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Brother Martin: Servant of Jesus is a american film of genre Drama directed by Spencer Williams released in USA on 31 december 1942 with Spencer Williams

Brother Martin: Servant of Jesus (1942)

Brother Martin: Servant of Jesus
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Released in USA 31 december 1942
Directed by
OriginUSA
Genres Drama

Brother Martin: Servant of Jesus (1942) is a race film directed and written by Spencer Williams. The film featured an all-black cast and was produced exclusively for exhibition in U.S. cinemas serving African American communities. It was among a number of religious-themed feature films created by Williams during the 1940s, who also wrote and directed The Blood of Jesus (1941) and Go Down, Death! (1944).

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Suggestions of similar film to Brother Martin: Servant of Jesus

There are 11 films with the same actors, 9 films with the same director, 61421 with the same cinematographic genres, 3314 films with the same themes, to have finally 70 suggestions of similar films.

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Directed by Spencer Williams
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Genres Drama, Fantastic, Fantasy, Musical
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Rating53% 2.654512.654512.654512.654512.65451
In a small rural village with an African American population, a church group is holding a riverside baptismal service, and one of the faithful being immersed is the recently married Martha (Cathryn Caviness). However, Martha’s husband Ras (Spencer Williams) is absent from the service – he claims he was hunting, but he actually poached a neighbor’s boar. At home, Ras accidentally shoots Martha when his rifle drops on the floor and discharges. The church congregation gathers at Martha’s bedside to pray for her recovery, and during this period an angel (Rogenia Goldthwaite) arrives to take Martha’s spirit from her body. She is brought to the Crossroads between Heaven and Hell, and initially she is tempted by the slick Judas Green (Frank H. McClennan), who is an agent for Satan (James B. Jones). Judas takes Martha to a nightclub, where the floor show includes an acrobat and a jazz singer. Judas arranges to have Martha employed by the roadhouse owner Rufus Brown, but the angel returns and advises Martha to flee. As she is escaping, a nightclub patron mistakenly believes Martha is a pickpocket who robbed him. A chase ensues and Martha races back to the Crossroads, where Satan (along with a jazz band on a flatbed truck) is waiting for her arrival. The angel appears to protect Martha from the mob, who are driven away. The sign at the Crossroad is transformed into the vision of Jesus Christ being crucified, and Christ’s blood drips down on Martha’s face. She awakens to discover she is home and her health is restored. Martha is reunited with her husband, who has now embraced religion. The angel who took Martha on her journey returns to bless the marriage.
Go Down Death, 53minutes
Directed by Spencer Williams
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Rating49% 2.481992.481992.481992.481992.48199
Go Down Death takes place in an African-American community where the criminal boss Big Jim Bottoms (Spencer Williams) runs a successful juke joint. The arrival of a new preacher (Samuel H. James) to the town results in many of Big Jim’s customers leaving the juke joint in favor of attending church. Big Jim arranges for the preacher to be photographed in compromising situations with three attractive women. Aunt Caroline, Big Jim’s adoptive mother, becomes aware of the scheme and tries to prevent Big Jim from carrying out his blackmail scheme. There is a physical struggle between Aunt Caroline and Big Jim, resulting in Aunt Caroline collapsing after being struck. Aunt Caroline dies from her injuries, but Big Jim escapes arrest. But following Aunt Caroline’s funeral, Big Jim’s conscience haunts him with visions of eternal damnation in Hell. His body is later discovered in a canyon and the photographs of the preacher are nowhere to be found.
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Juke Joint
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The film opens as Tommy, Darius McCrary, is reading a newspaper, trying to find a job. He eventually finds God.
The Jester
The Jester (1937)
, 1h30
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The film is set in a Galician shtetl before World War I, rich with itinerant performers and star-crossed lovers.
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The plot concerns the adventures of João Grilo (Matheus Nachtergaele) and Chicó (Selton Mello), the most cowardly of men. Both struggle for daily bread in a telling representation of the life of the poor in North-East Brazil (O Nordeste) and gull a series of comical stereotypes - baker, landowner, and priest - in a series of interrelated episodes united by the passion of the adulterous baker's wife for her little dog who dies from eating the food she supplies to them as occasional workers, and the daughter of the landowner Antônio Morais (Paulo Goulart) - a magnificent comic character who represents the colonial pretensions of the erstwhile "colonial" class who owned the great estates (or "fazendas") of the region in which sugar production was central to a once-booming economy.
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