Song of Freedom

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This article is about 1936 British film. For 1995 Bangladeshi film, see Tareque Masud. For the Zen discourse, see Song of Enlightenment.
Song of Freedom
Song of Freedom FilmPoster.jpeg
Directed by J. Elder Wills
Produced by H. Fraser Passmore
Screenplay by Ingram D'Abbes
Fenn Hill Sherie
Based on The Kingdom of Zinga 
by Claude Wallace
& Dorothy Holloway
Starring Paul Robeson
Elisabeth Welch
George Mozart
Esme Percy
Cinematography Eric Cross
T.A. Glover
Harry Rose
Edited by Arthur Tavares
Production
company
Distributed by British Lion Films
Release dates
  • 17 August 1936 (1936-08-17) (UK)
Running time 70 min.
Country United Kingdom
Language English

Song of Freedom is a 1936 British film starring Paul Robeson.

One of two elements pivotal to the plot is an opera composer named Gabriel Donizetti, presumably suggested by the historical opera composer Gaetano Donizetti. The other is a medallion that serves to identify Robeson's character as a descendant of an African monarch.

Song of Freedom may best represent the opportunity Robeson was looking for to "give a true picture of many aspects of the life of the coloured man in the West. Hitherto on the screen, he has been characterized or presented only as a comedy character. This film shows him as a real man." Robeson was also given final cut approval on the film, an unprecedented option at the time for an actor of any race.

As in Sanders of the River, the film called for documentary scenes of West African traditional dances and ceremonies, but this time Robeson obtained a contract giving him final cut, so that the film’s message would not be changed behind the doors of the editing room.

Robeson plays Zinga, a black dockworker in England with a great baritone singing voice. He is discovered by an opera impresario, and is catapulted into great fame as an international opera star. Yet he feels alienated from his African past, and out of place in England. By chance, he is informed that an ancestral medallion that he wears is proof of his lineage to African kings, and he leaves fame and fortune to take his rightful place of royalty. Reunited with his people, he plans to improve their lives by combining the best of western technology with the best of traditional African ways.

Although the film was not a box office success in the US, it was notably chosen in 1950 to open the convention of Ghana's Convention People's Party. The ceremonies were presided over by the future first prime minister of independent Ghana, Kwame Nkrumah, Robeson's friend from his London years.

Plot[edit]

The first part of the film's story takes place in the year 1700 on an island called Casanga off the west coast of Africa. The island has not yet attracted the attention of the slave traders on the mainland, but its people are suffering fierce oppression under their hereditary queen Zinga - a tyrant, despot, and mistress of cruelty.

What first appears on screen is a grassland landscape in which men of an African tribe are patrolling, with haystacks and rugged hills in the background. Into this scene there comes a bare-chested young African, as strong as a bull, looking around him cautiously.

Next we see the brutal Queen Zinga, wearing a leopard-skin dress, a straw hat, and a shell necklace on which hangs a medallion, a symbol of kingship. Laughing vigorously, she is teasing a man tied on a wooden column, who is supposed to be the king of Casanga. Zinga takes off the necklace and puts it on the man's neck, taunting him as a "one-second king" and trying to kill him straight away. Suddenly, a girl, apparently frustrated by the cruelty of the planned execution, rushes towards the queen, grabs the medallion, and runs off. Astonished, the queen orders her soldiers to catch the fleeing girl and to recover the medallion. However, with the help of the strong young man seen at the beginning of the film, she is able to escape from the soldiers and the two get onto a raft to row it to the mainland. Once there, they turn to a white slave-trader for help. The slaver happily accepts them into his camp and adds them to his chain. Then, along with all the other blacks the slaver has acquired, the couple is filled with anxiety and fear. Sent to England by boat to begin their new life, they are not sure what is in store for them.

