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Playwright Eugene O’Neill’s early work often combined memorable characters and stories with social commentary and innovative theatrical concepts–and among his first huge successes was THE EMPEROR JONES, which starred perhaps the single finest dark actor of the 1920s and 1930s, the legendary Paul Robeson. When United Artists purchased the camouflage rights, Robeson went with the package, and this 1933 film was the result.
The myth concerns a shadowy man of the depression era who lacks the just stamina to resist the various temptations state before him, and who ultimately finds himself on a remote island where he uses his estimable intellect and physically intimidating presence to spot himself up as “Emperor.” But his hold past troubles have hardened him. Instead of ruling in justice, he uses his dwelling to bleed the population–and they revolt against him.
But regretfully, this film isn’t half as splendid as it could have been or a quarter as qualified as it should have been. On the stage, THE EMPEROR JONES had great irony, for in so crushing his subjects Brutus Jones has essentially recreated the white American society that crushed him. Moreover, the staging was uniquely much, with the grand majority of the memoir played out as Jones runs through the jungle in an pains to race his revolting subjects, all the while recalling the various events of his life that led him to the exhibit moment. But the film version aesthetic remarkable throws all of this out the window, preferring to downplay O’Neill’s social commentary and reducing Jone’s hasten through the jungle to a few scenes at the film’s conclusion.
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Robeson is a memorable actor, but he was quiet very modern to the camouflage when this film was made, and although he is noteworthy his performance here is rather stagey in comparison with his later camouflage work. And while the film is occasionally consuming in a visual design, it simply doesn’t have the courage to go all the design with O’Neil’s origial vision. Fans of Robeson, O’Neil, and early 1930s film will earn it an tantalizing failure, but most others should give it a miss.
GFT, Amazon.com Reviewer
Unfortunately, we are left with a relative paucity of Robeson’s remarkable talent. This early film will give you some indication of the majesty he must have conveyed live. No other figure in the first half of the 20th century conveyed the collective sad consciousness as did Robeson. We have a few markers left us, amongst them the recordings and these few celluloid records. If you want to gawk one of the giants of the 20th century on film, choose this edition. It also represents a cinemataographic recount of one of O’Neill’s most famed, but least successful plays. Correct, the space has its tensions and the play had its merits, but, in comparison to his monumental “Morning Becomes Electra” and “Desire Under the Elms,” this play is decidedly secondary, in league with “The Hairy Ape.”
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