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Alleluja!

Titolo originale: Hallelujah
  • 1929
  • Approved
  • 1h 49min
VALUTAZIONE IMDb
6,7/10
2139
LA TUA VALUTAZIONE
Alleluja! (1929)
Official Trailer
Riproduci trailer1: 37
1 video
22 foto
DramaMusical

Aggiungi una trama nella tua linguaA sharecropper decides to become a preacher after falling for a vamp from the city.A sharecropper decides to become a preacher after falling for a vamp from the city.A sharecropper decides to become a preacher after falling for a vamp from the city.

  • Regia
    • King Vidor
  • Sceneggiatura
    • Wanda Tuchock
    • Richard Schayer
    • Ransom Rideout
  • Star
    • Daniel L. Haynes
    • Nina Mae McKinney
    • William Fountaine
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,7/10
    2139
    LA TUA VALUTAZIONE
    • Regia
      • King Vidor
    • Sceneggiatura
      • Wanda Tuchock
      • Richard Schayer
      • Ransom Rideout
    • Star
      • Daniel L. Haynes
      • Nina Mae McKinney
      • William Fountaine
    • 47Recensioni degli utenti
    • 31Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 1 Oscar
      • 3 vittorie e 1 candidatura in totale

    Video1

    Hallelujah
    Trailer 1:37
    Hallelujah

    Foto22

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    Interpreti principali22

    Modifica
    Daniel L. Haynes
    Daniel L. Haynes
    • Zeke
    Nina Mae McKinney
    Nina Mae McKinney
    • Chick
    William Fountaine
    • Hot Shot
    Harry Gray
    • Parson
    Fanny Belle DeKnight
    Fanny Belle DeKnight
    • Mammy
    Everett McGarrity
    • Spunk
    Victoria Spivey
    • Missy Rose
    Milton Dickerson
    • Johnson Kid
    Robert Couch
    • Johnson Kid
    Walter Tait
    • Johnson Kid
    Dixie Jubilee Singers
    • Vocal Ensemble
    Matthew 'Stymie' Beard
    Matthew 'Stymie' Beard
    • Child
    • (non citato nei titoli originali)
    Evelyn Pope Burwell
    • Singer
    • (non citato nei titoli originali)
    Eddie Conners
    • Singer
    • (non citato nei titoli originali)
    William Allen Garrison
    • Heavy
    • (non citato nei titoli originali)
    Eva Jessye
    • Singer
    • (non citato nei titoli originali)
    Sam McDaniel
    Sam McDaniel
    • Adam
    • (non citato nei titoli originali)
    Clarence Muse
    Clarence Muse
    • Church Member
    • (non citato nei titoli originali)
    • Regia
      • King Vidor
    • Sceneggiatura
      • Wanda Tuchock
      • Richard Schayer
      • Ransom Rideout
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti47

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    Recensioni in evidenza

    8st-shot

    Early MGM Soundie gives Voice to an Invisible Culture

    One isn't sure if director King Vidor does more harm than good with the first major film studio sound production featuring an all black cast. While the film marks a progressive first in the industry, negative stereotypes abound. The story (also by Vidor) concerns a family of sharecroppers with the oldest son Zeke as the film's main character. It's a back breaking existence amid orderly squalor but the family retains high spirits in spite of their downtrodden social status.

    After picking their cash crop Zeke along with his younger brother Spunk bring it to market to sell. With cash in hand Zeke decides to let off a little steam at a local dive where he is targeted as a rube by Chick a bar room seductress and her accomplice Hot Shot. He is quickly relieved of his cash by the two and things go from bad to worse when Spunk coming to fetch Zeke is accidentally shot and killed. A devastated Zeke turns to preaching and achieves a sizable following when Chick re-enters and diverts Zeke's spiritual vocation back to carnal desire. He once again abdicates his responsibility and runs off with Chick who soon bored with him once again takes up with Hot Shot, this time with disastrous results for all.

    Hallelujah is a film of great power filled with scenes of incredible passion. A mass baptism down by a lake featuring hundreds of extras and a Saturday night church revival are riveting and daring in their intensity and energy. The church scene in particular is filmed and recorded with an audacious energy unlike any other from the early sound period. The wildness of this scene does however call into question the depiction of American blacks in the twenties by Hollywood. Segregation was very much a part of the American way back then and for many whites this film may have been their first exposure to black culture beyond jazz which was quickly dominating the country's music scene. In addition Zeke the male lead is portrayed as incapable of holding in check his libido while the female lead Chick is presented as an immoral, shameless, conniver.

    In the lead roles Daniel Haynes as Zeke is not much of an actor but he does have an imposing presence and fine baritone voice. Nina Mae McKinney as Chick is a bit over the top most of the time but one has to admire the pluck of her monomania, particularly in one scene where she takes a fireplace poker to Hot Shot, informing him in no uncertain terms that nothing will get in her way of being saved. Fanny Belle DeKnight as Mammy Johnson nobly portrays the family matriarch while Rosa Spivy as Johnson's other love interest suffers with stoic dignity and beatific understanding.

