NEGRO BIBLICAL CONCEPTION

Dominion, Volume 30, Issue 159, 2 April 1937, Page 16

NEGRO BIBLICAL CONCEPTION

“The Green Pastures” Previewed

S a play Marc Connelly’s “The Green Pastures” has been one of

the greatest successes on the American stage during the last few years in spite of the fact that all the players have been negroes and the theme a religious one. It deals with the negro conception of Biblical history, and though such ideas as “de Lawd” in a frock coat may appear strange, the subject has been treated reverently and sincerely to make the recently privately-screened Warner Bros, film version an entertaining and emotionstirring production. It is beautifully acted.

The film opens in a tiny Sunday school in Louisiana, where a dozen piccaninnies, listen open-mouthed to stories of the Bible-told-them by the Reverend Deshee (George Reed). Like most children, they are very curious, and, after the good man has been embarrassed by their questions, he tells them in homely language his idea of Heaven and “what happened.’’' The scene is transformed right up past the clouds to an oak glade, where all the angels with wings are enjoying a “fish fry” (negro picnic), complete with ten cent cigars and cups of custard. Cherubs go floating by on clouds, the "mammies” gossip, and everyone is having a very enjoyable time. . There is talk of “de ■ Lawd”, and soon after the Angel Gabriel (Oscar Polk) has announced “gangway for de Lawd Jehova 1” an elderly man (Rex Ingram), with grey hair and a short beard and wearing a double-breasted frock coat, comes on the scene and accepts homage. Later, he thinks the custard is “not quite right” and passes a miracle to obtain an ingredient, of which the cooks are short. This comes down in rain, and when he has created the sun to dry his cherubs he has the idea of making the earth and the moon and the stars. Then he makes, in his own image, Man. Man is a terrible worry to “de Lawd,” and he is very wrath indeed when he visits the earth one Sunday and finds dancing, drinking, gambling and every form of sinning. There is one good man, however, named Noah, who “de Lawd” advises to build an ark. Though the rest of the town jeer and laugh at him, Noah hammers away at his ark and has barely completed it before it commences to rain. However, “de Lawd” finds that Man soon becomes wicked again, and after he has lead the Israelites into the Promised Land, but paid another visit to see the sinfulness of Babylon, he is strongly tempted to destroy his creation. However, while up in Heaven he cannot help hearing the voice of the warrior Hezrel, who is fighting for the Ark of the Covenant. He talks to Hezrel, who says that he fights because of his faith in God—not one of vengeance, but of mercy. “De Lawd” assists Hezrel, and as he looks down from Heaven and hears voices speaking of a Man who is carrying a heavy burden of a hill, “de Lawd” himself suffers, and thereafter has love and compassion for mankind.

Among the many scenes which stand out are the Flood, Moses’ audience with Pharoah, Cain’s emotion when confronted by “de Lawd” after the slaying of Abel, and one in particular, when Moses sits alone while his followers pass on to Canaan. As they go by him each puts a hand on his shoulders —a most poignant moment. Moses is excellently played by Frank Wilson. The entire cast is coloured, and they were evidently inspired by the story, for the standard of acting is brilliant. Bex Ingram gives a superb performance in the difficult role of “de Lawd.” his quiet dignity, changes of mood, finely sensed sympathy and expressive diction making up a histrionic masterpiece. He is not to be contused with the European Rex Ingram, actor in silent films.