Nina Mae McKinney Movies
The screen's first black love goddess, she was spotted as a teenager in the chorus line of Lew Leslie's Blackbirds of 1928 and signed to star in King Vidor's all-black musical film Hallelujah (1929). She got rave reviews and MGM signed her to a five-year contract, but she appeared in only two films in that time; there were no good roles for blacks in Hollywood films of the early '30s. She sang in cafes, cabarets, and clubs in Paris, Athens, and Budapest, billed as "the black Garbo." In 1935 she costarred with Paul Robeson in the British film Sanders of the River, then appeared in many all-black independent productions. In the late '40s she had supporting roles in a number of Hollywood films. Her last significant performance was onstage in Brooklyn in the 1951 play Rain, in which she played Sadie Thompson. ~ All Movie Guide- 1986
See some of the greatest early blues and jazz singers do their stuff in this series of three short films: "St. Louis Blues (1929) records the only filmed appearance of Bessie Smith. "Bye Bye Blackbird" (1932) stars Nina Mae McKinney and the dancing Nicholas Brothers with Eubie Blake and His Orchestra. "Boogie Woogie Dream" (1941) presents a young Lena Horne, boogie woogie pianists Albert Ammons and Pete Johnson, and Teddy Wilson's Band. ~ All Movie Guide
Set just after the close of the Civil War, a former Confederate officer (Ray Milland) joins a vaudeville target-shooting show to avoid detection by the Union army. Working his way West, he falls in league with a group of Southern copper-miners being harassed as they try to make a living. ~ John Bush, All Movie Guide
- Starring:
- Ray Milland, Hedy Lamarr, (more)
Elia Kazan directed this, one of Hollywood's early attacks on racism, starring Jeanne Crain as Patricia "Pinky" Johnson. Patricia is a light-skinned black woman who is studying nursing at a New England medical institute. A white doctor, Thomas Adams (William Lundigan), has fallen in love with Patricia and wants to marry her, but Patricia refuses his proposal. Convinced their interracial union would never work out, Patricia believes Thomas would never be able to endure the acrimony that would be heaped upon their marriage. Patricia leaves New England to return to her childhood home in the South, where her grandmother (Ethel Waters) works for rich widow Miss Em (Ethel Barrymore). When Miss Em takes ill, Patricia cares for her. Upon Miss Em's death, it is discovered that she has bequeathed her entire estate to Patricia. Miss Em's family disputes the will because Patricia is black, and a courtroom battle ensues over the estate. ~ Paul Brenner, All Movie Guide
- Starring:
- Jeanne Crain, Ethel Barrymore, (more)
- 1947
Having just come into a $375,000 trust fund on her 21st birthday, former child star Jane Withers certainly didn't need to star in the Pine-Thomas melodrama Danger Street, but she was determined to prove her worth as an adult dramatic actress. Withers and Robert Lowery costar as Pat Marvin and Larry Burke, photojournalists for an employee-owned magazine. Hoping to keep their publication's coffers replenished, Pat and Larry plan to sell a compromising candid-camera photo to another magazine. Unfortunately the purchaser of the photo is murdered, plunging hero and heroine into a complicated mystery. Playing detective, Pat manages to trick a confession out of the killer-but will she live long enough to tell the cops? ~ Hal Erickson, All Movie Guide
- Starring:
- Jane Withers, Robert Lowery, (more)
- 1946
Country-western star Roy Acuff heads the cast of the modest Republic musical Night Train to Memphis. Taking time off from his musical duties, Acuff tries to patch up a feud between a family of hillbillies and a railroad company. Complicating matters is the fact that Roy's brother Don (Allan Lane) has sided with the family against the railroad, all the while romancing Constance (Adele Mara), daughter of train executive Stevenson (Joseph Crehan). For those not interested in bucolic backwoods comedy, the film offers several "funny" African American stereotypes, including Nicodemus Stewart (who later played "Lightnin" on TV's Amos N Andy) and Nina Mae McKinney (who once played the leading role in King Vidor's Hallelujah). Night Train to Memphis was produced by Dorrell and Stuart McGowan, of Death Valley Days fame. ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Acuff, Adele Mara, (more)