Time runs on and historical events unfoldd, such as the abolition of the slave trade in the British Empire in 1807. But not until 1833 did the slaves themselves are free from the oppressing situation and the social status for blacks start to improve. Chains and handcuffs are destroyed, ropes and whips are burned, and a seemingly brand new story begins, centring on John Zinga, a black dockworker in England with a great baritone singing voice. His singing impresses all his colleagues on the wharf. Children in his apartment block fall asleep soundly when he sings, but he himself doesn’t realized what use he can make use of his voice. In fact, what keeps hovering in his mind is the eagerness to discover his true origins and to help his own people, although he doesn’t know who they are. Zinga always considers himself out of place in London and is often blamed by his wife for being ‘not satisfied’, but never does he change his mind. Finally, one day an opera impresario hears him singing and tries his best to find out about him. And in a pub, while Zinga is being invited by the owner to sing the song "Lonely Road", Gabriel Donizetti, the famous impresario, comes quietly in from the door and sits in the audience, watching, listening, and enjoying the beautiful song. "No more docker, but a great career" Donizetti promises Zinga, who is shocked and surprised since he thinks he can achieve his dream of travelling back to Africa by this chance. They shake hand with each other and Donizetti leaves a card for Zinga to come to his hotel room the next day.

Zinga can’t wait to go. The next day he dresses in a suit, apparently for the first time since he both walks and acts in a lame and inappropriate way. Zinga's wife is also with him to deal with the hotel managers. In the end they find the way to Donizetti’s room and he starts a series of tests and introduces several skills to help Zinga to improve his singing. At first Zinga is reluctant to accept these instructions, like ‘breathing from the stomach’ and ‘singing from the breast’, claiming that he knows how to sing. And he fights against singing in a suit, since he doesn’t feel ‘free’. His voice significantly lacks emotion compared to when he sings freely with friends and in a pub about his homeland in Africa. But after his wife’s comforting, mainly focussing on the chance of travelling back to Africa, he is persuaded to follow those doctrinaire rules and techniques.

After long training and practice, Zinga becomes an international opera star and succeeds in all kind of concerts and dramas. This brings him wealth and fame that he has never dreamt of. Yet he feels alienated from his African past, always being sarcastic towards his slave-born identity as his being referred as the Negro King. One day after a great performance, Zinga is instructed to give a speech about what he feels about his success. Not good at public speaking, he sings an old song derived from his long lost childhood memory that he barely remembers and has to put some words into it. In the song, he himself is regarded as a ‘wanderer’ and ‘hears the cold fell by his people’. John has a feeling that by singing the song he may find out some information about his origins, which means much to him. The result does not fail him. The song is moving and invokes one of the audience’s memories about the song. He comes to the dressing room at the back of the stage and talk to John about what he knows. John then finds out that his ancestor belongs to the island of Casanga, located on the west coast of Africa. The man from the audience, Pele, was the only white man to escape from the island since it was dominated by a brutal queen, and it is now ruled by a wicked witch doctor. And the song John sang was the secret song passed on by every king, regarded as the "Song of Freedom" of the Casanga people. Pele also tells Zinga the medallion hanging on his neck, which he got from his father and his father had from his great-grandfather, is the symbol of the kingship-----he, John Zinga, is the king of his people. Hearing that his people are still uncivilized on the island, Zinga’s idea of going back to his homeland to help his people became even more fixed. At this time Donizetti happens to come in and tells John some good news - a new contract to work in the great New York City Zinga refuses to go to New York to carry on his singing career since he considers his people bigger than his success. Donizetti is mad about Zinga leaving his career, but cannot stop him from crossing the ocean to come to the little island in Africa.

When Zinga arrives on the island he, his wife and a servant are not trusted by the aboriginals, even though they have the same skin color and Zinga has the medallion which proves him the king, he and his fellows are still considered out-comers, strangers or even bad guys coming from the whites’ country. That’s far from Zinga’s expectation, which lets him down for a time. His servant wants to resign and tell him to give up, even himself thinks the place is too primitive and his people are too hard to change. But his wife stands on his side and encourages him ‘the worse things are, the more you can change.’ Soon he cheers up and waits for his chance in a shabby dome. And it comes. Zinga found out that the witch doctor locks patients up instead of treating them for the lack of medicine. The witch doctor also announces that when a person gets sick - no matter a fever or cancer - he’s dead rather than ill. To deal with this inhuman act, Zinga gives the patient Penicillin and tries to heal them. Some of the people start to believe in Zinga. They tell him "I’m your man, but you can be no king." But this doesn’t last long when the witch doctor began to form various rituals to cast the ‘disaster’ the out comers brought to the island. What’s worse is that the people’s trust on Zinga diminishes since the patients he tried to cure all die. To break the superstition Zinga interrupts the rites, attempting to show that no taboos are going to act on him, but is scolded by the crowds. Therefore the witch doctor come up with a task of bring the rain. He claims that by rituals he can always bring rains to the island, then the gods and ghosts will be satisfied and cast no disaster and diseases to the men and women; yet Zinga points out frankly that the cause of disease is the bacteria and germs in the river and he cannot bring rains but he can help saving the rain. And he begins to illustrate the amazing life brought by technology improvement from the other side of the ocean. With the help of his followers, more and more and people of the clan believe in him.

