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Alleluja!

Titolo originale: Hallelujah
  • 1929
  • Approved
  • 1h 49min
VALUTAZIONE IMDb
6,7/10
2145
LA TUA VALUTAZIONE
Alleluja! (1929)
Official Trailer
Riproduci trailer1: 37
1 video
22 foto
DrammaMusicale

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
    2145
    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

    6,72.1K
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    Recensioni in evidenza

    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").
    7gbill-74877

    A lot to unpack

    A film that has a lot to unpack, and a lot to consider. It was made with an all-black cast by director King Vidor with what I believe were good intentions, has some fantastic performances, and tells a good story, but it touches a nerve with its stereotypes. What was liberal in 1929 is known to be backwards today, and this is what makes it such a complicated film. I enjoyed it for its positives and would suggest viewers not dismiss the film entirely, but I'll start with acknowledging the problematic parts, at least the way I see them, FWIW.

    As African-American intellectuals like Lorraine Hansberry, James Baldwin, and others explained it so well in the late 1950's, one of the mechanisms white Americans used to cope with the outrageous horror of slavery after it ended was to continue thinking of blacks as somehow different than human. An outright racist considered them lesser, inferior beings. Well-intentioned liberals often embraced the idea that they were a simple, rhythmical people, steeped in Christianity, and possessing a deep wellspring of forgiveness. This reduced the collective guilt over a horror which simply could not be faced, and which to this day has not been reconciled. The liberal view of the day, what we see manifested in this film, is of course preferable to what we might see from someone like D.W. Griffith, but either characterization is dangerous, and robs African-Americans of their humanity.

    In the film, the characters are way too happy being poor and picking cotton. I mean, it's better than 'Gone with the Wind', where they're happy to be the slaves of masters who are portrayed as benevolent and genteel, but it still falls into the trap of thinking of them as just simple folk who like to dance after a long day in the field. See, they're all free and happy now, slavery is over, and we certainly don't need to think about some form of reparations for our part in 300+ years of slavery and the death of upwards of 100 million Africans. The film is trying to give its mostly white audience a window into African-American life, similar to how the 'expedition' films from the period presented Polynesians, Inuits, etc ... many of which were made with cultural condescension, and it's telling that there are no white characters, discriminating against them or terrorizing them, as if they were in their own little bubble, or on an island somewhere. And unfortunately, coming along with the singing, dancing, and revival preaching are stereotypes. One of the worst is in the way the main character (Daniel L. Haynes) simply cannot control himself around women, and one (Nina Mae McKinney) in particular. Even though we may see some of that in white individuals from other films (Lionel Barrymore as a preacher in 'Sadie Thompson' from 1928 comes to mind), here it's associated with such a negative stereotype, the sexual aggressiveness of black men, and amplified by Haynes's eyes twitching in tight shots.

    On the other hand, I think we have to give the film and Vidor some credit too. To make his first sound picture with an all-black cast is impressive. The main story line could have been based on white characters, and we see a range of human emotion and folly. The musical performances and the dancing from the main characters and various others are excellent. Daniel L. Haynes has quite a presence, and his deep voice and preaching style might just convert you if you're not careful. I loved his imitating a train chugging down the tracks in one of his sermons. Nina Mae McKinney is a revelation too - so well-cast, conveying depravity, wildness, deceit, and contrition all very well. It's all the more impressive considering she was just 17 years old when the film came out, and 16 when it was filmed. The acting is a little uneven, consistent for the period, but one thing I noticed was that the performances are uniformly less reserved and restrained, and that along with pretty damn good sound quality results in more energy and vibrancy on the screen - especially as it compares to other early talkies in 1929 and 1930, many of which are incredibly creaky and brittle. I had a little bit of the same feeling I had about 'Stormy Weather' (1943), another film containing stereotypes, that the performances transcended the narrow framework they were placed in.

