User Reviews

If you've ever wanted to see the great Bessie Smith perform, this is your one chance--her only film appearance is in this short.

For an early talkie, a lot of things were done right. The wrap-around plot involving the 'no-good boyfriend who done her wrong' is really quite effective, and unnerving, in it's violence. The camerawork in the big bar scene is generally well done, with people passing in front of the camera going about their business. It's obviously a one-take deal, with several cameras recording the action at the same time as three-camera sitcoms do.

But you're left wondering about the stupidity of the director who obviously hid Bessie's mic on the bar, but failed to set up a camera behind the bar! Yes she sings, but we're treated to her backside mostly, with only an occasional glimpse of her profile. You can't really blame that poor thinking on early sound technology.

See why Bessie Smith was called the "Empress of the Blues" in this early sound short. An actress she was not, but the power and expression conveyed in her singing voice as she belts out the W.C. Handy composition of the title track is incredible. This film also gives you a rare glimpse of the talent of Jimmy Mordecai. One could only imagine what they could have accomplished had they been given the opportunity afforded other actors of their time.

This short subject made right at the beginning of the talkie era is the only film featuring the legendary blues singer Bessie Smith. The skimpy plot of this film has Bessie's no good gambling man being caught by Bessie in the arms of Isabel Washington. As this slick crapshooting man leaves Bessie she breaks into her lament, the St. Louis Blues.

After which there's a large production number where the Hall Johnson Choir is used in a large production number which while not done with the kind of values that Busby Berkeley had still was quite good. I'm sure the black cinema people who made this film at RKO didn't have a tenth of what Berkeley spent in 42nd Street.

Thank God this treasure was preserved.

The only surviving footage of Bessie Smith "St. Louis Blues" is a fascinating glimpse at a legend and the world she lived in. Featuring a storyline painfully mirroring Smith's own personal life the short film is an interesting glimpse at black American life at the dusk of the Jazz Age. Despite the erratic nature of the film with its sketchy pacing and music it truly is a marvel to glimpse and hear Smith at her peak. Tall and slim with an amiable yet murky countenance brimming with the anger and violence she was known for her clear, stentorian and forceful voice transcends time with the one of a kind magic that elevates her music above her time. A marvel for history, music and posterity this is a must see for all lovers of art, history and culture.

This sloppy, unstructured two reeler featuring a diamond in the rough, blues singer Bessie Smith, is a it of a bumpy buggy ride but it does lay claim to having the only visual recording of the finest female blues singer outside of Billie Holliday.

Slick Jimmy the pimp is quite a rascal around the ladies but Bessie can't quit him. Caught philandering again Bess beats the woman and Jim walks. Drowning her melancholy in beer, Jimbo reappears to the delight of the locals, busts same energetic moves and takes her for a ride again.

Blues bustles with activity from a crap game to a jumping nightclub where customers and waiters camp it up while Bessie broods. She is indeed the jewel in the crown in the picture but there are also jazz giants (James P. Johnson, Thomas Morris) as well as Johnson Hall's Choir lending support to this unevenly edited, music explosion of rare and only filmed recording of The Empress of Blues.

An orphan street performing before 10, killed in a car crash at the height of her career, bisexual Smith's tempestuous personal life probably had a Jimmie or two in it as well. If anyone had the reason to sing the blues it was certainly the tragic Smith. A must for anyone interested in the history of American music.

St. Louis Blues (1929)

*** 1/2 (out of 4)

This early race Musical is without question one of the strongest I've seen for a number of reasons. The plot is fairly simple as legend Bessie Smith walks into a gambling hall and catches her husband with a younger, prettier woman. She begs for him to come back with her but the husband knocks her to the ground and walks out, which causes Bessie to pour herself a drink and sing the title song. This film works on a number of levels but as a race movie I think it's perhaps the best I've seen from the 20s or 30s. We've seen a black gambling house in house white films made by white folks so it was very interesting seeing the difference here and I'm going to go out on a limb and say this here is a lot more authentic than what the major studios were showing. The film is also interesting because it shows how women were looked at during this era because we see Bessie get knocked down and kicked yet she begs for the man to keep her. Even before this happens Bessie storms into the room and beats the fire out of the other woman, which is certainly something that didn't show up in those MGM shorts. Finally, I've read that this is the only known video footage of Bessie Smith and man what a voice she had. Her singing the blues would make anyone a fan of the genre and she certainly gives it her all and delivers a strong vocal performance. Her acting ability wasn't the greatest but I thought she did OK with it. The film is extremely raw and authentic and part of this is probably due to the obvious low-budget. This film works on just about every level and is highly recommended.