Adapted from a Saturday Evening Post serial by Frank and Marian Cockrell, Dark Waters stars Merle Oberon as heiress Leslie Calvin, a woman with a neurotic aversion to water. This stems from the fact that in her childhood, Leslie was one of four survivors of a torpedoed steamship. Preying upon Leslie's fears, conniving Mr. Sydney (Thomas Mitchell), a guest at the Calvin family's Louisiana plantation, concocts a campaign of terror designed to drive the poor girl crazy so that he can claim her vast inheritance. Sydney and his cohorts also have the presence of mind to murder all of Leslie's closest relatives, leaving her utterly helpless. ~ Hal Erickson, All Movie Guide
- Starring:
- Merle Oberon, Franchot Tone, (more)
- 1944
The title Together Again referred to the fact that frequent costarsIrene Dunne and Charles Boyer were once more united on film. Dunne plays the lady mayor of a small Vermont town. Boyer portrays a big-city sculptor, hired to erect a statue in the memory of Irene's husband, the former mayor. Dunne and Boyer fall in love, but there's plenty of interference from snoops, gossips and well-meaning relatives. Further muddying the waters is Dunne's daughter Mona Freeman, who mistakenly believes that Boyer has eyes for her. Foxy father-in-law Charles Coburn is the cupidic catalyst in getting Dunne and Boyer to the altar by film's end. ~ Hal Erickson, All Movie Guide
- Starring:
- Irene Dunne, Charles Boyer, (more)
- 1939
In this rare film, shot on location in Kingston, Jamaica, a Jamaican native inherits her father's rubber plantation. Later her highly successful sister from New York shows up to claim it for herself, but the other sister employs bogus voodoo rituals to frighten her off. When they fail, the two sisters overcome their differences and begin working together. ~ Sandra Brennan, All Movie Guide
- 1939
This crime drama features an all African-American cast. It is the story of a man falsely accused of murder and the devoted wife who tries to clear his name. She is assisted by the one detective who believes her. ~ Sandra Brennan, All Movie Guide
- 1935
Based on the book by Edgar Wallace and produced by London Film Productions, the adventure drama Sanders of the River is an Imperialist propaganda film about British Colonial rule in Africa. Leslie Banks plays Commissioner "Lord Sandy" Sanders, who maintains British rule over the N'Gombi district of Nigeria. The fugitive Bosambo (Paul Robeson) helps out Sanders by humiliating the evil Chief Mofolaba (Tony Wane). Sanders then recognizes Bosambo as chief of the Ochuri people and peace is maintained for five years. When Sanders leaves for London, word gets out that he is dead and white men come in to sell guns and liquor to the natives. Chief Mofolaba kills Sanders' replacement, Ferguson (Martin Walker), and captures Bosambo's wife Lilongo (Nina Mae McKinney). Father O'Leary (Allan Jeayes) gets Sanders to come back and stop Mofolaba, and eventually Bosambo is crowned king. Robeson and McKinney sing several songs in this film. ~ Andrea LeVasseur, All Movie Guide
- Starring:
- Paul Robeson, Leslie Banks, (more)
- 1935
Reckless is a delightfully breezy screwball comedy from the same director (Victor Fleming) and star (Jean Harlow) responsible for the celebratedBombshell (itself a film à clef loosely based on Clara Bow) -- with the added appeal of William Powell. One can readily see the chemistry between the two stars at work, which would lead to their impending marriage at the time of Harlow's death a year later. The sets for the Broadway number that Harlow's Mona Leslie performs in are also extraordinary. Mona Leslie (Jean Harlow) is an up-and-coming Broadway actress, dancer, and singer, who leads a happy-go-lucky, freewheeling lifestyle; bailed out of jail by family friend Ned Riley (William Powell), a sports promoter who loves Mona but won't slow down his lifestyle long enough to give her the satisfaction of admitting it, she performs in a bizarre "benefit" show, only to discover that she has an audience of one, wealthy admirer Bob Harrison (Franchot Tone). He declares his love for her and a romance does develop, but when he proposes marriage, he discovers that his upper-crust set won't accept a showgirl as one of their blue-blood crowd.
Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide
Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide
- Starring:
- Jean Harlow, William Powell, (more)
- 1931
A young Barbara Stanwyck was considered for the starring role as the exiled call-girl in this extremely frank pre production-code drama directed by William A. Wellman from a play by Houston Branch). The role eventually went ot Dorothy Mackaill, an evocative British-born veteran adept at playing less than respectable women. Mackaill is Gilda Karlson, a call-girl fleeing New Orleans the supposed murder of her latest "john," Piet Van Saal (Ralf Harolde). Old boyfriend Carl Erickson (Donald Cook) arranges for safe passage to Tortuga, a Caribbean Island without extradition laws. After "marrying" the girl in the eyes of God but without the benefit of clergy, Carl leaves on his ship. Having successfully kept an international array of escaped crooks at bay, Gilda suddenly finds herself face-to-face with Van Saal, still very much alive and on Tortuga because an insurance scam went astray. The island's jealous executioner, Bruno (Morgan Wallace), hands the girl a gun "to protect herself." Van Saal attacks her, and this time Gilda manages to kill her tormentor. About to be acquitted of murder by a sympathetic jury, Gilda chooses to "confess" in order to escape a trap set by Bruno. To the strains of Pagan Moon, the wronged girl bravely faces the gallows. Forthrightly told and extremely well acted, Safe in Hell features two prominent African-American performers -- Nina Mae McKinney and Clarence Muse -- portraying completely un-stereotypical characters. Muse, in fact, persuaded director Wellman to drop the screenplay's standard "black" lines in favor of straight dialogue. McKinney, famous for playing the vamp in King Vidor's all-black Hallelujah! (1929), performs When It's Sleepy Time Down South by Clarence Muse. ~ Hans J. Wollstein, All Movie Guide
- Starring:
- Dorothy Mackaill, Donald Cook, (more)
Hallelujah! was, for its time, an impressive achievement. Director King Vidor, anxious to make a "personal" project for the impersonal MGM studios, proposed to film a spiritual story set in the deep South with blacks as the main characters. The Texas-born Vidor was familiar with certain particulars of African-American life, having witnessed the mass baptisms and religious ceremonies of the employees of his father's lumber mills. MGM, concerned that it would lose the "bigot trade," balked until Vidor offered to direct Hallelujah without salary. The decision to film on location was problematic: talking pictures had just come in, and the existing equipment was not ideally suited for exterior scenes. Vidor elected to film most of the picture silent, then post-dub the sound once he returned to the studio; with very few exceptions, the resulting synchronization (a "maddening" process, according to Vidor) was quite convincing. The plot may seem a trifle condescending in the light of heightened racial sensitivities (even the director admitted this), but in 1929 it was considered the ultimate in realism. Nina Mae McKinney plays a voluptuous young woman who disrupts the stability of a black sharecroppers' community. Daniel L. Haynes co-stars as an impressionable young man who is moved to manslaughter for the sake of McKinney. He is saved from himself when he embraces religion (hence the title). True to MGM's predictions, Hallelujah ran into resistance from southern exhibitors (and not a few northern ones), who were fearful that "too many" blacks would be attracted to their theatres. This problem was solved by a loose network of independent exhibitors who were willing to give the film a try; once the big-time theatre chain owners realized that the film would draw a mixed, rather than exclusively black, clientele, they were more receptive to the film. Still, Hallelujah was more a critical than a financial success. ~ Hal Erickson, All Movie Guide
- Starring:
- Daniel L. Haynes, Nina Mae McKinney, (more)
