There are moments in a great artist's life...
which should be remembered forever.
Yet, for Paul Robeson, those moments were nearly obliterated, blotted out...
by the fears and political anxieties which gripped America in the early 1950s.
One such moment occurred over half a century ago.
Oscar Hammerstein and Jerome Kern wrote a song...
expressly for and dedicated to a young singer.
No one who has ever heard Paul Robeson sing "Ol' Man River"...
will ever forget it.
♪ Ol' Man River ♪
♪ That Ol' Man River ♪
♪ He must know somethin' ♪
♪ But don't say nothin' ♪
♪ He just keeps rollin' ♪
♪ He keeps on rollin' along ♪
♪ He don't plant taters ♪
♪ He don't plant cotton ♪
♪ Them that plants 'em is soon forgotten ♪
♪ But Ol' Man River ♪
♪ He just keeps rollin' along ♪
♪ I gets weary ♪
♪ And sick of tryin' ♪
"Ol' Man River" was to be associated with Robeson for the rest of his life.
The words he sang were to change gradually...
as Paul Robeson and the world around him changed.
♪ He just keeps rollin' ♪
♪ Along ♪♪
But even if "Ol' Man River" had never been written...
there was another moment.
It was a performance on stage that still stands in the record books:
the longest-running Shakespearean play in the history of the Broadway theater.
It was a part many actors have played.
Emil Jannings, Walter Hampden...
Walter Huston, Orson Welles...
Laurence Olivier.
But none equaled Robeson...
as Othello the Moor.
A performance that was the culmination...
of 20 years of work and understanding.
Robeson recollects.
I had just come over from America and was likely to say"pass" and "chance"...
and—and "dew" for the morning dew.
And, uh—And I happened to pick up an old script of, uh—of Shakespeare...
and the "dew" was very clear.
It was D-I-E-W.
And the—It was not "chance." C-H-A-U-N-C.
So it was "diew," like in lieu of.
And, uh—And "chance" and "dance." It was very, very Shakespearean.
And, uh—And, uh...
one terrible difficult sound...
was—was my— almost at the beginning of the play.
"My services which I have done the signory."
"My services." "Services."
I would say"my services," "my services." I had to work on that very hard.
But later I took some special work, University of London.
And also in my university days I majored in English...
and I have records from the earliest time—
from the time of Anglo-Saxons, as a matter of fact, through Chaucer.
And, uh, I've— And of course, since...
I've worked on my songs with Roger Quilter, and I would have to use drawl.
I couldn't walk out here and say...
"Drink to me only with thine eyes, and I will pledge with mine."
It's got to be very— ♪ Drink to me only with thine eyes ♪
♪ And I will pledge with mine ♪♪
Yet Robeson's Othello was more important for another reason.
Simple human dignity.
White men wearing black makeup had been kissing Desdemona for years on the American stage...
but this was the first time a black man would play Othello with a white supporting cast.
Actually, in 1826...
one other black American, Ira Aldridge...
had played Othello throughout Europe with an all-black cast.
Magnificent actor that he was...
Ira Aldridge was not allowed to play Othello in his native land, America.
But in 1943, America had changed.
Margaret Webster directed Robeson in Othello.
The moment he stepped onto that stage...
he was not only a black man, but he was a great black man.
A man of stature.
Somehow or other he put the play in focus.
Shakespeare, the genius that he was...
seemed to foreshadow and understand...
many of the problems that have since arisen in our world.
Perhaps were present then.
First I would say that here is a part which has dignity for the Negro actor.
Often we don't get those opportunities.
And I would say that my people will be very proud of—of—of—
of my or any other Negro actor appearing in such a part.
I think also there—that to me Othello is one of a different culture.
Shakespeare insists that he's African. Some argued whether he's—
The—The word black and—and the fact that he's from Africa is very clear to me.
- Hmm. - And that Shakespeare posed this problem...
of a, say, black man in a white society.
Robeson's career started in the early 1920s.
It was a time of the Negro renaissance...
and the early works of black musicians, poets, writers and painters...
were coming to the attention of the American public.
Robeson was supporting himself through law school by acting...
when he was seen by Eugene O'Neill.
It was his performance as the Emperor Jones in a revival of the O'Neill play...
that first brought Robeson to the consciousness of the theatrical world.
...enough noise.
Smithers, cigarette.
There is no visual record of Robeson's performance in 1924.
This is a scene from the film, which was made nine years later.
Smithers...
you has just had an audience with de Emperor Jones.
In the next four years...
the sound of Robeson's voice was heard around the world.
