Song of Freedom

Greetings And Salutations, and welcome to my review of Song Of Freedom. Before we get into it, here are my ratings:

Story - 1.50 Direction - 1.25 Pace - 1.25 Acting - 1.25 Enjoyment - 1.25

TOTAL - 6.5 out of 10

Song Of Freedom surprised me by putting a smile on my face and a warmth in my heart. For a 1936 film about one African man's dream to find himself and help his people, I wasn't expecting much. Blissfully, I received so much more. The story is well written, intelligent, and finely structured. And not only does it address a couple of major issues it did so at a time other writers, directors, and producers would have steered clear of the subject matter. For one, it's the story of a black man, and Paul Robeson plays the part of John Zinga perfectly. Though it's not only this issue that's highlighted. John has a wife, Ruth, who is portrayed forcefully by Elisabeth Welch. Ruth is a powerful outspoken woman who speaks her mind. In 1936 this was pretty much unheard of, a strong female lead. And, she is a lead. Ruth, being finely constructed, works superbly alongside her husband, John. When they are on the screen together, they demand your attention. It's an ideal pairing of an actor and actress with their characters.

But my delight didn't stop there. The director does an admirable job in putting the tale onto celluloid. Even the stock shots of crowded theatres fit in the movie without drawing undue thoughts. He uses light and shade sublimely to build the tension and unease, especially in the night sequences and imprisonment scenes. But don't get me wrong, it's not perfect. As was the standard back then, whenever there was a chase scene - in Song it's on foot at the start - they speed the film up, giving the segment a Keystone Cops feel, which is terrible. However, it's only a slight thing, so it's easy to accept it and still enjoy the picture.

But, by and far, one of the most pleasurable things about Song Of Freedom is the cast. These actors and actresses are brilliant, and there are no small parts. In one scene, John has invited one of his dockworking buddies to watch his on-stage performance as he's made it as a famous singer. He's talking to him and his wife when he's interrupted by a Lord who may know the secret to the mysterious song that John keeps singing. The dockworker and his wife depart, but not before doffing his cap to the lord and giving an awkward curtsey - the look on the wife's face is outstanding. These trivial elements add depth and believability to the film.

Though I'm not a great fan of musicals, Song is not a typical musical. The music is not integrated into the telling of the story. The music is there because John Zinga is a singer. And a bloody good one at that. Though I will say, Robeson does sound better at acapella than with accompaniment. I would highly recommend Song Of Freedom to anyone who enjoys this style of drama. I thoroughly enjoyed it and will be revisiting it soon.

Please feel free to visit my Dramatisation Of Life to see where I ranked Song Of Freedom.

Take Care & Stay Well.

Although no-one could call this a great movie, it is of compelling historical interest. At a time when Black people in the movies were servants or scoundrels, Paul Robeson portrayed a London dock-worker who is discovered by an impresario and launches a great singing career; after that, he goes to Africa to bring education and enlightenment to the tribespeople.

It's easy to be harsh on this movie; it shows the people of Africa as benighted savages in need of guidance (only this time they get it from Robeson, playing an Afro-cockney). The whole second half plays in tropical-adventure mode, with all the clichés of the 1930s.

But you have to realize that the film's sympathies are with the London dock-workers, black and white; it goes to great lengths to show them treating each other with friendship and respect, and this is the most notable part of the story. Everyone else is a caricature - the impresario, the aristocratic explorer, the witch-doctor, and so on.

Anyone who has a tolerance for 1930s films will quickly realize that this is much better than most of them, and is worth a look for many reasons, not the least is the opportunity to hear Robeson's great singing voice. One curious fact is that this is from Hammer Studios, which later became identified with horror films.

A must see for anyone interested in cinema.

This film made Paul Robeson proud, and it also garnered high approval from leading black intellectuals at the time, such as Langston Hughes. In its first half it's very easy to see why. The story is far-fetched, but it shows black people as regular folks amongst the working-class of London, without stereotypes, and the desire on the part of one of them (Robeson) to find out where his ancestors were from. In flashing through a couple of centuries, it also showed a sample of some of the horrors of slavery, and we see a clear link to how that caused Robeson's character to be tragically disconnected from his past.

Hearing Robeson perform six songs was quite a treat, and 5-stars on its own. The second, "Sleepy River," which we see with a montage of people listening to his wonderful voice at night, is particularly stirring. Meanwhile, Elisabeth Welch is such a cutey pie as his wife, and more importantly, she's also a real person and not some mammy/servant stereotype. We even get to hear her reprise the song "Sleepy River" at the end, which was wonderful.

The film falters a bit in its second half when Robeson's character makes his way back to his ancestral island, and discovers it run by superstitious, backward people. The characterization felt troublesome, particularly since Robeson seeks to improve their life with the advances he's learned growing up in a European culture, one the film shows to be superior in every respect. On the other hand, at least it's a black man who has come to do this, and a strong, talented, intelligent black man at that. There is something moving at the heart of wanting to find your ancestral land, and to help the people living there.

I might have knocked my rating down a bit because of the problematic bits, or because the interaction Robeson has with the Africans seemed so implausible, but I kept in mind the film was made in 1936. The contrast of Robeson and Welch's characters to what was being spewed out in Hollywood at the time for African-Americans is striking, and undeniable. I enjoyed watching them here, and for the film's musical numbers and the progress it represented, was glad I saw this.

This movie is about how sheer chance and pure luck and can lead to fame and fortune. Paul Robeson is wonderful. His singing is comparable to that in the 1936 Show Boat, arguably the greatest musical ever made by Hollywood. Paul Robeson is such a commanding presence in this movie that without him this movie could not be made. Also the story is compelling as a man has a chance to fulfill his dream and in the process learn more about himself and his roots. Anyone who gives any thought to their own roots can relate to this movie. It's about a man's quest for cultural and spiritual fulfillment which this movie mots effectively portrays. Also impressive is Elizabeth Welch who plays Mr. Robeson's wife. A good story, well acted, excellent, inspirational songs, all combined to create a great movie.

This was a fairly good film dating back to 1936 from Hammer Productions in Britain. Starring Paul Robeson, whose extraordinary vocal talents are properly utilized. It's the story of a African-Briton living in England after slavery has been abolished in the European nation. He works on the docks and his one dream in life to discover his ancestry in Africa. His interest is fueled by a song that he sings often, be it to his wife or during his job on the docks. A song that he never learned, but as he would put it, was always inside of him. His amazing bass singing voice is over-heard by a theater yuppie and he is quickly recruited to the stage appearing in theatrical productions while utilizing his singing talents. After creating a fan following and with the help of some knowledge from a theater-goer, he decides to finally take the trip to Africa to find his "roots." Overall, the film is good, if not a bit too idealistic. But it doesn't harm the film's integrity and Robeson's great talent as both an actor and singer. Seeing how this film is not known well, I would recommend it. It's not a very long picture; it runs just under and hour and twenty minutes. So take some the time, and find this movie. If not for the film, then do it for Robeson's incredible vocal talents.***