Moviecut—The Emperor Jones

The Emperor Jones_720p(480P)

source: The Emperor Jones

The Emperor Jones

As an actor Paul Robeson makes a damn fine singer. That's better than the other lousy actors in this poor film.

A badly mutilated version of a mediocre play, but it still gives a taste of Paul Robeson, and this alone makes it worth watching. Anybody who doubts either Robeson's ability or the destructive effect of racism should see this film; here's an actor, who, but for racism, would have outdone practically all of the conventional white leading men of the 30's.

Based on a Eugene Oneill story. Although the trivia tells us the story was changed considerably. Stars Paul Robeson, Dudley Digges, Frank Wilson. Brutus Jones ( Robeson) has been sent to jail for murder. He escapes, and heads to the islands. Through brains and trickery, he ends up emperor. But is being emperor such a good thing? Will his past catch up to him? It's quite good, in spite of all the derogatory names for african americans being thrown around. It certainly was a reflection of the times. Co-stars Fredi Washington, who is probably best known as Delilah's daughter in Imitation of Life (the good one, from 1934.) and imdb lists Billie Holiday and Jackie Mably in the cast as extras, uncredited. Harold Nicholas is the young tap dancer in the club, about 15 minutes in. Directed by Dudley Murphy and Bill DeMille (the older brother!)

A chance to see perhaps the greatest singing actor of all time. Robeson is robust, young and strong in this picture and the second he is on the screen the film is illuminating and great. Not to be missed. You can feel that robeson was a great athlete in the way he moves around. A combination of Marlon Brando and Otis Redding. Just ridiculous-- the talent, the craftsmanship in his singing, the meticulous way he picks up props. Also, it's wonderful to see him interact with others. There is something so soft, gentle and compassionate-- even in his acting.

Unscrupulously ambitious Brutus Jones escapes from jail after killing a guard and through bluff and bravado finds himself the emperor of a Caribbean island. Apparently, when this film came out it was controversial in black communities because of the use of the n-word, and even Paul Robeson went on to say he "regretted" the picture. Strange that today (2016) we celebrate the film as a great achievement. Indeed, regardless of any racism or stereotypes, we have to marvel at the achievement of making a film with strong black characters in 1933. Has any other film even come close to this around the same time? I don't think so. Black actors were still largely used for comic relief up through the 1940s!

Not a great deal of the O'Neill play is retained in this adaptation, and I thought that climax was the least effective portion of the film despite its tinted visuals and stereo sound effects. The preceding 45 minutes, enhanced by Robeson's virile presence and his superlative singing, were much more impressive. Just about every scene took place at night where Haller's noirish photography contributed to the fascinating atmosphere. Once we arrive on the island, however, and are confronted by Dudley Digges as a stage Cockney and other theatrical contrivances, the narrative's admirably headlong pace not only slows down considerably, but the movie itself starts to fall apart—although we still have some great moments as the vain Jones takes over the kingship and attempts to bleed the natives white.