"Way Down South" is based on a story by Langston Hughes and the screenplay was written by Clarence Muse--who also was a major character in the film. "Way Down South" is bound to play a lot differently today than when it debuted in 1939. The notion of happy and well-fed slaves is far from politically correct and I am sure many will blanch at this antiquated view of the Old South. While I am sure some slave owners were more benign in how their treated blacks, they still were slaves!! Oddly, Hughes and Muse were black men and, in an odd way, the film was progressive for its time as it promoted fair treatment of blacks...but they still were slaves!! The film stars one of the more unusual stars in Hollywood history, Bobby Breen. Breen was a child star who only appeared in nine films--though they were starring roles. His AMAZING voice cannot be described--you just need to see and hear him for yourself. The films he made were mostly pleasant but forgettable pictures--though it's easy to like the boy in the films as he always seemed incredibly nice.When the film begins, Bobby is very happy and the family's slaves on the plantation are equally happy. In fact, Bobby's best friend is one of the slaves (Stymie Beard of the Our Gang films)! But, when Bobby's father dies unexpectedly, his father's executor comes in and dramatically changes the place--selling slaves and beating them soundly. But Bobby can't stand to see his friends treated that way. Plus, what he doesn't know is that the executor actually is planning on taking EVERYTHING for himself! What's to happen of Bobby and the happy slaves?! This is an odd film in that it IS entertaining but it is a bit uncomfortable as well due to the odd subject matter. Well made but weird...that's for sure!

The modern idea that the antebellum South was made up of Simon Legrees and mistreated slaves is balanced by this story of a plantation owner and his son whose loving and familial relations with the servants led the servants to love their work and their master. This was dramatised for the movie, but is not unlike many of the working relationships that existed at the time. One sees a love between men and women of different races that is not very evident today.This movie is a rare gem of nostalgia, presenting a story that is uncomfortable for many today who want the story to be that blacks and whites have always hated each other. That has not always been so, and I pray that this kind of loving respect (not slavery) would return to our land; that men and women of every race and station would show respect one to another and not succumb to the modern idea that they must resent who they are and feel like victims. The cane harvest party hosted by the plantation owner and enjoyed by the owner and workers was quite common in the South. Good movie. Great singing!

Way Down South (1939) ** 1/2 (out of 4) Interesting race picture from RKO features two black writers (Clarence Muse, Langston Hughes) doing the screenplay. Set before the Civil War, a plantation owner dies leaving his farm and slaves to his young son (Bobby Breen). Soon an executive comes into play and tries to sell the slaves but the young kid won't stand for this as the slaves are his only friends. It's interesting to see a Hollywood picture from this era treating blacks with any sort of respect and in many ways it's more respectful than many of the other race pictures that I've seen, which were made by black directors. The film only runs 61-minutes so the drama of slavery isn't ever really looked at and the film would later be criticized by the NAACP for showing "happy slaves". The films main goal is to have a spotlight for the young Breen and he's pretty good here, although his musical numbers aren't anything special.

At times this movie is brilliant beyond my powers of description to note. At other times it turns stupid. Langston Hughes' poetry and powerful images dominate some scenes. At others we have the sight of Clarence Muse in a dress and veil, or Bobby Breen advancing the plot while Alan Mowbray does his best to make it interesting by a little judicious mugging. Even the musical numbers are erratically choreographed. The last may have been an attempt to either appease white audiences who would never see this movie or a choreographer utterly ignorant of jazz dancing. In 1939? It doesn't make sense. Perhaps it was shot, edited, tested and then someone else went back to do some ham-handed reshooting.The problems I have with the execution of this movie cannot be denied, but its strengths are likewise undeniable. Take a look at it and bear in mind that this was released in he same year as GONE WITH THE WIND.