Cabin in the Sky | |
---|---|
Directed by | Vincente Minnelli Busby Berkeley ("Shine" sequence, uncredited) |
Written by | Marc Connelly (uncredited) Lynn Root (play) Joseph Schrank |
Based on | Cabin in the Sky 1940 musical by Vernon Duke & John La Touche |
Produced by | Arthur Freed Albert Lewis |
Starring | Ethel Waters Eddie "Rochester" Anderson Lena Horne Rex Ingram Louis Armstrong |
Cinematography | Sidney Wagner |
Edited by | Harold F. Kress |
Music by | Roger Edens Georgie Stoll George Bassman Hall Johnson |
Production company | |
Distributed by | Loew's, Inc. |
Release date |
|
Running time | 98 minutes |
Country | United States |
Language | English |
Budget | $679,000 [1] |
Box office | $1,953,000 [1] |
Cabin in the Sky is a 1943 American musical film based on the 1940 Broadway musical of the same name. The first feature film directed by Vincente Minnelli, [2] Cabin in the Sky features an all-black cast [2] and stars Ethel Waters, Eddie "Rochester" Anderson and Lena Horne. Waters and Rex Ingram reprise their roles from the Broadway production as Petunia and Lucifer Junior, respectively. The film was Horne's first and only leading role in an MGM musical. Louis Armstrong is also featured in the film as one of Lucifer Junior's minions, and Duke Ellington and his Orchestra have a showcase musical number in the film.
In 2020, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
Little Joe is a well-meaning yet weak man, whose attempts at redemption are cut short when he is killed over gambling debts by big-shot Domino Johnson. On his deathbed, Little Joe is resurrected by angelic powers and given six months to redeem his soul and become worthy of entering Heaven—otherwise he will be condemned to Hell. Secretly guided by "The General" (the Lord's Angel), Little Joe gives up his shiftless ways and becomes a hardworking, generous, and loving husband to his wife Petunia, whom he had previously neglected.
Demon Lucifer Jr. (the son of Satan himself) is determined to drag Little Joe to Hell and attempts to do so in many ways, including by arranging for Joe to become wealthy by winning a lottery; reintroducing Joe to a beautiful gold-digger, Georgia Brown; and manipulating the marital discord between Joe and Petunia. His tactics work: Little Joe abandons his wife for Georgia, and the two embark on a life of hedonistic pleasure.
As Little Joe and Georgia celebrate at a nightclub one evening, Petunia joins them, determined to win Joe back. Little Joe fights with Domino for Petunia, and Petunia, anguished at this turn of events, prays to God to destroy the nightclub. A tornado appears and leaves the nightclub in ruins, as Joe and Petunia lie dead in the ruins after being shot by Domino. Just as it appears that Joe's soul is lost forever, the angelic General informs him that Georgia Brown was so affected by the tragedy that she has donated all the money that Joe had lavished upon her to the church. On this technicality, Little Joe is allowed to go to Heaven with Petunia.
As the two climb the Celestial Stairs, Joe suddenly wakes in his own bed. Joe had not been killed in the initial gambling-debt fracas, only wounded. All his supposed dealings with angels and demons were only a fever dream. Now genuinely reformed, Little Joe begins a new happy life with his loving Petunia.
According to notes within the reissue of the CD soundtrack, Freed and Minnelli sought input from black leaders before production began on the film.
The script was submitted before production to the NAACP. In a letter to the editor in The New York Times, a writer of the film said he received a letter "congratulating [them] on the treatment of this black fable, which avoided clichés and racial stereotypes." [4]
Stock footage of Arnold Gillespie's famous muslin-sock tornado from The Wizard of Oz was reused in this film for the scene where the cyclone destroys the nightclub. [5]
One musical number, in which Horne sings a reprise of "Ain't It the Truth" while taking a bubble bath, was cut from the film prior to release, though it later appeared in a 1946 Pete Smith short subject entitled Studio Visit. [6] According to Horne speaking in the documentary That's Entertainment! III (1994) (in which the excised performance was also featured), the consensus was thought to be that the showing of a black woman singing in a bath went beyond the bounds of moral decency in 1943. A second non-bubble bath (and third overall) performance of this song by Louis Armstrong was also cut from the final print, resulting in Armstrong having no solo musical number in the film. Armstrong's recording of "Ain't it the Truth" survives and is included on the later CD release of the film's original soundtrack. [7] [8] The song's authors and Lena Horne collaborated on their Broadway musical Jamaica starring Horne, in which they recycled the song as part of the score as a solo for her.