♪ He must know somethin' ♪
In 1928, Robeson opened in the London production of Show Boat.
And it's interesting that when he recorded "Ol' Man River" for the first time a year earlier...
he sang the original Hammerstein lyrics using the word "niggers."
♪ Niggers all work on the Mississippi ♪
♪ Niggers all work while the white folks play ♪
♪ Pullin' dem boats from the dawn to♪♪
By 1928, Robeson had persuaded Hammerstein to change the word to "darkies"...
which may seem less than any change at all in terms of today's thinking...
but the lyrics of "Ol' Man River" were eventually to change mightily in the years to come.
It was 1930. Success piled on success.
Impresario Max Reinhardt decided to produce one American play in Berlin:
Der Kaiser Jones.
Or as one German newspaper headlined:
Der Schwarze Kaiser.
Robeson set another landmark.
Paul Robeson had still another career: on the concert stage.
It happened almost by accident.
Back in 1924, he was rehearsing the last act of The Emperor Jones...
and the script called for Jones to exit, hands in his pocket, whistling a tune.
Robeson said he couldn't whistle.
The director said, "Well, hum... or sing, if you want to."
♪ Lord God ofAbraham ♪
♪ Isaac and Israel ♪
♪ This day let it be known ♪
- Here. Steady, mate. Steady. - ♪ That though art God ♪
♪ And that I am thy servant ♪
♪ Lord God ♪
♪ OfAbraham ♪
♪ Hear Oh, hear me, Lord ♪
♪ And answer me ♪
♪ Oh, hear me, Lord, and answer me ♪
♪ Lord God of Abraham ♪
♪ Isaac and Israel ♪
♪ Oh, hear me Oh, hear me, and answer me ♪
♪ And show this people ♪
♪ That thou art Lord God ♪
♪ And let their hearts be turned ♪
♪ And let their hearts ♪
♪ Be turned ♪
♪ Lord God ♪
♪ Of Abraham ♪♪
- Here. Was that you? - Yeah. Was it all right?
Robeson sang all over the world.
He sang for the people, and he sang for the royal families...
of England, Romania, Greece, Yugoslavia.
As Robeson's view of the world expanded, so did his music.
He became competent in many languages.
He began to sing folk songs in the languages they were written in.
So the idea of my concert is one suggestion that all men are brothers because of their music.
And in my first group, I do an old English song.
I do an old song from about the 11th or 12th century from Czechoslovakia.
The Moravian chorales of about the 11th and 12th centuries...
preceded the chorales upon which Johann Sebastian Bach based his music.
So I take this, and then I do a Bach chorale.
And then I create slight confusion by doing a Negro spiritual right in the middle.
Because it belongs there.
Two Robeson concerts stand out.
One on a day a war stood still.
It was January 27, 1938, at Teruel, Spain.
Robeson had come to the front to sing to the Republican soldiers.
Somehow the shooting quieted down.
Loudspeakers were put up, and for a day...
a war stopped while two opposing armies listened to a man sing.
♪ He must know somethin' ♪
♪ But don't say nothin' ♪
♪ He just keeps rollin' ♪
In Spain, another change in the words of "Ol' Man River."
"I'm tired of living and scared of dying"...
became "We must keep fighting until we're dying."
♪ I keeps laughin' ♪
♪ Instead of cryin' ♪
♪ We must keep fightin' ♪
♪ Until we're dyin' ♪
"Ol' Man River" was beginning to turn from a song of lament...
to a song of political protest.
♪ Along♪♪
The other unforgettable concert was in St. Paul's Cathedral in London.
Robeson chose the hymn "Jacob's Ladder," and he sang for 4,000 people in the cathedral...
and 5,000 more who stood outside and listened.
♪ We are climbing Jacob's ladder ♪
♪ Soldiers of the cross ♪
♪ Do you think I'll make a soldier ♪
♪ Soldier of the cross ♪♪
In 1933, the same Eugene O'Neill play, The Emperor Jones...
which began Robeson's acting career, became his first major motion picture.
♪ All the way to the jail, boy ♪
♪ Yes, back to the jail ♪
♪ Water boy ♪
♪ Where are you hidin' ♪
♪ If you don't a-come ♪
♪ I'm goin' to tell your mammy ♪
♪ Water boy♪♪
Robeson's next major performance was in Show Boat in 1936.
Robeson starred in 11 films.
In H. Rider Haggard's King Solomon's Mines...
he played the warrior king, Umbopa.
It is agreed. Tomorrow, at the smelling out of the evildoers...
they will lead the people of the Kukuana against Twala.
