Reviews (2)

An impressive 1940 film with an all African-American cast
Sunday Sinners is a fascinating film. Frankly, I was surprised to find a film from 1940 featuring an all African-American cast. While there are some stereotypical aspects to this film, by and large it is an earnest production espousing a serious message. The local church is upset because a night club is open for business on Sunday nights, luring some of the congregation's younger members away from the Sunday night services. The minister is by and large an easy-going fellow, having no objection to properly chaperoned dancing, but even he cannot abide dancing on the Lord's Day. Club Harlem has a few problems of its own, quite aside from money. Some gangsters down from the city try to put the squeeze on the owner, who must also deal with a cheating, deceitful wife. There are several subplots, one involving the minister's son who takes a job at the club, which all converge into an exciting conclusion.

Despite its length of only sixty-five minutes, Sunday Sinners is full of all kinds of entertaining and exciting action. First, there is the music; the film features a number of great songs belted out by the likes of Mamie Smith; and the numerous dance scenes are all fun to watch. There is adultery, a knife attack, a shooting, a couple of Sunday sermons, outraged church parishioners, a bona fide catfight, and even a brawling preacher with fists of godly fury. I loved it. In opposition to all of the movie's serious goings-on, there is a comedic subplot here as well. The minister's brother-in-law is a man in the Kingfish tradition, always in need of "some capital" for his endless supply of crazy, get-rich-quick schemes. Eventually, he and the club bartender go out and try to buy the swamp land owned by a local Chinese man; this trio delivers a ready supply of buffoonery to the script, and I could not help laughing at some of their crazy antics.

By addressing the issue of good vs evil and placing it in the context of the real world's sin vs the interests of the church, Sunday Sinners offers at least a partial glimpse into African-American life in 1940; at least, I think it certainly attempts to. Thus, I would not consider this an exploitation film at all. The acting and plot leave something to be desired at times, but overall this is a fine, interesting, even historic film that remains relevant even in our own time.

NOT WHAT I EXPECTED.
I had to watch this movie twice before I got what was going on. There aren't any plots, not that I could spot. (A little rhyme there) Anyway, I only liked one scene, and that was when two Afro American guys were walking out in the woods with a laundry and dry cleaner owner who was playing a role of a chinese man. He was so aweful at it that it would make you laugh out loud. The two Afro American guys were just as funny. The actors of this 1940 film, were bad actors, but the story was so fake that it was hilarious. If you want a good laugh, this is the movie. ... Read more

Reviews (1)

Black Hollywood!
This movie should be seen by anyone who wants to know about Black Entertainment, and just basically see, that the Black Movies of the 30s and 40s, could tell the same stories White Hollywood could tell. But since Blacks weren't given a chance in Hollywood. Blacks started producing their own films, and building their own studios and showing them to the Black Community, a lot of these Independent Studios did a great job, some of the sound and picture may not be Hollywood quality, but their still watchable and worth a watch. Some of these actresses, actors, and entertainers wouldn't of never been seen otherwise, if it wasn't for these Black Studios, Hollywood missed out on some great talent, that's their lose. Great Entertainment, Great Dancing by Jeni Le Gon, who would of put Ann Miller and Eleanor Powell to shame, Jeni Le Gon would of made Eleanor Powell and Ann Miller steps look like baby steps compared to her dancing. Basically, your typical story, gangsters fighting for the love of a pretty showgirl. 60 minute movie, should of been longer. I give this a 3 because it could of had more, but even though its short, the story still gets told. ... Read more

Reviews (1)

A dramatically impressive African-American film from 1941
The 1941 film Murder on Lenox Avenue, directed by Arthur Dreifuss, is a truly stalwart representative of the all-African-American cast films of the 1940s. While this film (which is not a murder mystery in the whodunit sense at all) features a little singing (by the likes of such talented performers as Mamie Smith) and some comedy, it is at its core a serious drama tackling important issues of the day head on. This is about building a better society and a better world for the future, an object lesson in perseverance and commitment to always do right by one's fellow man. The core values upon which the foundation of Murder on Lenox Avenue is built resonate just as much today as they did in 1941.

Gus Smith plays Pa Wilkins, one of the most respected men in the Harlem community. When the head of the Harlem Better Business League is forced out in disgrace, Wilkins is pretty much the unanimous pick to succeed him in the job. This doesn't sit well with the deposed leader and he makes plans to take care of his new enemy and somehow regain his former position. If it takes a bomb or a gun to get what he wants, that's fine with him. Wilkins embraces the position with zest and determination, standing up to be the voice of progressive change and real improvement in both the businesses as well as the social consciousness of Harlem. Wilkins is not so enthusiastic about the man his daughter Ola loves, however, especially when she tells him she wants to get married and move down South to teach. Wilkins has always planned on his daughter marrying Jim Braxton (Ernie Ransom), the son of an old army buddy. Braxton likes this idea himself, especially since there is a trust fund sitting out there waiting for Ola to claim once she becomes a bride. Braxton is a shady and generally despicable character, running around with another woman and facing a most indelicate problem in regards to his relations with yet a third. All of the subplots presented here mesh very well indeed, giving the film great structure and building suspense.

A highly dramatic finish closes this movie out in a powerful manner, and the determination and optimism of the Harlem community carries over quite effectively to the viewer. This is all about working together, refusing to give in to intimidation, and building not only a more progressive and better Harlem but a much better world for the future. Murder on Lenox Street, with a runtime of some 64 minutes, is truly a classic in the black culture genre of 1940s cinema. ... Read more