Hallelujah is a 1929 American Metro-Goldwyn-Mayer musical featuring an all-black cast directed by King Vidor and starring Daniel L. Haynes and Nina Mae McKinney. Filmed in Tennessee and Arkansas and chronicling the troubled quest of a sharecropper, Zeke Johnson (Haynes), and his relationship with the seductive Chick (McKinney), Hallelujah 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 Hearts in Dixie, which premiered several months earlier.) It was intended for a general audience and was considered so risky a venture by MGM 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. Plot: A sharecropper decides to become a preacher after falling for a vamp from the city. Development: Years before creating Hallelujah, 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". Vidor’s was in Europe during 1928 promoting his film The Crowd, 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 Octavus Roy Cohen and others, could have such great success, why shouldn’t the screen make a successful Negro play?" Vidor was able to convince Nicholas Schenck, who was the president of MGM at the time, to get the movie made by framing it more as a film that depicted African American’s sexual deviance. Schenck put it simply to Vidor, "Well, if you think like that, I’ll 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 Arkansas, Memphis and Southern California at the MGM studios. Hallelujah 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 Oscar for the film. 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. The Music: 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. A sequence which is of vital importance in the history of classic jazz is in the dancehall, where Nina Mae McKinney performs Irving Berlin'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. Hallelujah and Black Stereotypes: Hallelujah 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 that Hallelujah exhibits Vidor’s paternalistic view of rural blacks that included racial stereotyping. Reception: 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. Hallelujah was commercially and critically successful. Photoplay 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 direction." Mordaunt Hall, in The New York Times, wrote approvingly of the all-Black cast, stating, "Hallelujah!, 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. Hallelujah entered the public domain on January 1, 2025. Black Excellence:
Dir. King Vidor