But I need your help.
And in return, I offer you your lives and the freedom of the mines.
For you, the diamonds, riches.
For you, adventure.
For you, the happiness of the "Inkasikas."
Today you saw how Twala treats strangers.
If your father is alive, he is in the mine.
How can we help you?
Behind Twala stands Gagool.
The people fear her magic.
They will rise only if you show them a greater magic.
But you've lived among us. You know that the white man has no magic.
- I must have magic. - And if we cannot give it?
The drums will roll at the smelling out.
Gagool will give the sign.
Killers will speed to the evildoers.
They will beat us to death.
♪ They can't stop us singing ♪
And a coal miner in Sir Michael Balcon's The Proud Valley.
- Hey, lads. What shall we sing? - What about—
Fine. Come on, David, man. Give 'em a lead.
♪ Back to work with no repining ♪
♪ All through the night ♪
♪ Overhead the stars are shining ♪
♪ All through the night we're singing ♪
♪ All through the night ♪♪
Well, that's that.
- Here, Em. - It's no use, Dave.
People are blind. They're properly in the cart.
- You ought to get out of this place. - Why?
I pay my way.
There's my 17-bob dole money. I do my bit on a slag heap.
- I try not to eat too much. - If you had any sense, you'd go.
- Try the Dutton Valley. - No, Em.
Get to Cardiff. Find a ship.
Why are you staying?
I'll tell ya. Because of mam and the kids.
- They're my responsibility. - Not altogether, Em.
Listen, son. Your father was my friend.
He took me in, gave me food and shelter, found me work.
What kind of a man would I be if I left now when things are bad?
Let's don't talk about it anymore.
Then, in 1939, there was another moment.
Robeson first sang "Ballad for Americans" over CBS Radio.
♪ In '76 the sky was red ♪
♪ Thunder rumbling overhead ♪
♪ Bad King George couldn't sleep in his bed ♪
♪ And on that stormy morn ♪
♪ Old Uncle Sam was born ♪
Though the ballad, like Robeson himself...
was later nearly wiped from our memories...
in 1940, with America uniting for World War II...
"Ballad for Americans" had extraordinary appeal for every man.
♪ ...who went before ♪
♪ For I have always believed it ♪
♪ And I believe it now ♪
♪ And you know who I am ♪
♪ Who are you ♪
♪ America♪♪
When President Roosevelt died in 1945...
it was Paul Robeson who was chosen by his fellow actors...
to read their tribute to the president.
It was written by Carl Sandburg.
However, with Roosevelt's death and the end of World War II...
Robeson's political views separated him from most Americans.
From this point on, his artistic career was almost entirely political.
He only sang for causes in which he believed—
as at the Paris Peace Conference.
♪ But, Joe, you're 10 years dead ♪
♪ I never died, says he ♪
♪ I never died, says he ♪♪
In 1949, he went on a triumphant European concert tour.
Between concerts, Robeson spoke out plainly as to what he believed...
and there was a severe reaction in the United States.
♪ Tra-la la-la, la-la, la-la bye-bye ♪
♪ In your mother's arms be creepin' ♪
♪ And soon you'll be a-sleepin' ♪
♪ La, la ♪
♪ La, la, la ♪
♪ Lullaby♪♪
At Warsaw, there were new changes in "Ol' Man River."
The Mississippi was now the old man he didn't like to be.
♪ There's an old man called the Mississippi ♪
♪ That's the old man I don't like to be ♪
♪ What does he care if the world's got troubles ♪
♪ What does he care ♪
♪ If the land ain't free ♪
♪ Ol' Man River ♪
♪ That Ol' Man River ♪
♪ He must know somethin' ♪
♪ But don't say nothin' ♪
♪ He just keeps rollin' ♪
♪ He keeps on rollin' along ♪
And "You gets a little drunk and you lands in jail"...
became "You show a little grit and you land in jail."
♪ Them that plants 'em is soon forgotten ♪
♪ But Ol' Man River ♪
♪ He just keeps rollin' along ♪
♪ You and me We sweat and strain ♪
♪ Body all achin' and racked with pain ♪
♪ Tote that barge Lift that bale ♪
♪ You show a little grit ♪
♪ And you lands ♪
♪ In jail ♪
♪ But I keeps laughin' ♪
♪ Instead of cryin' ♪
♪ I must keep fightin' ♪
♪ Until I'm dyin' ♪
♪ And Ol' Man River ♪
♪ He'll just keep rollin' ♪
♪ Along ♪♪
He also sang the song "Qilai" in Chinese.
