bandw
This documentary focuses on two of the seminal individuals in African American gospel music: Willie May Ford Smith and Thomas A. Dorsey. At the time of the filming Smith was in her late 70s and Dorsey in his early 80s. The primary filming locations are in a church in Saint Louis, where Smith was being honored, and at a National Convenion of Gospel Choirs and Choruses in Houston where Dorsey made an appearance. One place I would find fault is the lack of information about time, place, and people. For example, it took me a long time to figure out who Smith's relatives were--a few simple subtitles would have cleared up a lot of confusion for me.It would be hard to come away from this without recognizing the indisputable appeal of the music and singing, and the artistry of the performers. One theme that ran throughout for me was trying to determine the extent to which the gospel singing came from an inner spirit versus being a manifestation of ego. Smith herself remarked on her categorizing those who sang from the soul versus those who sang for show, saying that "Some people get into gospel singing just to get the dollar." Two people Smith identified as singing from the soul were the O'Neal brothers. Indeed the segments shown of he O'Neal's were one of the film's highlights and, as we see, they were the result of much rehearsing. Even the O'Neals expressed reservations about the direction gospel singing was taking, saying, "Gospel music has become a business. Now, years ago gospel singing was evangelizing. Unfortunately we live in the hit record society." They also commented that a contemporary gospel singer had to appeal to a younger audience to stay alive.As much as I enjoyed the Barrett sisters, their act seemed quite practiced. And the histrionics of Zella Jackson Price give those of Mick Jagger a run for his money. I found Dorsey and his business manager Sallie Martin a bit stern, and at times threatening. Dorsey's comment, "If you can't talk to God, if you can't say something to your neighbor about God. If you don't know God, you need to start over again," is one that many will not find endearing. Dorsey was on occasion referred to as "Doctor" and "Professor" and it was not clear if those were simply terms of endearment, or whether they connoted some past training. There was one interesting scene that had Dorsey, Martin, and Smith in an unpleasant heated debate over who started the first gospel convention.There may be a bit too many "Praise the Lord," "Hallelujah," "Amen," and "Thank you Jesus," comments for some viewers. And, as far as any evidence of true caring we mainly get the usual Christian bromides. When an older man in some distress turns to Smith for consolation, he gets only, "In the name of Jesus, touch this brother, he's your child. Deliver him," after which she moves on. On another occasion, after Smith hears a man uttering a single, "Praise the Lord," she comments, "He's got the spirit all over him. He's got what it takes." I did not see much spiritual depth in Smith based on such incidents. Smith's grandson's view on women is off-putting. He takes from the Bible that women shouldn't be preaching, "The proper place for a woman is behind a man." And then there is the whole question of career versus family. In giving advice to Zella Price, Smith says that it's hard to be a gospel singer having a career, "Get the children, and the support of the children and the husband and the family all that out of your mind and see souls out there who are drifting and you throwing out a lifeline." The idea of having more concern for those you don't know versus those you do has always been a mystery to me. DeLois Barrett Cambell had a similar career versus spousal support conflict with her minister husband, Reverend Campbell, but she allowed as how she was not going to be deterred from her life's dream of being a known singer just in order to support her husband and his ministry. The film is not without humor; when Campbell says to his wife over the breakfast table, "I'll be glad when the time comes when our ministry can be together as a husband and wife team more than you and your sister's team," DeLois turns to him and says, "You want eggs with your sausage?" Another scene I found humorous has Reverend Campbell in his church saying, "The Lord is in his holy temple, all of us ought to keep silent and be reverent in his presence," and that segues almost immediately into loud singing, jumping up and down, and clapping.There are frequent admonitions to "Do what God wants you to do." It's interesting how often it seems that what God wants you to do is what you want to do. I credit this film for delving behind the scenes for us to see things that many of us would not otherwise see. We are left to judge for ourselves how we feel about these people and about gospel music.In the end I came to feel that, what with world tours and cutting CDs for the more popular groups, the gospel music scene is not that much different from the rock music scene. Both genres have a mighty power to move us and both attract the devoted, the egotist, and the greedy, and various combinations thereof.
lblockton
Just wanted to say this movie/documentary was on last Sunday, April 20, 2008 and I had not seen it in years. Oh! what a joy it was to see it again. Mother Willie Mae Ford Smith is absolutely wonderful and her performances speaks for it self. What a lady she was & what a voice. The movie @ times is very funny especially the scenes with old "crusty" Sallie Martin & Mother Smith discussing when the 1st convention was and the look Mother Smith gives is to funny. The scenes in St. Louis, Mo are so familiar to me since I was born and raised in St. Louis. The scenes at the old Union Station (I remember when it was run down and dilapidated like that) and I later worked there after they remodeled it @ the Omni/Hyatt Hotel, and I also visited the church where they had the tribute to Mother Smith. My favorite parts are Delois Barret Campbell and her sisters singing and the scene with her selfish husband, Mother Smith @ the nursing home singing (her daughter Bertha could really belt out the tunes on that old piano), Mother Smith singing with her children "I'll Never Turn Back" and the scene at the end is the most poignant of all when Mother Smith sings the finale. Oh! overtone I hear her singing that song talking about being moved, the holy spirit gets in me and the tears flow and flow and I get so happy. I recommend that if you ever are feeling low, sad or lonely, buy or rent this movie and I am sure you will feel 100% better.
NJtoTX
I'm shocked at how few people have seen this film and voted on it. I agree completely with Leonard Maltin's 4-star summary. It's not only a documentary on the lives of two of gospel's founders, Willie Mae Ford Smith and Thomas Dorsey, but it follows them and their families, along with other gospel singers, in the present day.In some ways, it reminds me of HOOP DREAMS. In one scene, Zella Jackson Price is feeling insecure, talking over serious family issues in the kitchen. And then she's in church, belting out "I'm happy just to know that I'm His child", one of the most powerful, and moving gospel renditions I've heard. And I'm not religious.As I write this, 2500 people have voted for HOWARD THE DUCK, only 10 for SAY AMEN, SOMEBODY. Something's definitely wrong here.
