Body and Soul

Of course, we will never have a chance to see a director's cut of Body and Soul. Were that possible, then we would certainly see a completely different movie.

Many of the obvious flaws in the film were due to Oscar Micheaux's difficulties in getting the production past the censors. Despite the fact that the convict is acting as a minister, the act of showing one in a minister's robes drinking was too much for the time.

Today it would be a matter of getting several million dollars from the studio and re-shooting sections of the movie. Oscar Micheaux did not have this luxury. This meant that he had to use the little money available to him to change a completely unacceptable movie into one that would help pay the bills.

The only way to do this was to add an ending that corrected everything, and cut the sections of drinking, which happened to be crucial to the story. This resulted not only in a lack of explanation for the story and very clumsy movements from one scene to the next.

The drinking scenes have been replaced, which lengthens the film to eight of its original nine reels. This certainly helps, but the alternative ending remains. I am thinking that the director's cut would not have included this and Oscar Micheaux would have a much better movie.

Of course, Paul Robeson drives this movie (his only silent appearance), and moviegoers now know of his brilliant voice. Sans this, his penetrating eyes showed the emotion that must have matched his stage performances, which makes this a movie that can be recommended.

Body and Soul is an interesting film. Paul Robeson makes a powerful debut in this film about an escaped prisoner who blends into a small community as a beloved pastor. This film is an interesting period piece and was written, directed, and starred African-Americans in an era where that sort of thing wasn't done. Audiences today would be shocked at the stereotypical performances of the supporting cast and would be shocked that an African-American made this film. Well worth seeing for movie buffs. Robeson gives a great and powerful performance.

A very moving film for its time.I'm a big Paul Robeson fan and I'm glad TCM shows a lot of films with all Black casts.I think it should be shown along with the 1929 film "Hallelujah".It also has an all Black cast and has religion as its theme but it's not a silent film.This film ran a little too long but I never stopped watching.Touchy subject matter even today.Right on point even today!Even though Robeson found fame who knows what talent the others had that skin color stopped from them also becoming well known.That's why I love these films.The Black Church must have shunned this type of film back them and the actors couldn't have had an easy time of it.I'd call this a silent soap opera.The mother really loved her daughter a whole lot.Mercy!The daughter was the ultimate tragic figure.The Minister.One word-Sinister!

BODY AND SOUL (1925) is the third of Oscar Micheaux's surviving silents, with a cast exclusively comprised of African-American actors. It tells the story of Isaiah Jenkins (Paul Robeson), a phony reverend who preaches to a congregation in a small town in the American South, who is really an escaped convict. The locals look up to him, including Martha Jane (Mercedes Gilbert). Martha tries to push her daughter, Isabelle (Julia Theresa Russell) into marrying the reverend, even though she is already seeing his twin brother Sylvester (also played by Robeson). Isabelle, though, sees that he is not as pious as he appears to be. An incident takes place between Isaiah and Isabelle that drives Isabelle away from home, and Martha Jane is forced to confront an unpleasant truth she never would have imagined...

I felt that this was the best of Micheaux's surviving silent movies. The narrative is straightforward and easy to follow, without being burdened by excess characters or lengthy explanations. As was common with many silents, there are some melodramatic contrivances at times but nothing really insulting. Micheaux's narrative here is well focused and a flashback scene makes the movie more powerful. Paul Robeson is the main standout here, with a very charismatic performance as the fake preacher, alternately charming, intimidating, and aggressive – his acting is very expressive. Mercedes Gilbert, a famed black stage actress of the time, also does some nice work as the mother who has to accept that appearances can be deceiving. Some of her gestures and expressions are very much of her time, but she still projects a magnetism and emotional sincerity that makes her work convincing. Julia Theresa Russell is a bit more low-key, quite naturalistic in her portrayal.

Micheaux has some very effective camera-work here, particularly in the flashback scene which conveys disturbing events well with just a minimum of imagery and skillful editing. Not all of the editing here is superb, though – there are a few awkwardly staged moments, like a poorly choreographed fight scene and occasional repetition of action. However, despite that, the movie has an abundance of outstanding scenes.

BODY AND SOUL is, in conclusion, an advance over Micheaux's previous silents WITHIN OUR GATES and THE SYMBOL OF THE UNCONQUERED. It succeeds because of a focused, straightforward story, charismatic performances, and skillful production. SCORE: 8/10

I learned of Oscar Micheaux from Melvin Van Peebles's documentary "Classified X", about the history of cinema produced and directed by African-Americans. I recently saw Micheaux's "Veiled Aristocrats", and have now seen his "Body and Soul".

For the most part, it's a good movie, with Paul Robeson playing a con artist posing as a clergyman. However, there's one thing that's grating about it, and this might just be a 21st-century view of it: the dialogue on the intertitles. It sounds like stereotyped depictions of African-Americans. Maybe Micheaux was writing the actors' actual dialects, but to me it sounded like it came from a minstrel show. On that subject, after Willie Mays died recently, Keith Olbermann recalled a phone that he'd had with Mays, where Mays affected what sounded like a minstrel show voice (Olbermann didn't imitate it, noting that for a white person to do so would sound incredibly racist).

Anyway, it's an okay movie on its own, with fine performances all around. Just remember that the dialogue on the intertitles sounds cringey nowadays.