The witch doctor is so angry that he jumps up and down to try to scare people from getting in touch with Zinga. While they are debating, Zinga’s wife ran out and shouted to the witch doctor to support her husband. But that violate the taboo of not letting women to join the ritual and the witch doctor feels perfectly justified to put Zinga’s wife in the basement. Zinga, who tried to protect his wife, is also tied up by the army. They are going to execute both of them the next day. And by the moonlight, Zinga’s wife sang miserably to him to show her dismay. Zinga’s followers bring him his gun but he refuses it. He determines not to use force to hurt his people but convince them in other way.

Next day the ritual is being held. The witch doctor performs different kinds of tricks, such as fire swallowing to intimidate his people, so that Zinga’s followers are afraid to rescue them. Both Zinga and his wife are tied onto a wooden pole, waiting to be killed, just as hundreds of years ago, the evil in charge of the island and win against the justice. Then the drums for the execution start, and the rhythm starts to sound increasingly familiar to Zinga. It’s the Song of Freedom, the secret song passed on by each king of the island. He can’t help but start singing the Song and sings so well that the crowds turn astonishment to appreciation and admiration. He’s the king!! Someone from the crowd shouts out and the people eventually believe he is the king and are willing to listen to him. Zinga wins against the witch doctor at last and achieves his dream. He goes back to America and frequently brings back medicine and technology of all kinds, helping his people to be civilized and educated.

At the end of the movie, Zinga picks up his career as a singer again and performs the song he sang a long time ago, "Lonely Road" on a stage decorated as his little island, referring to his achieving his dream and the help he brought to his people, leading them to a better life.

Cast[edit]

  • Paul Robeson ... John 'Johnny' Zinga, a black dockworker in England with a great baritone singing voice.
  • Elisabeth Welch ... Ruth Zinga, John’s wife who always encouraged John when he was down
  • Esme Percy ... Gabriel Donozetti, an impresario who discovers John as a singer
  • Robert Adams ... Monty
  • James Solomon ... Native Leader
  • Ecce Homo Toto ... Mandingo
  • Ronald Simpson ... Blane, the Pianist
  • George Mozart ... Bert Puddick
  • Jenny Dean ... Marian
  • Joan Fred Emney ... Nell Puddick
  • Bernard Ansell ... Sir James Pyrie
  • Johnnie Schofield
  • Ambrose Manning ... Trader
  • Arthur Elliott (as Hon. Arthur Eliot)
  • Cornelia Smith ... Queen Zinga, a brutal queen ruling the island in the distant past

Related Music[edit]

• "Joshua Fought the Battle of Jericho" (uncredited) Traditional Sung a cappella by Paul Robeson

• "Sleepy River" Music by Eric Ansell Lyrics by Henrik Ege Sung by Paul Robeson Reprised by Elisabeth Welch on the island

• "Lonely Road" Music by Eric Ansell Lyrics by Henrik Ege Sung by Paul Robeson at the sing song Reprised by Paul Robeson at the end

• "Stepping Stones" Music by Eric Ansell Lyrics by Henrik Ege Sung by Paul Robeson in a montage

• "Song of Freedom" Music by Eric Ansell Lyrics by Henrik Ege Sung a cappella by Paul Robeson at the opera Reprised by Paul Robeson on the island

• "Death Scene" based on the opera "The Emperor Jones" (Louis Gruenberg, composed 1931)* Sung by Paul Robeson

  • Though this scene does share similarities with Gruenberg's opera and is clearly meant to be The Emperor Jones, this scene contains neither Gruenberg's music nor the libretto assembled by Kathleen de Jaffa.

