The Blood of Jesus
|The Blood of Jesus|
|Directed by||Spencer Williams|
|Produced by||Spencer Williams
Alfred N. Sack
|Written by||Spencer Williams|
|Distributed by||Sack Amusement Enterprises|
|Running time||57 minutes|
In a small rural village with an African American population, a church group is holding a riverside baptismal service, and one of the faithful being immersed is the recently-married Martha (Cathryn Caviness). However, Martha’s husband Ras (Spencer Williams) is absent from the service – he claims he was hunting, but he actually poached a neighbor’s boar. At home, Ras accidentally shoots Martha when his rifle drops on the floor and discharges. The church congregation gathers at Martha’s bedside to pray for her recovery, and during this period an angel (Rogenia Goldthwaite) arrives to take Martha’s spirit from her body. She is brought to the Crossroads between Heaven and Hell, and initially she is tempted by the slick Judas Green (Frank H. McClennan), who is an agent for Satan (James B. Jones). Judas takes Martha to a nightclub, where the floor show includes an acrobat and a jazz singer. Judas arranges to have Martha employed by the roadhouse owner Rufus Brown, but the angel returns and advises Martha to flee. As she is escaping, a nightclub patron mistakenly believes Martha is a pickpocket who robbed him. A chase ensues and Martha races back to the Crossroads, where Satan (along with a jazz band on a flatbed truck) is waiting for her arrival. The angel appears to protect Martha from the mob, who are driven away. The sign at the Crossroad is transformed into the vision of Jesus Christ being crucified, and Christ’s blood drips down on Martha’s face. She awakens to discover she is home and her health is restored. Martha is reunited with her husband, who has now embraced religion. The angel who took Martha on her journey returns to bless the marriage.
- Cathryn Caviness as Sister Martha Ann Jackson
- Spencer Williams as Ras Jackson
- Juanita Riley as Sister Jenkins
- Reather Hardeman as Sister Ellerby
- Rogenia Goldthwaite as The Angel
- James B. Jones as Satan
- Frank H. McClennan as Judas Green
- Eddie DeBase as Rufus Brown
- Alva Fuller as Luke Williams
The Blood of Jesus was the second film directed by Spencer Williams, who was one of the few African American directors of the 1940s. Williams began his career in the 1920s as an extra, and was later able to move up into writing scripts for all-black short comedies produced by the Al Christie studio. In 1928 he directed the silent film Tenderfeet, which was released by Midnight Productions. In 1939, he wrote two screenplays for the race film genre, the Western Harlem Rides the Range and the horror-comedy Son of Ingagi, and he also acted in these films. Williams was invited by Alfred N. Sack, president of the Dallas, Texas-based production/distribution company Sack Amusement Enterprises, to write and direct a series of all-black films that would be released to the U.S. cinemas catering to African American audiences.
In addition to Williams, the cast was made up of amateur actors and members of Reverend R.L. Robinson's Heavenly Choir, who sang the film’s gospel music score. The film’s soundtrack included the songs ""All God's Children Got Shoes," "Amazing Grace,""Go Down, Moses," “Good News!", "I've Heard of a City Called Heaven," ""On Jordan's Stormy Banks I Stand," "Run, Child, Run," "Swing Low, Sweet Chariot,"Weary Blues" and "Were You There When They Crucified My Lord?"
Release and critical appraisal 
The Blood of Jesus was screened in cinemas and in black churches. The film’s commercial success enabled Williams to direct and write additional feature films for Sack Amusement Enterprises, including two films with religious themes: Brother Martin: Servant of Jesus (1942) and Go Down Death (1944).
Critical appraisal of The Blood of Jesus has been positive, with Dave Kehr of The New York Times calling the film “magnificent” and J. Hoberman of The Village Voice stating it is “a masterpiece of folk cinema that has scarcely lost its power to astonish.” Time magazine counted it among its “25 Most Important Films on Race.” Historian Thomas Cripps, in his book Black Film as Genre, praised The Blood of Jesus for providing “a brief anatomy of Southern Baptist folk theology by presenting Christian myth in literal terms. From its opening voiceover, the film became an advocate for the most enduring traditions of Afro-American family life on Southern ground.”
Filmmaker Julie Dash cited the baptismal sequence in The Blood of Jesus as the inspiration for a similar scene from her 1991 feature film Daughters of the Dust. In 1991, The Blood of Jesus became the first race film to be added to the U.S. National Film Registry.
See also 
- “The Blood of Jesus”-Overview, Turner Classic Movies
- New York Times / AllMovie Guide overview
- “The Bootleg Files: The Blood of Jesus,” Film Threat, September 1, 2006
- “The Bootleg Files: Dirty Gertie from Harlem U.S.A.", Film Threat, October 24, 2008
- Mediums: The Black Female Spirit Medium in Film Culture,” University of Chicago
- “Micheaux and Williams: Titans of 'Race' Cinema,” Village Voice, March 18, 2008
- “Jazz on the screen : A Jazz and Blues Filmography,” Library of Congress
- “Spencer Williams,” AfricanAmericans.com
- “The 25 Most Important Films on Race,” Time Magazine
- “A Troubled Past, but Promise for the Future,” The New York Times, October 1, 2004
- “The Blood of Jesus,” Turner Classic Movies Archives
- “Histories and Influences:Independent African American Cinema and More,” Geechee.tv (Julie Dash web site)