MGM held a trade show of the film on February 9, 1943, in Denver, Salt Lake City, and San Francisco. Another show was held on February 11 in Portland, Los Angeles and Seattle. [9]
For promotional purposes, records were produced for two musical numbers: "Cabin in the Sky" and "Taking a Chance on Love." [10]
Marian McCullough from Loews in Dayton had cooperated with local hotels to place a sign at each registry desk that read, "Ps-s-t! If they don't have a room, come over to Loew's....We have a great big "Cabin in the Sky." [11]
The Orpheum Theatre in Springfield, Illinois placed advertisements in the classified section of newspapers that read, "This Cabin for Rent, and with it goes plenty of entertainment for all." The ad came with a small cutout of a cabin. [12]
Jack Matlack's campaign at the Broadway theater in Portland had the theater staff in blackface and gingham-dressed. [13]
At a screening of the film, Showmen's Trade Review gathered and listed possible ideas for theaters to promote the film. [14] Newspapers and radios were encouraged to hold contests where viewers were to submit, dreams, recipes that use inexpensive ingredients, the furnishing and construction of their ideal "Cabin in the Sky," or incidents they have personally experienced using "luck charms." A "Go to Church Sunday" campaign included offering discounts on tickets for congregations to bring in new worshipers. For the stage, choral groups or amateur night with comedy, singing and dancing nights were suggested. For the lobby, a trio of boys singing and dancing where boys could throw large, 12-inch square dice was suggested. To play on Eddie Rochester Anderson's difficulty with his necktie in the film, it was suggested to borrow mannequins and hold a tie tying contest where the top ten fastest contestants gain free admission.
While the article did suggest that these activities were held using people of color, it closed out by emphasizing that focus of an all-black cast should not be used as the main selling points as it would sell "through confidence that it will be enthusiastically received by [the] customers."
In the 1940s, movie theaters in many cities, particularly in the southern United States, refused to show films with prominent black performers. On July 29, 1943, in Mt. Pleasant, Tennessee, the film was pulled after the first 30 minutes on orders from the local sheriff. A crowd gathered outside the theater and someone threatened to "pull the switch." [15]
The film was nominated for an Academy Award for Best Original Song for "Happiness Is a Thing Called Joe" sung by Ethel Waters. [16]
According to MGM records the film made $1,719,000 in the US and Canada and $234,000 elsewhere, resulting in a profit of $587,000. [1] [17] [18]
After years of unavailability, Warner Home Video and Turner Entertainment released Cabin in the Sky on DVD on January 10, 2006.
On Rotten Tomatoes, the film holds a rating of 81% from 47 reviews and an average rating of 7.2/10. The website's critics consensus reads, "Cabin in the Sky's racial stereotypes are impossible to ignore – but so are its irresistible musical numbers and brilliantly talented cast." [19]
"Stormy Weather" is a 1933 torch song written by Harold Arlen and Ted Koehler. Ethel Waters first sang it at The Cotton Club night club in Harlem in 1933 and recorded it with the Dorsey Brothers' Orchestra under Brunswick Records that year, and in the same year it was sung in London by Elisabeth Welch and recorded by Frances Langford. Also in 1933, for the first time the entire floor revue from Harlem's Cotton Club went on tour, playing theatres in principal cities. The revue was originally called The Cotton Club Parade of 1933 but for the road tour it was changed to Stormy Weather Revue; it contained the song "Stormy Weather", which was sung by Adelaide Hall.
Ethel Waters was an American singer and actress. Waters frequently performed jazz, swing, and pop music on the Broadway stage and in concerts. She began her career in the 1920s singing blues. Her notable recordings include "Dinah", "Stormy Weather", "Taking a Chance on Love", "Heat Wave", "Supper Time", "Am I Blue?", "Cabin in the Sky", "I'm Coming Virginia", and her version of "His Eye Is on the Sparrow". Waters was the second African American to be nominated for an Academy Award, the first African American to star on her own television show, and the first African-American woman to be nominated for a Primetime Emmy Award.
Lena Mary Calhoun Horne was an American singer, actress, dancer, and civil rights activist. Horne's career spanned more than seventy years and covered film, television, and theatre. Horne joined the chorus of the Cotton Club at the age of sixteen and became a nightclub performer before moving on to Hollywood and Broadway.
The Cotton Club was a New York City nightclub from 1923 to 1940. It was located on 142nd Street and Lenox Avenue (1923–1936), then briefly in the midtown Theater District (1936–1940). The club operated during the United States' era of Prohibition and Jim Crow era racial segregation. Black people initially could not patronize the Cotton Club, but the venue featured many of the most popular black entertainers of the era, including musicians Fletcher Henderson, Duke Ellington, Jimmie Lunceford, Chick Webb, Louis Armstrong, Count Basie, Fats Waller, Willie Bryant; vocalists Adelaide Hall, Ethel Waters, Cab Calloway, Bessie Smith, Lillie Delk Christian, Aida Ward, Avon Long, the Dandridge Sisters, the Will Vodery choir, The Mills Brothers, Nina Mae McKinney, Billie Holiday, Midge Williams, Lena Horne, and dancers such as Katherine Dunham, Bill Robinson, The Nicholas Brothers, Charles 'Honi' Coles, Leonard Reed, Stepin Fetchit, the Berry Brothers, The Four Step Brothers, Jeni Le Gon and Earl Snakehips Tucker.
Arthur "Dooley" Wilson was an American actor, singer and musician who is best remembered for his portrayal of Sam in the 1942 film Casablanca. In that romantic drama, he performs its theme song "As Time Goes By".
