it growing up in the South himself set within the context of a morality play.
The film opens as a family of sharecroppers, the Johnsons, have just finished harvesting the year's cotton crop. Being the oldest son, Zeke (Daniel L. Haynes) is responsible for selling the crop at market. Younger brother Spunk (Everett McGarrity) tags along. Zeke does as he is instructed, and gets good money in return for the family's cotton. However, things go wrong when Zeke is tempted by beautiful grifter Chick (Nina Mae McKinney) before he can return home with the cash. She and her partner "Hot Shot" proceed to cheat Zeke out of his money. Zeke reacts violently when he discovers that he has been had both romantically - hurting his pride, and financially - hurting his entire family. Violence begets violence, and a tragedy ensues that brings about Zeke's religious conversion. He becomes a preacher, and takes up with a girl that is on the straight and narrow, much to the approval of his parents, his own father being a preacher himself. However, Chick soon returns to Zeke's life, at first mocking his conversion, then experiencing conversion herself while listening to Zeke preach. However, it seems Chick is just born to be bad. She tempts Zeke away from his devout girlfriend and his preaching, and eventually leads him to tragedy once again. After Zeke finishes his prison sentence for the violence he has wrought, he is seen being welcomed back into the loving arms of his family - a prodigal son returning.
Although the movie does give us a rare glimpse into Black culture in the south during the early twentieth century, the story being told transcends race and time. It has much to say about how men and women of the cloth are only human and religious conversion often has only a temporary effect on changing a person's behavior when it comes to the temptations of everyday life.
If you get your hands on the DVD of the film - unfortunately now out of print - there are two musical numbers sung by Nina Mae McKinney really showcasing her talent. One is "Pie, Pie Blackbird" and the other is "The Black Network". Unfortunately this is as close to fame as beautiful Nina Mae McKinney could ever get in America at the time. Highly recommended as a tale told with heart by King Vidor and performed by a stellar African American cast.
The film opens as a family of sharecroppers, the Johnsons, have just finished harvesting the year's cotton crop. Being the oldest son, Zeke (Daniel L. Haynes) is responsible for selling the crop at market. Younger brother Spunk (Everett McGarrity) tags along. Zeke does as he is instructed, and gets good money in return for the family's cotton. However, things go wrong when Zeke is tempted by beautiful grifter Chick (Nina Mae McKinney) before he can return home with the cash. She and her partner "Hot Shot" proceed to cheat Zeke out of his money. Zeke reacts violently when he discovers that he has been had both romantically - hurting his pride, and financially - hurting his entire family. Violence begets violence, and a tragedy ensues that brings about Zeke's religious conversion. He becomes a preacher, and takes up with a girl that is on the straight and narrow, much to the approval of his parents, his own father being a preacher himself. However, Chick soon returns to Zeke's life, at first mocking his conversion, then experiencing conversion herself while listening to Zeke preach. However, it seems Chick is just born to be bad. She tempts Zeke away from his devout girlfriend and his preaching, and eventually leads him to tragedy once again. After Zeke finishes his prison sentence for the violence he has wrought, he is seen being welcomed back into the loving arms of his family - a prodigal son returning.
Although the movie does give us a rare glimpse into Black culture in the south during the early twentieth century, the story being told transcends race and time. It has much to say about how men and women of the cloth are only human and religious conversion often has only a temporary effect on changing a person's behavior when it comes to the temptations of everyday life.
If you get your hands on the DVD of the film - unfortunately now out of print - there are two musical numbers sung by Nina Mae McKinney really showcasing her talent. One is "Pie, Pie Blackbird" and the other is "The Black Network". Unfortunately this is as close to fame as beautiful Nina Mae McKinney could ever get in America at the time. Highly recommended as a tale told with heart by King Vidor and performed by a stellar African American cast.