할렐루야 (1929년 영화)

3. 등장인물

3. 1. 주연

• 다니엘 L. 헤인스 - 지크 역
• 니나 메이 맥키니 - 칙 역
• 윌리엄 폰테인 - 핫 샷 역
• 해리 그레이 - 목사 역
• 패니 벨 드나이트 - 엄마 역
• 에버렛 맥개리티 - 스펑크 역
• 빅토리아 스피비 - 미시 로즈 역
• 밀턴 디커슨
• 로버트 코치
• 월터 테이트 - 존슨 아이들 역
• 딕시 주빌리 싱어스

3. 2. 조연

3. 3. 기타

4. 제작

킹 비더는 할렐루야를 만들기 전 수년 동안 흑인 배우만으로 구성된 영화를 만들고 싶어했다. 그는 수년간 그 아이디어를 제시했지만 "스튜디오는 계속 거절했다."^[7] 1928년, 비더는 그의 영화 군중을 홍보하기 위해 유럽에 있었는데, 미국에서 발성 영화가 등장한다는 소식을 들었다. 그는 흑인 배우들로 구성된 캐스트가 브로드웨이에서의 성공을 거둔 후 "흑인 영가"를 부르기를 원했다.^[8]

비더는 당시 MGM의 사장이었던 니컬러스 쉔크를 설득하여 흑인들의 성적 일탈을 묘사하는 영화로 프레임을 짜서 영화 제작을 성사시킬 수 있었다.^[7] 비더는 남부에서 어린 시절을 보냈을 때 목격한 실제 사건을 바탕으로 이 영화를 제작할 영감을 받았다. 그는 아칸소, 멤피스 및 캘리포니아 남부의 MGM 스튜디오에서 촬영을 시작했다.^[8]

주인공 지크 역을 맡은 다니엘 L. 헤인즈는 쇼 보트에 단역으로 출연했고, 치크 역을 맡은 니나 메이 매키니 또한 코러스 걸 중 한 명으로 브로드웨이 무대에 섰을 뿐이었다. 이 두 사람을 비롯해 출연하는 흑인 배우들 모두 영화 출연은 처음이었음에도 불구하고, 비도 감독의 뛰어난 연기 지도하에 훌륭한 연기를 보여주었다.

또한 어빙 벌린이 작곡한 "길의 끝에서 기다리고 (Waiting at the End of the Road)"와 "스와니 셔플 (Swanee Shuffle)"이라는 두 곡의 주제가와 함께 "고잉 홈 (Goin' Home)" 등 전승적인 흑인 영가가 여러 곡 사용되어 흑인 사회의 드라마를 그린 작품에 훌륭한 효과를 나타냈다.^[39]

4. 1. 개발

4. 2. 음악

5. 평가

''할렐루야''는 상업적으로나 비평적으로 성공했으며,^[9] 들을 수 있는 대사와 흑인 출연진의 조합이라는 두 가지 획기적인 측면에서 동시대 영화와 차별성을 가졌다.

모도언트 홀은 ''뉴욕 타임스''에 흑인 출연진에 대해 호의적으로 평가했지만,^[11] "흑인들의 특유의 전형적인 종교적 히스테리와 그들의 잘 속는 성향을 묘사"했다는 비판적인 시각도 드러냈다.^[12] 이러한 평가는 당시의 시대상을 반영하며, 오늘날에는 다르게 평가될 수 있다.

