Category: Synopsis

  • Hallelujah

    Synopsis

    [Old Folks at Home]. Zeke Johnson, his brother Spunk and the rest of their family pick cotton on a big plantation. The two brothers are about to go into town to sell their family’s share of the latest crop. A late supper [Dance 1] is interrupted by Adam, Eve and their 12 children. Adam and Eve ask Mr Johnson to marry them.

    While the ceremony is taking place, Zeke forces himself on his adopted sister Missy Rose and kisses her. He immediately apologizes, claiming the devil was in him. [Dance 2].

    The next day, Zeke and Spunk sell the cotton [Waiting at the End of the Road]. Zeke collects $100 and resists the temptation to join a dice game. But he sees a young woman named Chick dancing [Dance 3]. Chick is not interested in him, until she sees his money. Spunk waits for his brother, but he does not return.

    Nina Mae McKinney as the seductive Chick

    Chick takes Zeke to a night spot where she performs [Swanee Shuffle]. Chick introduces Zeke to Hot Shot, a gambler for whom she shills. Hot Shop plays dice with Zeke. Spunk, meanwhile, is searching for his brother. Zeke quickly loses all the money. Zeke accuses Hot Shot of cheating. Spunk enters while they are fighting and is shot and killed.

    Zeke arrives home the next morning with Spunk’s body in the wagon. After the funeral, Zeke repents of his sins and leads the people in prayer [Swing Low, Sweet Chariot].

    Some time later, Zeke has become the prophet Zekiel, a travelling preacher. He arrives in a new town and Chick and Hot Shot are in the crowd. They heckle Zeke, but he confronts and cows them. Zeke preaches to the crowd [(Gimme Dat) Old Time Religion], and Chick begins heckling again, but is eventually moved by Zeke’s preaching [Waiting at the End of the Road]. Later, Mrs Johnson and Missy Rose are shocked when Chick volunteers for baptism in the river. Zeke is tempted by Chick’s presence, but his mother intercedes.

    That evening, Zeke asks Missy Rose to marry him. Elsewhere, Hot Shot tries to stop Chick going to the service, telling her she will always be a sinner, but she beats him with a poker and gets away. At the service, Missy Rose sees that Zeke is still drawn to Chick, and she to him. In an apparent religious ecstasy, Chick seduces Zeke and takes him away with her.

    Months later, Zeke is working in a log mill and living with Chick. But Hot Shot has tracked down Chick and wants her to go with him [St Louis Blues]. Zeke is suspicious, but he still cannot resist her. When Zeke falls asleep, Chick packs a bag and leaves with Hot Shot in his buggy. Zeke chases them, and catches up when the buggy loses a wheel. Chick is thrown from the buggy and seriously injured. She begs Zeke’s forgiveness and dies in his arms. Zeke pursues Hot Shot through a swamp and kills him.

    Zeke spends time in prison doing hard labour. He is released on probation, and returns to his family [Goin’ Home]. They all welcome him back.                       

  • The Broadway Melody (1929)

    Many things make The Broadway Melody (1929) a noteworthy film in cinema history. It was the first feature-length musical: although Warners were filming The Desert Song (1929) at the same time, they held back its release and so missed a further opportunity to make history. 

    The Broadway Melody was also the first musical from the studio that became synonymous with that genre. It was the first musical to win the Academy Award for Best Picture and also the first talking picture to do so, the only previous winner, Wings (1927) having had only a synchronized score and sound effects.

    The Broadway Melody also saw the invention (or perhaps more accurately the discovery) of the playback system, whereby performers in musicals lip-synced to songs they had recorded earlier. The Wedding of the Painted Doll was the film’s biggest production number and Irving Thalberg was so dissatisfied with the original footage that he ordered it shot again. According to Bosley Crowther in The Lion’s Share (1957), it was sound engineer Douglas Shearer who suggested that money could be saved by reusing the live music previously recorded. Pre-recording musical performances went on to become standard operating procedure throughout the classical period.

    The Broadway Melody was the first backstage musical, putting in place many of the tropes that became genre clichés. This includes the convention that the show being staged is almost always a revue rather than a drama; and the recurring dichotomy between highbrow and lowbrow music.

    It also includes the first musical number integrated into a film’s narrative. Eddie sings You Were Meant for Me not on stage but in Queenie’s apartment, to a non-diegetic musical accompaniment, sealing his declaration of love and moving forward the narrative.

     Conversely, The Wedding of the Painted Doll is a template for the extraneous production number, filmed on a large scale and without the participation of the film’s principal players. It is also the first musical number filmed in (two-strip) Technicolor.

    Arthur Freed, who would become MGM’s most important musical producer, made his first contribution to the genre with the seven songs he provided with his partner, Nacio Herb Brown. It is fitting that the trailblazing The Broadway Melody should have used original compositions rather than standards. Freed and Brown provided numbers that complemented the action. The lyrics of the title song, for example

    Broadway, you magic street

    River of humanity

    I have trudged my weary feet

    Down your Gay White Way

    Dreaming a million dreams of fame

    Yearning for you to know my name

    reflect the story and experience of Hank, the character at the heart of the picture.

    The Broadway Melody is unsophisticated to contemporary eyes, even in comparison to musicals made just a few years later. It is also a rare musical that also exists in a silent version, and even the talkie includes intertitles. And it is undeniable that the clod-hopping chorus line would not have made it into a Busby Berkeley number.

    But it is important to remember that, in 1929, Photoplay’s review described it as the film in  which talking pictures found new speed and freedom. Harry Beaumont and cinematographer John Arnold devised a “coffin on wheels”: a soundproof camera booth that was also compact enough to move around the set, enabling a sense of space. In a sense, The Broadway Melody was an experimental film: sound technology improved during the shooting period and it has been noted that the quality of sound recording is much better in the later scenes filmed. Irving Thalberg actually drew attention to the studio’s concern that audiences might be confused by a character bursting into song, accompanied by an unseen orchestra–bewilderingly, a stumbling-block to enjoyment of musicals that continues to this day.  

Social media & sharing icons powered by UltimatelySocial
RSS
WhatsApp
Copy link
URL has been copied successfully!