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C[ Vidor has assembled these players for "Hallelujah" : Fannie De Knight, Daniel Haynes, Honey Brown, and Harry Gray, eight-six years old and formerly a slave.
"Hallelujah/
About King Vidor's New Picture
By Val ^Lewton
HY didn't I think of that?" is the probable of all the races and classes which make up a part of the query of the film impresarios as they throw American scene is the one whose story should be told by a glance over the studio fence and see King means of sound pictures.
Vidor hard at work on "Hallelujah," the Vidor, a Southerner, has for a long time looked forward first serious picture to be made with an all-Negro cast, and to the day when he could film the first all-colored film, which will bring the sweet sounds of plantation melodies, With the advent of sound pictures he saw his opportunity
to make such a film opened to him in a more effective way than he had hoped for. Having once made up his mind to film a Negro story, Vidor, who holds that motion pictures should be written with a camera rather than with a pen, began to revive his memories of the South and of Negro life. Soon he had recalled enough incidents to furnish him with one of the most dramatic stories ever prepared for motion pictures.
The music and tempo of the "spirituals"; the work songs, the hymns, the heartbreaking "blues" — will all be recorded.
the furious cadences of revival meetings and the weird tones of Negro spirituals to those theatres which are equipped with sound devices. It is generally conceded in Hollywood that the young director of "The Big Parade" has picked the subject and theme most suitable for representation in sound pictures.
One can hardly think of the Negro without thinking of his influence on American music; one can hardly picture him at work without at the same time imagining the song on his lips. Therefore, it is clear that the Negro
(C The young director of "The Big Parade," King Vidor, himself a Southerner, rehearses Honey Brown and Daniel Haynes for "Hallelujah," his all-colored epic.
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