Paradise in Harlem

Singing, dancing and music performances by veterans of the colored vaudeville and nightclub circuit is the main attraction. The film probably the only scene from Othello with the dialog delivered in the a cappella gospel style. The acting is quite acceptable as are the sets, though the rock bottom budget shows through in places.

Paradise in Harlem was one of 50 films in one of those big packs of older movies. Perhaps it's not a good idea to sit down and watch the whole pack, without watching something completely different just to clear the palate. I had watched 4 or so of the films in the pack, and most were excruciatingly awful. Then I hit Paradise in Harlem, and it was like a breath of fresh air. Real people doing real things. Yes, there were stereotypes. On the other hand, John Candy could have been considered a stereotype. The characters were varied and had ups and downs. They didn't just stumble into good luck through deus ex machina. I just really liked this film. I could watch it and enjoy it and appreciate it. One little thing that I really liked--the filmmakers did not put us through Lem's no doubt silly, embarrassing vaudeville act; you saw only his makeup, which told you all you needed to know about his act.

With this month being Black History Month, I thought I should once again review some films featuring African-Americans, only this time it won't be in chronological order like I did in previous years. In this one, Frank H. Wilson plays Lem Anderson, a Minstrel performer with ambitions of doing serious drama like Shakespere's Othello. However, he gets sidetracked when he witnesses a mob hit and has to hightail it out of Harlem after his wife dies. I'll stop there and just say that not all is somber as plenty of musical numbers by the likes of Mamie Smith, Edna Mae Harris, Bebe Matthews, Juanita Hall, and Lucky Millinder abound. Oh, and Francine Everett plays a character actually named Desdemona! In summary, while amateurish, Paradise in Harlem was still quite a compelling drama with many entertaining musical numbers. P.S. As a Chicago native, I'd like to note that Lucky Millinder was raised there and played in several venues in those areas when starting out.

The director, Joseph Seiden, started as a cinematographer in silents. In the 1930's and 40's he was the leading producer of Yiddish films in the United States. This was the first film that he directed. Seiden gets excellent performances from his cast. Some of it is stereotyped, but a great deal is honest, raw and human.

The movie is low budget, but has a documentary feel that adds to the realism. The story mixes gangsters with a Church trying to put on a version of "Othello," It isn't realistic, but it works as melodrama.

Frank H. Wilson is the star. He starred with Paul Robeson in the "Emperor Jones" in 1932 and with Rex Ingram and Eddie Rochester Anderson in "Green Pastures" in 1936. Sadly, he only played a few bit parts after this. He really creates a touching character as Lem Anderson, a vaudevillian trying to become a serious actor. He brings off the role with intelligence and sweetness.

Edna Mae Harris also stands out in a small but important role.

I believe that Orson Welles staged an all Black Othello in Harlem around the time that this movie was made. I'm pretty sure this film was partially based on that event.

MAMIE SMITH has second billing, but her tiny part as a boarding house keeper is a background character with brief scenes. She sings two songs: (1) LORD, LORD; and (2) HARLEM BLUES (a modernized version of her signature song, "CRAZY BLUES" which had been recorded in 1920 and touted as the "first" song recorded by a black woman; not entirely true). She is another show business mystery. Hollywood filmmakers should have employed her (as they did her contemporaries, ETHEL WATERS and HATTIE McDANIEL) in major drama, musical and comedy productions.