John William Sublett, known by his stage name John W. Bubbles, was an American tap dancer, vaudevillian, movie actor, and television performer. He performed in the duo "Buck and Bubbles", who were the first black artists to appear on television in the US. He is known as the father of "rhythm tap."
Ziegfeld Follies is a 1945 American musical comedy film released by Metro-Goldwyn-Mayer, primarily directed by Vincente Minnelli, with segments directed by Lemuel Ayers, Roy Del Ruth, Robert Lewis, and George Sidney, the film's original director before Minnelli took over. Other directors that are claimed to have made uncredited contributions to the film are Merrill Pye, Norman Taurog, and Charles Walters. It stars many MGM leading talents, including Fred Astaire, Lucille Ball, Lucille Bremer, Fanny Brice, Judy Garland, Kathryn Grayson, Lena Horne, Gene Kelly, James Melton, Victor Moore, William Powell, Red Skelton, and Esther Williams.
That's Entertainment, Part II is a 1976 American compilation film released by Metro-Goldwyn-Mayer and a sequel to That's Entertainment! (1974). Like the previous film, That's Entertainment, Part II was a retrospective of famous films released by MGM from the 1930s to the 1950s. Some posters for the film use Part 2 rather than Part II in the title.
The Duke Is Tops is a 1938 American musical film released by Million Dollar Productions and directed by William Nolte. The film was later released in 1944 under the title The Bronze Venus. It features top-billed Lena Horne in her film debut, along with Ralph Cooper. The film was one of the low-budget musical film "race movies" made in the 1930s and 1940s for the African-American market. The casts and production teams of these films were almost all black, and the music reflected current tastes in jazz and rhythm and blues.
Stormy Weather is a 1943 American musical film produced and released by 20th Century Fox, adapted by Frederick J. Jackson, Ted Koehler and H.S. Kraft from the story by Jerry Horwin and Seymour B. Robinson, directed by Andrew L. Stone, produced by William LeBaron and starring Lena Horne, Bill "Bojangles" Robinson, and Cab Calloway. The film is one of two Hollywood musicals with an African American cast released in 1943, both starring Lena Horne, the other being MGM's Cabin in the Sky. Stormy Weather is a primary showcase of some of the leading African American performers of the day, during an era when African American actors and singers rarely appeared in lead roles in mainstream Hollywood productions. The supporting cast features the Nicholas Brothers in arguably the screen's most bravura dance sequence, Fats Waller, Katherine Dunham and her dancers, and Dooley Wilson. Stormy Weather takes its title from the 1933 song of the same title, which is performed almost an hour into the film. It is loosely based upon the life and times of its star, dancer Bill "Bojangles" Robinson.
"Taking a Chance on Love" is a popular song from the 1940 Broadway musical Cabin in the Sky. It was introduced by Ethel Waters playing the role of Petunia Jackson both on Broadway and later in the 1943 MGM musical Cabin in the Sky. The song was written by Vernon Duke with lyrics by John La Touche and Ted Fetter. It has become a standard. Several songs from the Broadway musical were released as a 3-record shellac set under the title "The Music of Cabin in the Sky featuring Ethel Waters" in 1940.
That's Black Entertainment is a 1989 documentary film starring African-American performers and featuring clips from black films from 1929–1957, narrated and directed by William Greaves. The clips are from the Black Cinema Collection of the Southwest Film/Video Archives at Southern Methodist University in Dallas, Texas. It is 60 minutes long and was distributed by Video Communications of Tulsa, Oklahoma.
Edna Mae Harris, sometimes credited as Edna May Harris was an American actress and singer. Harris, an African–American, was film actress in the late 1930s and early 1940s, appearing in films featuring mostly African–American casts.
Willie Eugene Bailey, known professionally as Bill Bailey, was an American tap dancer. The older brother of actress and singer Pearl Bailey, Bill was considered to be one of the best rhythm dancers of his time and was the first person to be recorded doing the Moonwalk, although he referred to it as the "Backslide," in the film Cabin in the Sky (1943), starring Ethel Waters, Eddie "Rochester" Anderson and Lena Horne.
Kenneth Spencer, was an American operatic singer and actor. Spencer starred in a few Broadway musicals and musical films in the United States during the 1940s. Frustrated with the racial prejudice he experienced in the United States as a black man, Spencer moved to West Germany in 1950, where he had a successful singing career. He also appeared in a number of German films. His career was cut short when he died in the crash of Eastern Air Lines Flight 304.
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The Regal Theater was a night club, theater, and music venue, popular among African Americans, located in the Bronzeville neighborhood in Chicago, Illinois. The theater was designed by Edward Eichenbaum, and opened in February 1928. It closed in 1968 and was demolished in 1973.
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Cabin in the Sky is a musical with music by Vernon Duke, book by Lynn Root, and lyrics by John Latouche. The musical opened on Broadway in 1940. The show is described as a "parable of Southern Negro Life with echoes of Ferenc Molnár's Liliom and Marc Connelly's The Green Pastures." Several songs from the Broadway musical were released as a 3-record shellac set under the title "The Music of Cabin in the Sky featuring Ethel Waters" in 1940.