5. 1. 초기 반응

5. 2. 비판적 시각

5. 3. 긍정적 시각

5. 4. 니나 메이 맥키니와 "창녀" 캐릭터

6. 영향

유럽에서는 열광적인 높은 평가를 받았으며, 프랑스의 영화 잡지 "르베 뒤 시네마"는 이 영화에 대한 특별호를 발행하기도 했다.^[39]

참조

_[1] 서적 The Oxford History of World Cinema https://archive.org/[...] Oxford University Press 1997
_[2] 서적 The Talkies: American Cinema's Transition to Sound, 1926–1931 University of California Press 1999
_[3] 웹사이트 Cinematic Classics, Legendary Stars, Comedic Legends and Novice Filmmakers Showcase the 2008 Film Registry https://www.loc.gov/[...] 2020-10-13
_[4] 웹사이트 Complete National Film Registry Listing https://www.loc.gov/[...] 2020-10-13
_[5] 웹사이트 Berlinale 2020: Retrospective "King Vidor" https://www.berlinal[...] 2020-02-28
_[6] 서적 Blacks in Films Littlehampton Book Services Ltd 1975
_[7] 서적 Forgeries of memory and meaning : Blacks and the regimes of race in American theater and film before World War II University of North Carolina Press 2007
_[8] 뉴스 ANOTHER NEGRO FILM: King Vidor Realizes Ambition by Making "Hallelujah," an Audible Picture His Ambition. 1929-06-02
_[9] 문서 The Speed of Sound: Hollywood and the Talkie Revolution 1926-1930 Simon and Schuster 1997
_[10] 서적 The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine Dover Publications
_[11] 뉴스 Vidor's Negro Film: Hallelujah" Reveals Adroit Blending of Photography and Dialogue. 1929-08-25
_[12] 뉴스 Vidor's Negro Film: Hallelujah" Reveals Adroit Blending of Photography and Dialogue. 1929-08-25
_[13] 웹사이트 Midnight Ramble: The Negro in Early Hollywood Introduction http://www.moderntim[...] 2016-11-11
_[14] 문서 Silver,2010 Baxter, 1976 p. 43 Thompson & Boardwell, 2010 Reinhardt, 2020: Reinhardt quotes Lisa Gotto, critic for the Retrospective at the Berlin Film Festival: Vidor’s film “is not without problems...combining the revolutionary potential of sound technology with a reactionary view of African-American life.” Smith-Shomade, 2002 p. 9-10 Sherrod & Stafford, TMC
_[15] 문서 Donald Crafton, ''The Talkies: American Cinema's Transition to Sound, 1926–1931'' (Berkeley: University of California Press, 1999), p. 405. {{ISBN|0-684-19585-2}}
_[16] 문서 Thompson & Bordwell, 2010: “Hallelujah is available on DVD from the Warner Brothers Archive Collection. Unfortunately the company has chosen to put a boilerplate warning at the beginning that essentially brands ''Hallelujah'' as a racist film.”
_[17] 문서 Durgnat and Simmons, 1988 p. 98-99: “Vidor’s sympathetic interest in Southern blacks...” Thompson & Bordwell, 2010: Vidor “acknowledged that a gripping melodrama could be just as entertaining with an all-black cast as an all-white cast. That is, entertaining to those outside the deep South, where exhibitors refused to play the film, robbing it of its chance to become profitable.” Sherrod & Stafford, TMC: “As expected, Hallelujah was banned by the Southern Theater Federation…”
_[18] 문서 Lecomte, 2010, p. 13-14: “[[William Wellman]] displayed a social consciousness that could only be matched by mavericks such as King Vidor, [[Charlie Chaplin]] or [[Orson Welles]], all of whom eventually paid a heavy price for it... He understood the mind of underdogs – and like King Vidor – felt sympathy for them."
_[19] 문서 Reinhardt, 2020: “Vidor demonstrates his powerful humanitarian approach and his opposition to racism...In Hallelujah, Vidor sincerely and evocatively reveals the emotional world of his characters, [confirming] universal, complex sentiments.”
_[20] 문서 Thompson & Bordwell, 2010: “The crew was racially mixed, including an assistant director, Harold Garrison, who was black. More importantly, the musical director, responsible for the many musical numbers, was Eva Jessye, the first widely successful black female choral conductor. A few years later she would participate in the premiere of [[Virgil Thomson]] and [[Gertrude Stein]]’s ''[[Four Saints in Three Acts]]'', and alongside [[George Gershwin]], she was musical director for ''[[Porgy and Bess]]''."
