testing the waters
by Douglas
Messerli
Spencer
Williams (screenwriter and director) The
Blood of Jesus / 1941
Made of a budget of just $5,000, its
writer-director Spencer Williams—later known for playing Andrew Hogg Brown on
the Amos‘n’Andy radio show—didn’t
have enough even to shoot new scenes for his vision of the heavenly gates—borrowing
instead from images of an Italian filming of L’Inferno—let alone the skill or possibility of properly setting
and lighting his picture. In short, the film is often crude and rudimentary.
Nonetheless, the simple tale about the
damned and the saved, displays a simple charm that often appears in outsider
art. Moreover, in its gentle mix of the deadly serious and the joyfully comic,
it documents a way of life that was perhaps already over by the time the film
was made. And particularly in its numerous renditions of standard religious
songs such as “All God’s Children Got Shoes,” “Amazing Grace,” “Go Down,
Moses,” “Good News!” “I’ve Heard of a City Called Heaven,” and “Run, Child, Run,”
Williams’ work can almost be seen as testament to Southern black music and
culture.
At the crossroads between Hell and Zion
Martha fortunately strays from her destined path by visiting the nearby city,
filled with nightclubs and bordellos, where we get to see, much to our delight,
an acrobatic dancer, a jazz singer, along with the close-dancing couples of the
bordello. Mostly the misled Martha simply sits back and smiles; the city is
clearly more entertaining than the preachifying country life. But when she’s
hired as a bordello dancer (whose jobs appear to be more in the line of robbing
the customer’s wallets than in providing them with sex), she hangs back,
inexplicably staring for a long while out of the upstairs window. Ordered to
enter into action, she quickly dons a new dress and attempts to escape,
followed by the road house denizens who believe her to be a fleeing robber.
The fact that this was one of the few
all-Black films in a time Hollywood used Black actors primarily as maids,
butlers, and drivers, of course, gives this work a great deal of significance,
despite its often clumsy story-telling. But what is truly amazing is just how
similar this straight-forward fable is to the far more sophisticated all-black
film directed by a young Vincente Minnelli just three two years later, Cabin in the Sky. Indeed, one might
almost suggest that Williams’ film tested the waters, so to speak, for the lure
of black and white audiences to both the religious subject and the racial
makeup of its actors, which ultimately broke down the color barriers for
artists such as Lena Horne, Ethel Waters, Eddie Anderson, and soon after,
Eartha Kit and Sidney Poitier.
Los Angeles, June 8, 2015
Reprinted
from World Cinema Review (June 2015).
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