• "God Save the King" (uncredited) Traditional Heard after the performance of 'The Black Emperor' as John Zinga returns to his dressing room

Topic Development[edit]

This film deals with several serious topics. First, there is the new life to which the slave aspires. Slave trade was abolished in England in 1807 and USA in 1808. However, "when the overseas slave trade was finally abolished, they (slaves) were confused. Not only did slavery remains, it grew from around 700,000 in 1790 to over 3.5 million in 1860. The number of slaves increased through natural birth and the continued illegal slave trade." Those who get rid of their ‘Slave identity’ are not leading a good life either. Like the film Song of Freedom, where John was barely a dockworker before he was eventually discovered as a great singer. Blacks are not given chances and treated unequally in the white dominated world. Still the brand of ‘Slave’ is craved on them as well as their dark skin and other feathers, and that’s why, thought he can make his living in London, John keep stating that he is ‘out of place’ in England, and leads him finally back to his homeland Africa. That happens to the entire dark skin race around the world, especially on those who descendents directly from the slaves.

This has well lead to the racial discrimination category. "Because of racial discrimination, blacks were unable to enter the housing market on the same terms as other groups before them. Thus, the most striking feather of blacks’ life was not slum conditions, but the barriers that middle-class blacks encountered trying to escape the ghetto." As we can see normal blacks are having difficulties in ‘trying to escape the ghetto’ due to the ‘racial discrimination’. The movie reflects that only in some of the racial free areas, such as music or arts, can a black earn his or her status and real value. Still the plot is thought to be a little unrealistic for blacks to make such a big success in the year 1836, it can be told that how tough the barrier was lies in front of the blacks.

Still the film called for many documentary scenes of West African traditional dances and ceremonies, as well as its special culture feathers. One of them is the superstitions in drugs. Scholar has already found out that ’In Africa the Witch Doctor holds sways. He drives a lucrative business. Armed with his staff of office, consisting of gaudy paint and a magic rattle, he impresses his people as the savior and benefactor of the afflicted.’ ‘The staff and the rattle are used to detect the evil spirit, the supposed cause of the malady.’ ‘His dress is adorned with charms, such as bits of wood, bones, shells, bird and animal claws.’ These details are vividly presented in the film, showing the director and his staff deep understands of African culture and the effort they did to restore the original feather of this mysterious civilization.

Surely, the movie that talks about the struggles of Africans is related to those that depict struggles of African Americans, yet it is also important to note that there are lots of different. In this British film the ‘Song of Freedom’, John the main character always longs for going back to his homeland, Africa. But for most of the African Americans, they considered themselves already an American, who differs from his or her old ancestor from Africa. Their major concerns were on how to fight for their place and gain the usual right as the whites, or join the big American society without being rejected, rather than thinking of going back to their home land to help the people there and improve the native Africans’ lives.

However, we cannot neglect an important topic contain in this film----the women’s right and status. In the movie, women’s are not encouraged to work as the men do in industrial, modern city such as London. We can see John’s wife mainly concentrates on housework and supporting her husband in different aspects----she herself does not have a job. Even in the primitive society like the natives in island of Casanga, women are not allow to join the rituals and have little rights. Women’s status is staying in a minority situation until the 1970s when women actively joining the labor force. That’s approximately 40 years after the film was produced. Before that ‘They (black women) suffered not only from racial discrimination in housing and employment but also from sex discrimination. They were susceptible to domestic violence, vulnerable to health problems at young age, and usually the primary caregivers for children.’ From the film, thought not mainly emphasized, we can clearly see how pathetic lives were the women, especially African American Women. Then we shouldn’t be surprised at how fiercely African American women fight for their rights and the frequently the movements for women rights are held afterward.

Reception[edit]

The film recounts the progression of the African slave trade and the consequent dream of affected negroes and African people around the world to "free their own people of their superstitions and bring the advantages of civilization to the region". Against a somewhat naive and idealistic plot, Robeson's vocal accomplishment is the film's highlight and mainstay.

Advertised as a "$500,000 epic" (an above-average sum for a British film in the mid-1930s), Song of Freedom did quite well at the box-office—excepting in the southern states of the U.S.A.

References[edit]

  • A movement without marcher by Lisa Levenstein
  • Transactions of the Medical Society of Virginia, page 58
  • Black wealth, white wealth: a new perspective on racial inequality by Melvin L. Oliver, Thomas M. Shapiro, page 16
  • The best American history in the world, page 97

External links[edit]