_[21] 문서 Silver, 2010
_[22] 문서 Smith-Shomade, 2002 p. 9-10
_[23] 서적 America's film legacy : the authoritative guide to the landmark movies in the National Film Registry https://archive.org/[...] Continuum 2010
_[24] 서적 Shaded lives : African American women and television https://archive.org/[...] Rutgers University Press 2002
_[25] 문서 Thompson and Bordwell, 2010
_[26] 문서 Smith-Shomade, 2002 p. 9-10
_[27] 문서 Bogle, 2001 p. 31: Nina May McKinney, “executing sensuous bumps and grinds in the famous cabaret in ''Hallelujah'' was the movies’ first black whore....”
_[28] 문서 Smith-Shomade, 2002 p. 9-10: “...first colored harlot“ in Vidor’s film.
_[29] 서적 Toms, coons, mulattoes, mammies, and bucks : an interpretive history of Blacks in American films https://archive.org/[...] Continuum 2001
_[30] 문서 Bogle, 2001 p. P. 31, p. 33: “Nina May McKinney, 'executing sensuous bumps and grinds in the famous cabaret in ''Hallelujah'' was the movies’ first black whore....Almost every black leading lady in motion pictures owes a debt to the playfully sexy moves and maneuvers of McKinney’s character Chick.' And: McKinney 'emerged as the first black actress of the silver screen.' And 'Vidor [acknowledged] that it was McKinney’s performance that more than any other actor’s helped carry ''Hallelujah'' to its success... ' M-G-M was so impressed they signed her to a five-year contract."
_[31] 문서 Reinhart, 2020: "Nina Mae McKinney, only 17 or so at the time of filming ''Hallelujah'' and a remarkable performer, appeared in the Broadway show ''Blackbirds of 1928''."
_[32] 문서 Thompson & Bordwell, 2010: "Nina Mae McKinney, also coming from a stage career".
_[33] 문서 Campbell, 1999: "the key elements in what was to become [a] recurrent tale, depicts the woman who descends into prostitution – to which a negative sign is almost invariably attached – as a figure of pathos." And: "Poverty may be the primary factor in the decision to venture into prostitution, as in ''[[Out of the Night]]'' (USA, 1918)...''[[The Painted Lady]]'' A(USA, 1924), ''[[The Red Lily]]'' (USA, 1924), ''[[The Salvation Hunters]]'' (USA, 1925), and ''[[The Joyless Street]]'' (Germany, 1925)." And: "In most industrial and post-industrial societies...these [Victorian] premises were well under way to obsolescence by mid-century. As a result, the concept of a loss of chastity leading inexorably to prostitution became no longer tenable. Most films with a fully-developed fallen woman pattern were in fact produced prior to 1940."
_[34] 문서 Campbell, 1999: “In the representation of the female prostitute in the cinema, the earliest archetypal narratives to emerge are those of the fallen woman and the white slave...tracing the fate of the innocent young woman lured into forced prostitution….[I]t carried a powerful appeal throughout the silent era but tailed off during the early years of sound..."
_[35] 문서 Campbell, 1999: "Complicit to an indeterminate extent in her downfall, the fallen woman in the cinema often has a sense of fun which mitigates her newly acquired cynicism." Lecomte, 2010, p. 1-2: "A spate of 'vice films' ...was released during the [[Pre-Code Hollywood|pre-Code years]]. Prostitutes, ladies of leisure, street walkers, and tramps, as the borderline women of depression America, flourished on the Hollywood screen of the period. The figure of the prostitute in film drama is largely a cinematic artifact and cannot be primarily construed as a countersign of reality."
_[36] 서적
_[37] 서적
_[38] 서적
_[39] 서적 映画史上ベスト200シリーズ・アメリカ映画200 キネマ旬報社 1992-05-30
_[40] 간행물 キネマ旬報 キネマ旬報社 31-06-01