Spunk whispering "I heard your voice" in a bar was a very poignant thing to do if you think about Jolson doing blackface and telling us "we ain't heard nothing yet" in The Jazz Singer. Can't help but wonder if Hallelujah did more harm than good. The elliptical editing of Zeke's way back home (singing the same song in multiple locations) is an underrated achievement.
Surprisingly great - technically ahead of its time (the editing of the swamp chase; the overhead shot in the church hall; the POV shots; the innovative use of offscreen dialogue), it's hard to tell this was Vidor's first sound film. The way the film also charges the religious themes with simmering sexuality is refreshing and provocative. A hidden gem.
Historically significant, musically terrific melodrama that effectively taps into the tension between the spiritual and the carnal. Vidor's use of light and shadow, especially in the churchhall revival scenes with their thrusting hands and waving shadows, and the chase sequence, is quite striking