After the documentary Say Amen, Somebody was released in 1982, many film critics agreed with the New York Times, which had labeled the film “rousing,” “stirring,” and filled with “joyful, communal, and deeply moving” gospel music.Footnote ¹ In 2019, Milestone Films, in collaboration with the National Museum of African American History and Culture and the Academy Film Archive, commissioned an ultra-high-definition restoration of the documentary that once again brought to life the captivating presence of gospel pioneers Thomas A. Dorsey, Willie Mae Ford Smith, and Sallie Martin, among others. Songs such as “It's a Highway to Heaven,” “Canaan,” and “He Brought Me”—as well as the uplifting joy with which they were performed—fully engage viewers from the start. But Say Amen, Somebody offers audiences so much more than great music. It provides a closer look at the challenging (and often challenged) work of gospel artists, narratives about key songs, and humorous moments in which the memories of these music legends generate conflicting perspectives regarding the founding of gospel's first national convention in 1933. These elements constitute one hundred thoroughly enjoyable and pedagogically rich minutes.

The film's music, as well as its plethora of narrative accounts accompanied by archival images, illustrate what Dorsey means when he explains at the beginning of the documentary that the phrase “good news” and the word “gospel” are synonymous. An abundance of celebratory performances of key songs—including one of “Singing in My Soul” by Smith for a diverse group of senior citizens—exemplifies the underlying joy that generates the handclapping associated with gospel music. Other more contemplative songs convey the message at the heart of gospel music: have faith in God's love, grace, and saving power even during the darkest hour. One outstanding performance in this latter category is “I Don't Feel No Ways Tired,” delivered memorably by Delois Barrett Campbell and the Barrett Sisters. This group even received invitations to perform around the world due to the film's footage.

Say Amen, Somebody also serves as an introduction to influential figures like Smith, whose career—despite her numerous contributions to the genre—has been overshadowed by such other gospel giants like Dorsey. Viewers learn that the gospel community called her “Mother” because of her pioneering role as a travelling vocalist when gospel music was still new, and because she established the Soloist Bureau of the National Convention of Gospel Choirs and Choruses. Say Amen, Somebody includes rare footage of Smith being honored for her influence on the succeeding generations of gospel singers, including the Barrett Sisters, the O'Neal Twins, and Zella Jackson Price. Indeed, Smith's commitment to encouraging others both in conversation and in song is a recurring theme throughout the film. A bit more focus on Martin, whose role in gospel is mentioned briefly, would have been welcome. She served as a song demonstrator and bookkeeper for Dorsey, but later cofounded the Martin and Morris music publishing company and became a gospel recording artist.

Besides recognizing the contributions of various artists to the development of gospel music, Say Amen, Somebody tells riveting stories associated with the genre. The most powerful of these is shared by Dorsey, who provides heartbreaking details of how and why he composed “Take My Hand, Precious Lord,” one of gospel's most universally recognized songs. Dorsey is then shown singing a solo excerpt of this piece poignantly alongside other singers at the convention he founded. A clip of the great Mahalia Jackson performing in her inimitable way reinforces the dynamic nature of this song, which Dorsey explains was requested wherever he traveled: “Do that ‘Precious Lord’ thing.”

Dorsey and Smith both shed light on lesser known yet important aspects of the genre's history: resistance to gospel music and the gendered expectations for its artists. Dorsey recalls being “put out of some of the best churches” by religious leaders, while Smith relays that some within the black community who did not embrace early gospel called it “coon shine,” accusing her of bringing blues into the church. At one point in the film, Price asks Smith how to manage the tension rising in her home as she prepares to travel and sing. The seasoned performer replies, “It's hard being a gospel singer and having a career.” She tells the younger woman how difficult she found having to face crying children and a spouse displeased with her constant traveling. Price, too, Smith says, will have to stay focused on the souls in need of the Biblically based message. Familial challenges within the gospel music scene are further demonstrated onscreen. For example, Campbell encounters the disappointment of her husband, a pastor who, rather than applauding his wife and sisters-in-law for being invited to Europe to perform, explains that he looks forward to the day when he and his wife are in a shared ministry. These moments could prompt further investigation into the gender dynamics of the gospel community.

Digital restoration adds a new dimension to this important film: beautifully enhanced visuals. The original film was shot using the standard 4:3 aspect ratio, meaning that the screen is 33 percent wider than it is high. Today, however, we have come to expect a widescreen 16:9 aspect ratio, which is used for movie theater screens and many televisions. The digital resolution in the restored version makes what we see on the screen clearer and cleaner, with the colors brighter and more vibrant. In addition, an audio restoration via 5.1 Dolby surround sound enhances the listening experience by making it possible for a centered audience to hear all audio sources equally. The audio in this film, both spoken and sung, is absolutely worth the enrichment because of the informational and emotional power of what is delivered in every frame.

The restoration enhances Nierenberg's commendable documentary. One of the major pedagogical elements of the film is the director's attention to the emotions generated by gospel music. He intentionally uses compelling visual imagery—an individual crying, shouting, or dancing—to tell the story of gospel, revealing to those unfamiliar with the Black Church that something almost always has to be spoken, sung, or played in order to provoke such responses. Two segments illustrate the director's story-telling approach. In one, the camera focuses in on a woman walking with spirit-filled emotion when “Jesus Dropped the Charges” is performed by the O'Neal Twins. In the other, a woman appears to collapse into the arms of those around her, while another woman quietly dabs her eyes during the consecration service of the convention. Moving visuals such as these are noteworthy, opening up entry points for those who teach African American culture to highlight the multiplicity of ways in which individuals respond to worship services, sacred music programs, or films as riveting as Say Amen, Somebody.