Not a great film in the artistic sense, but it is all we will ever see of Bessie Smith in action, and the music is wonderful. All the more reason to criticize the NAACP's attempt to have all copes destroyed. The found the crapshoot scene demeaning. Fortunately, this attempt at censorship failed.

Years ago, Isabel Washington, who was the first Mrs. Adam Clayton Powell, told me how she came to play opposite Bessie in this 1929 two-reeler. "They wanted my sister, Fredi, who was already in pictures, but she had the flu and recommended me. When I auditioned, they said I was too light, so I told them that I could be dipped. They agreed and I got the part."

Fredi Washington is perhaps best known for her role in the 1934 Universal Pictures film, "Imitation of Life." Having served well to get Adam Clayton Powell elected, Isabel was divorced from him, and he married pianist Hazel Scott.

Bessie Smith is a legendary Black entertainer from the Harlem Renaissance. However, sadly, this is the ONLY known film in which she appeared. So, for historical reasons, this short if like gold. Now I am sure some might not agree--as the film shows Black people gambling and carousing and doing a lot of stereotypical behaviors. However, this was THE predominate view given in both Black and White-produced films of the time and you can't expect a lot of enlightenment back in 1929. It is a portrait of who we were as a nation at the time and who we wanted us to be--and I say just accept it as a little window into the times and way people thought. Plus, remember, this is still the only way to watch Smith perform...so deal with it!

"St. Louis Blues" gets its name from the famous W.C. Handy song of the same title. It consists of Smith arguing with her gambling and carousing boyfriend as well as Smith smacking the crap out of one of Jimmy's floozies! He slaps her around and mistreats her...yet she begs him not to leave. I KNOW this is very negative--a terrible message for women then and now. BUT, as I said, it is what it is. What follows is Smith singing her very famous tune "My Man"--and she sings it with a lot of soul and style. It also is an interesting short because it plays much less like a typical music video of the age but like a mini-movie. Smith was some talent and it's a great window into the times--warts and all.

Bessie Smith was known as the 'Empress of the Blues.' The singer emerged as one of the most major influences in American blues as well as one of the country's premier jazz vocalists during her era.

Smith appeared in only one film, a two-reeler, November 1929's "St. Louis Blues." The short's plot was based on one of the most recorded songs in history (over 2,200). Directed by Dudley Murphy and filmed in Astoria, Queens, New York, Smith was the rare cross-over artist who appealed to both blacks and whites when segregation was still entrenched in the United States.

The film follows the lyrics of W. C. Handy's 1914 "St. Louis Blues" about a deserted woman whose ex's "got a heart like a rock cast in de sea." In the movie, Bessie discovers her boyfriend (Jimmy Mordecai) making out with another woman (Isabelle Washington) in Smith's rented room. Bessie beats up the woman as her boyfriend splits. Later, Bessie catches up with him in a speakeasy. The two dance, only to have the boyfriend dip into her pocket to steal her bankroll. She laments the way her boyfriend treats her, singing the Handy song which showcases her wide vocal range.

Movie reviewer Mark Cantor labeled the movie "St. Louis Blues" as a 'foundational film' in the canon of jazz and blues which is luckily preserved. It was the pioneer of the short movie format that introduced black jazz and blues artists to the screen, including Mamie Smith, Noble Sissle, Eubie Blake, Louis Armstrong, Cab Calloway and Duke Ellington. Smith's life ended tragically at the age of 43 when she died in 1937 as a passenger in a fatal automobile accident. For future generations, "St. Louis Blues" gives a invaluable record of her impactful singing talents.