    Because of all of the concerns about race, I think some of Vidor's great shots in the film get overlooked. He shows us the cotton ginning process, and Haynes up on a huge lumber saw cutting long boards from a tree. He gives a shot of a fantastic drummer in a ragtime band, throwing and catching his sticks as he plays. He shows us the orgiastic gyrations of a wild church scene with excellent camera work, and gives us a chase through a swamp that was likely influential to other filmmakers. Lastly, while McKinney's character falls into the age-old (and misogynistic) temptress type, we also see that she can take care of herself, in one scene beating the hell out of a guy with a fireplace poker after he tries to force himself on her, which despite the violence was frankly great to see.

    The bottom line though ... was this film a step forward? That's hard for me to answer. It's worth seeing and the dialog which probes a little deeper than the extreme positions (e.g. distilling it down to "old-timey racism" or "what's the problem, there's no racism here") is worthwhile. If you want to get a better window into the African-American experience from this period, however, you should check out 'Within Our Gates' (1920) by director Oscar Micheaux.
    6evanston_dad

    Interesting Historical Document, But Not Very Entertaining

    "Hallelujah!" is fascinating from a film history perspective. King Vidor created the first Hollywood film with an all-black cast, and depicted in almost documentary fashion what life was like for poor blacks living in America's deep South. Alas, any interest the film held for me was purely academic -- as a film, it's otherwise rather boring.

    The nominal plot focuses on Zeke, who lives with his large family and helps with their cotton-picking business. We watch him struggle with the demons that plague mortal man -- like gambling and horniness -- give into them, repent, give into them again, repent, and so on, until he comes back at the end to the family who loves him. Indeed, family and religion are the two dominant pillars around which these poor folk anchor themselves, much as they are in any culture. Much of the film consists of long scenes depicting a sermon, a baptism, a local dance. There are countless scenes of characters lifting their hands to heaven, praying to Jesus to guide them. It's all rather dramatically inert, and the film is too long. If you are religious yourself, I imagine these scenes might have a certain power to them. I found all of the weeping and wailing tiresome after a while.

    Credit must go to Vidor, though, for even bothering to make this film at a time when much of America didn't care all that much about the black people. The movie is a memento of the role film can play in leading cultural progress.

    Grade: C+
    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.
    Kieran_Kenney

    Jagged, but a jem through and through

    I probably don't need to go into the historical facts about this movie or the plot, as this had probably been expunded in numerous other comments. Personally I think that Hallelujah is a beautiful and powerful film, sympathetic to African Americans, and I think it's remarkable that it was produced at all.

    Hallelujah is a huge production, with hundreds of extras. The cast was made up of mostly unknowns. Cast members like Fally Belle McKnight and Victoria Spivey apparently never made any other films, and leads Daniel L. Haynes and Nina Mae McKinney were obviously getting started. The cast is very good, I thought, especially Spivey (a veteran of the stage) as Rose. Haynes is okay in the beginning, seeming a little uneven in his role as well-meaning rogue Zeke, but the final scenes allow him to prove the commanding presence he could muster as an screen presence. Nina Mae McKinney is a power-house. A short, curvy beauty with an interesting voice, she has something of a young Myrna Loy. In fact, I just recently saw a still from a Loy film called The Squall where Loy looks an awful lot like McKinney.

    Movies like Hallelujah are an acquired taste. When I first saw it, I was distracted by the crudeness of the sound, the jagged editing and the overall unevenness of the movie. Sure, two or three years later, Hollywood was turning out glossy productions like Red Dust and Blond Venus, with highly polished editing, clear sound and more mobile camera-work, but this is 1929. Sound film-making techniques had yet to be smoothed out. The crinkles of a young process actually add charm to this film, if you know to expect them.

    I'll admit as well that, when I first saw Hallelujah, I was irritated by the voices. There's a lot of screeching from the women, and a great deal of mumbling as well. A second viewing, though, allows one to see past these "irritating" aspects and appreciate the voices for what they are. This way, Fanny Belle McKnight's agonized cries of sorrow and her singing the children to sleep is more touching than it is grating.

    It's hard to know what else to say about the film. For all it's shortcomings, it's a touching film, lyrical even. I think it's a wonderful production, and I doubt it would not have been made much differently by a black director. Plus, one must agree, King Vidor was a far better craftsman than Oscar Micheaux. 9/10

    Trama

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    Lo sapevi?

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    • 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

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

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