The Blood of Jesus

I enjoyed this movie much more than I thought I would. It seems that the

cast had little to work with (sets, costumes, etc.) but they did a

pretty decent job. Once I started it I could not keep my eyes off of it. I saw lots of good camera work that I would not have expected from a low budget movie. The message today might seem kind of hokey to "modern" minds, but for its day and time it was pretty much right on target.

"The Blood of Jesus" is a 1941 "race film" produced, directed, and starring black people and designed to be shown in theatres that served black people during a time when segregation still ruled in many parts of the US. It was written and directed by Spencer Williams (1893-1969) who also is featured as the husband of a woman (Cathryn Caviness) undergoing a spiritual challenge.

Williams is best known for playing Andy in the wonderful "Amos and Andy" TV series (1951-3), but his work as a major star and director of race films has been largely forgotten. Williams appeared in dozens of films from 1928 through 1947 and directed 12 films, including this one.

The film was made with a $5000 budget, provided by Williams. The actors are non-professionals, many of them taken from a local church group, the Reverend Robinson's Heavenly Choir. The story is taken from Southern Baptist folk lore and centers on the struggle for the soul of Cathryn Caviness, who lies dying after being accidentally shot by Williams. Caviness' soul is tempted by an over-the-top Satan (Jas. B. Jones) while a sweet angel (Rogenia Goldthwaite) tries to keep her on the moral road.

There are a few special effects, but generally the acting and photography are what you'd expect with a $5,000 budget. What makes the film valuable is the anthropological value of watching life for Southern Blacks – their music, their dance joints, their belief systems, their language, etc. We even get to observe a baptism. In 1991 the film was selected as part of the Library of Congress National Film Registry.

An atheist accidentally shoots his Baptist wife. She dies and goes to a crossroads, where the devil tries to lead her astray.

"The Blood of Jesus" was produced in Texas on a budget of $5,000. To present the afterlife, Williams used scenes from a 1911 Italian film called "L'Inferno" that depicted souls entering Heaven. A wise way to save on the very limited budget.

For years, "The Blood of Jesus" was considered a lost film until prints were discovered in the mid-1980s in a warehouse in Tyler, Texas. Although not a great film (the Satan costume is silly), it does do a nice job capturing Southern gospel culture. Many, many hymns are sung, and although they may not have changed much in the past 70 or so years, this makes for a great set piece on African-American religion practices.

Perhaps it's best to think about "The Blood of Jesus" as a great piece of "naïve" art. The technique is primitive, but its content reveals to us the deep spirituality of the people portrayed--a kind of ethnographic study against a background of two contrasting (but maybe not so contrasting) musical forms: Negro Spirituals and swinging jive and blues.

The story plays out like a children's fairy tale, with the forces of righteousness and sinfulness given human form--and I must confess that,as an atheist, I sure dug the pleasures to be found at the night club more than the baptismal dunking in the river. Nonetheless, the feelings of rapture conveyed by the choir were so powerful that it had me and my atonal wife singing along with them and saying to myself: "Sinner Repent!." Ultimately deeply moving and strongly recommended.

Fabulous, in more than one sense of that word. A unique and wonderful film. Angels and other visions float in and out of a surreal Southern landscape. The acting is perfectly suited to what is clearly a director's film. The music includes lots of downhome spirituals, and some blues and jazz. The vaudeville scene, with that contortionist woman, is something else. The swing dancing in the jook joint also is terrific. The story is felt more than told. High artistry -- I might have to see it a few more times to really understand it. It also is marvelous to consider what Williams must have gone through to finance and make and promote and distribute this film. True art has a way of getting made and getting out there, somehow.