It had originally been a marching song for the Chinese Red Army...
and was now the first national anthem of the People's Republic of China...
which at that moment was sweeping to power.
♪ Qilai ♪
♪ Qilai, qilai ♪
♪ Qilai ♪
The reaction to Robeson speaking out politically in Europe...
was to erupt in Peekskill, New York.
He had scheduled on his return a fourth-annual concert...
for the Civil Rights Congress in Peekskill.
However, those who wanted his outspoken voice stilled...
threatened violence if Robeson sang.
Protesters paraded.
Despite the threats, on September 4, 1949...
Robeson came to sing.
Spectators jeered on the sidelines at the people who came to listen.
Go on back to Russia, you niggers!
Go back to Russia!
There's a group of young boys yelling at the people stopped in their cars.
There are hundreds and hundreds of people here...
and if there's a serious outbreak it would be very bad.
♪ Fought the battle of Jericho, Jericho ♪
Hey! Go on back to Russia, you niggers!
Because the concert was ringed with a threat of violence...
hundreds of concertgoers volunteered and stood a circle of guard around the audience...
and around Robeson himself.
♪ And the walls come a-tumblin' down♪♪
When the concert was over, the police did little or nothing to avoid a confrontation.
The concertgoers were attacked as they left, and a riot developed.
- 140 people were injured. - Skirmishes are breaking out all over here.
The boys are fighting the cops. This is terrible.
And they are beating up a Negro.
They're clubbing him.
After Peekskill, other cities became fearful.
Concerts were canceled...
Robeson records were withdrawn from stores.
Robeson continued to speak out...
and condemnation of the man and his beliefs continued.
Unbelievably, even his selection years before as all-American end for Rutgers...
was wiped from the record.
The 1917-1918 College Football Hall of Fame...
listed the only 10-man all-American team in history.
The 11th man, Paul Robeson, was eliminated.
Erased from the record books.
Then the secretary of state canceled Robeson's passport, stating, quote...
"This action is taken because the department considers that Paul Robeson's travel abroad...
would be contrary to the best interests of the United States."
- Unquote. - ♪ Let my people go ♪
Blacklisted in America and forbidden to travel...
Robeson was to spend nearly all of the next decade of his life...
fighting for his rights and everyone's rights in the courts.
Most importantly, however, were the questions raised by the State Department...
as to my political opinions.
Here's a question of whether one who wants to sing and act...
can have, as a citizen, political opinions.
And, uh, in attacking me, they suggested that when I was abroad...
I spoke out against injustices to the Negro people in the United States.
I certainly did. And the Supreme Court justice just ruled—
uh, Judge Warren— in the segregation cases...
that world opinion had a lot to do with that ruling...
that our children— Negro children— can go to school like anybody else in the South.
I'm very proud to have been a part of directing world opinion to precisely that condition.
♪ Sometimes I feel like a motherless child ♪
Because he was forbidden to go even to Canada...
thousands of Canadian miners came to the border to hear Robeson sing.
But despite these occasional shows of support...
in reality, Robeson was effectively barred from the theater...
the concert stage and the movie studios.
Finally, in 1958, to its honor...
the Supreme Court of the United States ruled...
that the State Department had no right under law to deny a passport...
because of a man's beliefs and associations.
The fight had been won, but Robeson had lost 10 years out of his life...
at the height of his career to help win the battle.
It was a battle that destroyed his health as well.
Once again, he was acclaimed and welcomed around the world.
But the years had gone by.
One concert to a group of construction workers in Australia...
tells more of the story than can be written.
♪ He must know somethin' but don't say nothin' ♪
- ♪ He just keeps rollin' ♪ - The words of "Ol' Man River" had changed...
from "We must keep fighting until we're dying"...
to "I must keep fighting till I'm dying."
♪ Lift that bale ♪
♪ Show a little grit ♪
♪ And you lands in jail ♪
♪ But I keeps laughin' ♪
♪ Instead of cryin' ♪
♪ I must keep fightin' ♪
♪ Until I'm dyin' ♪
♪ And Ol' Man River ♪
♪ He'll just keep rollin' ♪
♪ Along ♪♪
Paul Robeson's fabulous career and his life...
ended on January 23, 1976.
A word or two before you go.
I have done the state some service, and they know it.
No more of that.
I pray you, in your letters...
when you shall these unlucky deeds relate...
speak of me as I am.
Nothing extenuate...
nor set down aught in malice.
♪ Ol' Man River ♪
♪ He just keeps rollin' ♪
♪ Along♪♪