In 1941, “The Blood of Jesus” delved
deeply into cultural themes related to
the early 20th century and Depression
era black community such as the im-
portance of conservative family values,
Christianity, and questions of “virtuous”
rural life compared to “sinful” urban liv-
ing. Spencer Williams (1893-1969),
wrote the script, directed the film, and
appeared as co-star, was an experi-
enced Hollywood veteran. Williams be-
came better known for his television
portrayal of Andy in the controversial
but popular Amos & Andy sitcom of the
early 1950s, proved himself a highly
talented filmmaker routinely working
with limited budgets (Cripps, 1993). Alfred
Sack, a white movie producer of many
‘race films’ collaborated with Williams on “The Blood
of Jesus,” which realized some financial success.
Williams filled the movie with fundamental southern
Baptist religious overtones and conservative moraliz-
ing. In addition, this film expressly used gospel mu-
sic to help convey the story. Scholar Gloria J. Gibson
(1987) carefully documented how important the con-
trast of religious and secular music was to the plot
and helped position this film as a classic in the race
movie genre. Spencer Williams, like Oscar Micheaux
before him, developed film making skills through the
audacity of doing rather than any type of formal
study. With “The Blood of Jesus,” Williams exhibits
an impressive technical skill with camera movement,
special effects and symbolism. I found myself relat-
ing both Micheaux and Williams’ style to mid-20th
century African American painters such as, Jacob
Lawrence. They created highly stylized, culturally
relevant movies that spoke directly to their communi-
ties, providing elements of predictable entertainment
and uplift morality messages.
The opening montage sequence shows a black man
plowing a field, young black boys lounging under a
tree, while an unseen narrator extols the virtues of
hard work, sacrifice and conservative morality. The
audience receives the clear message that there is a
basic religious fundamentalist moral to the story and
that the film intends more than entertainment.
Adrienne Lanier Seward (1985) documented the sig-
nificance of African American folk traditions in the
film and Williams’ effectiveness in connecting famil-
iar cultural tropes to his intended audience through
religious symbols, metaphor and language.
The two main characters, Razz, played by Williams
and Martha Jackson are newlyweds in a spiritual cri-
sis. We are introduced to Martha while she walks in
a procession to a riverside Baptism. The choir is
singing and walking in procession. At the river, we
learn from two gossiping women that Martha’s hus-
band is not at the Baptism, but is instead out hunt-
ing. When Martha returns home with Sister Jenkins,
we learn that Razz has shot two shoats (piglets),
probably belonging to a neighbor, claiming they are
“big” rabbits. Both Sister Jenkins and Martha realize
Razz is lying. Martha plainly states that they would
be so much happier if he would “get some religion.”
It becomes obvious that there is a spiritual rift be-
tween them and their happiness as a newly married
couple is on the line.
The story gains momentum when Razz’s shotgun,
carelessly left leaning against a wall, accidentally
falls and discharges with the buckshot striking
Martha, going “clean through her,” and lodging sym-
bolically in a picture of Jesus hanging on the wall.
Visual prompts help the viewer link Razz’s lying,
stealing and carelessness with sinfulness, and
Martha’s baptism and gunshot wound with sacrifice
and salvation. In a following scene, church members
gather around the dying woman’s bed singing,
“Swing low, sweet chariot.” Here is one example of
Gibson’s (1987) analysis of the use of music in “The
Blood of Jesus” as a communicative tool. I found this
The Blood of Jesus
By Mark S. Giles
On her deathbed, Sister Martha (Cathryn Caviness) has visions of an
angel (Rogenia Goldthwaite). Courtesy National Film Preservation
Foundation.
