Eloyce Gist

A jeremiad against intemperance, jazz music, and abortion, set on a train filled with unrepentant sinners hurtling toward damnation.

Part religious allegory and part church pageant, it presents the heavenly trial of a woman who has died giving childbirth out of wedlock. The jailer wears a mask death's head mask and a nun's habit with a skull and crossbones on the front and God sits on an altar, flanked by angels, while the devil attempts to convict the woman for her sins. Shot with a handheld camera that doesn't always remain steady or keep the scene in frame, it is full of religious imagery and evocative folkloric elements, with flashbacks to the woman's life that provide a realism in sharp contrast to the allegorical pageantry. It shows its amateur origins, the texture, the pageantry, and the allegorical and ritualistic elements also looks forward to the American Underground cinema of Kenneth Anger, Curtis Harrington, and others in the 1950s and 1960s.

Heaven-Bound Travelers (circa 1935) was discovered among the rolls of film in the Gist collection at the Library of Congress by S. Torriano Berry during the recent restoration of Hell-Bound Train. Eloyce Gist takes a central role onscreen as a wife and mother who is wrongfully accused of adultery by her husband and is left to fend for herself and their daughter in the world. As she struggles to sustain them, the husband becomes riddled with guilt and struggles with his decision, and the social realism of the drama shifts to an allegorical struggle between the devil, appearing to tempt humanity to sin, and the angels. The film does not exist in complete form but the fragments show a project of ambitious scope. Presented with a score composed and performed by Dr. Samuel Waymon.