NFR Project: 'Stormy Weather' (1943)

 

NFR Project: “Stormy Weather”

Dir: Andrew L. Stone

Scr: Jerry Horwin, Seymour B. Robinson, Frederick J. Jackson, H.S. Kraft

Pho: Leon Shamroy

Ed: James B. Clark

Premiere: July 21, 1943

78 min.

Man, this film tries so hard not to be racist. It fails: but it records some of the greatest performances by African-Americans captured with a camera.

It's an all-Black cast, an all-Black film made for Black people, presumably, by well-meaning white liberals. Still they stage a minstrel show in this film; its protagonist is forced to sit in a jungle tree pounding a drum. In a Caribbean number, he dances from conga-top to conga-top. Two Black comedians “black up” their faces to play an old comedy routine . . . Black people imitating the way white people imitate Black people.

All this is in support of the great dancer Bill “Bojangles” Robinson, who was still going strong at 65 when he made this movie. Robinson was one of the greatest dancers of the 20^th century, with a seemingly effortless elasticity that made him the personification of dancing grace. The film is a worthy tribute to his artistry, capturing him essaying all manner of styles. Including, unfortunately, the cakewalk, stereotypical dance of slaves.

Robinson seems to be holding his own as an actor in this effort; he is a dancer, not an actor. The film vaguely recasts Robinson’s own story as that of Bill Williamson, who Robinson portrays. He comes home after World War I (James Europe and Noble Sissle, jazz pioneers, are name-dropped here) and who lands humble jobs while he dreams on going on stage and dancing.

This he does with sidesick, sad-sack Gabe Tucker (Dooley Wilson). Meanwhile, he captures the heart of the fabulous Serena Rogers (Lena Horne), who sings the title song and “I Can’t Give You Anything But Love” and “Diga Diga Doo.” And who else shows up? Fats Waller, for crying out loud! In one of his final appearances before his untimely death in December of the same year. He nails his signature tune, “Ain’t Misbehavin’”!

And then Cab Calloway shows up! And HE nails it! Katherine Dunham and her dancers do a number. Cab hits “Jumpin’ Jive,” and then . . . out come the Nicholas Brothers.

The Nicholas Brothers, Fayard (1914-2006) and Harold (1921-2000) were the best dancers ever captured on film. Bursting with energy, they negotiated the most outrageous of moves with assurance and finely honed technical skills. That the two can do the splits and recover, over and over again, makes the climax of their routine a kind of miraculous enactment of human achievement.

The film plays is straight; there is no minstrelry in the characterizations and dialogue. Still, Hollywood falls far short of equality here. So, what do you do?

You acknowledge the crap and reject it and you treasure select performances. The other all-Black film of the same year, Cabin in the Sky, had the same problems.

It's a great tribute to Bill Robinson, who was simply amazing. Progress of a sort was coming; people got to work and get paid, and got to see themselves on the big screen. But the same old white assumptions lurked underneath.

The NFR is one writer’s attempt to review all the films listed in the National Film Registry in chronological order. Next time: Topaz.