    Vidor must be commended for his desire to make this economically unsound project. He was as big as any director in Hollywood (The Crowd, The Big Parade) at the time and he waived his salary to get it made. His insight into black culture is respectful but at times naively heavy handed. With the best of intentions he does stumble along the way but with Hallelujah he presents us with a valuable document about race perception in that period as well as give a segment of uniquely American culture an opportunity and a stage to be more visible. The problem is there is a good deal of negativity to be found in Vidor's sincere and bold effort.
    mojo2004

    Highly entertaining,thank you TCM

    I want to thank TCM for showing this movie and all others that wouldn't see the light of day. Yes this movie is crude in all phases of a movie coming together today. Since it took place in 1928 it's wonderful. My mother grew up down south in N.C. so yes a lot of Blacks were poor,picking cotton,living in shacks and finding release in either the church and or what was called the "devil's business" ,vice. The first time I saw this movie I wanted to cry, everything was so sad,and ugly but it held my interest. I hated how Zeke abandoned his family and I wanted them to hate him too.The "hootchie mama" Chick was very pretty and had a natural performing talent. I felt sorry for her when she died since she only wanted to be free. Funny thing about the movie is all over the U.S. the same story about Church,Sin, the Man of God, and the Heathen Woman is still going on.I love old movies with shaky film,missing dialouge,unskilled actors and all. It's a walking, talking bit of history unfolding before your eyes. I think as I watch the movie, did any of the actors make something of themselves? was anyone shunned for even doing this? did any church come out for the movie since I know many churches probably were against it. I saw the remark about it being racist and I disagree. It's a fact that Blacks sang as a release from the real world and all the misery that awaited them day after day. What would have been racist is if the actors had been White but in blackface. TCM showed this yesterday 10/5/04 and it's the 4th time I've seen it.I rate this 8/10.
    gayspiritwarrior

    A great movie from a great director.

    It's important to realize this was only the first year of sound pictures. Seen in that light, HALLELUJAH! has a remarkable fluidity, and a freedom from the tyranny of the sound camera that is little short of astonishing. (See "Singin' in the Rain" for a realistic depiction of this problem.) The acting is on a high level, if somewhat dated. King Vidor did an admirable job in depicting his characters' life condition, and was deservedly nominated as Best Director of 1929/30.
    Jaime N. Christley

    A wee bit dated; otherwise a real eye-opener

    There's something hypnotic about good preaching. All that passion, all that energy, whether it's in film or in person, has a cumulative power. It's hard to doubt the spreading power of religion when you see Daniel L. Haynes (this film) or Robert Duvall ("The Apostle"), or read the sermon at the end of "The Sound and the Fury." Feverishly, they try and communicate God's word. They rant, they rave, they speak quickly and with an undeniable amount of integrity. They get the crowd going, usually in whoops and outbursts, and one man's conversation with God becomes a community event. (Indeed, the power of a worked-up crowd is a powerful tool in and of itself).

    That's what's so terrific about King Vidor's "Hallelujah." Everyone's up in arms about one thing or another in this movie, whether it's money, sex, or Jesus. Early in the film there's a rather ludicrous scene where the hero's brother is accidentally killed, due to the hero's folly and hubris. That's his Sin, for which he must Redeem Himself Before God. There's also a woman who represents Temptation, who leads him astray time and time again. In the end there's an extended chase through a swamp, that would be done again in Kurosawa's "Stray Dogs."

    All of that's well and good, but the film really peaks during the sermon sequences. Done wrong, sermons in movies usually pass by unnoticed, or are used as a clothsline to hang lame jokes about apathetic churchgoers. Done right, as in this film, "The Apostle," and the most unusual ones in "Beloved," they can be as captivating as if you were really in attendance. It's a testament to the power of the motion picture.
    6atlasmb

    An Uneven Film, But It Should Be Seen

    "Hallelujah" is a very interesting film. For that reason alone, it should be seen. It has an all-black cast and it was released in 1929, just as sound was first being used in films.

    However, it is a very uneven production. We should give it some slack because of when it was produced, but not to mention its deficiencies would be dishonest. The acting, the lighting, the sound--all are uneven. Sometimes it is distracting, sometimes not.

    Zeke (Daniel L. Haynes) is the central character. He lives with his large family, growing cotton. When the crop is harvested, he and his brother have it processed and baled. They deliver it to the riverboat and sell it on the dock. There in the city, with the money burning a hole in his pocket, he is introduced to some unscrupulous characters. He is naïve and obviously unaware of some basic rules of life and film: Never shoot with another man's dice. Never take a knife to a gunfight. And never, never go for a woman who gives her attentions to the highest bidder.

    The story is filled with clichés and stereotypes, and it frequently drags. It has its compelling moments, like a chase through a swamp. But what bothers me most is the overly-dramatic acting. This is partly due to the fact that many of the scenes were couched in religious fervor. There are revival scenes, baptism scenes, scenes of general praying. In fact, the entire film is presented as a religious parable. Often when the characters speak, it is as if they are preaching. This interferes with the authenticity of the action, making some characters seem more caricatures than real people.

    "Hallelujah" is a musical. Songs accent almost every scene. Most of them are gospel/spirituals. But the two best songs were written by Irving Berlin ("At The End of the Road" and "Swanee Shuffle").

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Although this film is frequently touted as the first black-cast film produced in Hollywood, it is actually predated by the more obscure Hearts in Dixie (1929).
    • Blooper
      When Zeke confronts Chick and Hot Shot and strong-arms them in front of the crowd, the shadow of the microphone falls across Hot Shot as he is pushed to the background of the scene and tries to regain his composure. The shadow of the boom is also visible falling across the extras behind him.
    • Citazioni

      Spunk: You knows you's just jokin'! Why, I never had no new pants in my life. Why, as soon as you grows out 'em, I steps in.

    • Versioni alternative
      MGM also issued this movie in a silent version, with Marian Ainslee writing the titles.
    • Connessioni
      Featured in Fejezetek a film történetéböl: Amerikai filmtípusok - A zenés film (1989)
    • Colonne sonore
      Sometimes I Feel Like a Motherless Child
      (uncredited)

      Traditional Spiritual

      Sung offscreen during the opening credits

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    Dettagli

    Modifica
    • Data di uscita
      • 20 agosto 1929 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Alleluia
    • Luoghi delle riprese
      • Arkansas, Stati Uniti
    • Azienda produttrice
      • Metro-Goldwyn-Mayer (MGM)
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 49 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.20 : 1

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