Miracle in Harlem

A sweet old woman who runs a candy manufacturing business out of her home with the help of her niece and a young divinity student, is swindled out of her business by a big businessman and his son, who has connections with the underworld. Two murders follow in this suspenseful film that also has touches of humor. A film produced by blacks for black audiences.

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"In this murder mystery, Aunt Hattie, a beloved candy maker, runs a shop with her niece, Julie, Bert, Julie's boyfriend, and Swifty, an employee. Hattie's livelihood is threatened when Mr. Marshall, a powerful candy manufacturer, schemes to swindle the kindly woman out of her business. As the plot unfolds, Mr. Marshall and his philandering son are murdered and Julie is made the prime suspect. Through vigorous police work, however, the crimes are solved and Julie is vindicated. (This film is part of the Tyler, Texas Black Film Collection, a group of motion pictures made between 1935 and 1956 featuring mostly or all-Black casts, produced and/or directed by African American filmmakers and shown primarily to Black audiences. All films are preceded by a 4 minute explanatory introduction by Ossie Davis.) (Circulates)."
"A sweet old woman who runs a candy manufacturing business out of her home with the help of her niece and a young divinity student, is swindled out of her business by a big businessman and his son, who has connections with the underworld. Two murders follow in this suspenseful film that also has touches of humor. A film produced by blacks for black audiences."@en
"After a sweet old woman is swindled out of her home candy manufacturing business by an underworld-connected businessman and his son, her daughter winds up as a suspect in a mob murder in this all-Black melodrama."
"A sweet old woman, who runs a candy manufacturing business out of her home, is swindled out of her business by a big businessman and his son, who has connections with the underworld. Two murders follow in this suspenseful film that also has touches of humor. A film produced by blacks for black audiences."@en
"Aunt Hattie, a religious and kindly old woman who operates a candy store with her niece, Julie, is swindled by a chain-store owner who tricks them out of the store. When he and his son are murdered, Julie is included as a suspect; finally it is revealed the murders were committed by the chain-store owner's secretary, who stood to inherit the business and its fortune."
"A sweet old woman who runs a candy manufacturing business out of her home is swindled out of her business by a businessman and his son who have connections with the underworld. When he is found dead, the woman is suspected of the crime."
"A sweet old woman who runs a candy manufacturing business out of her home with the help of her niece and a young divinity student, is swindled out of her business by a big businessman and his son, who has connections with the underworld. Two murders follow in this suspenseful film that also has touches of humor."@en
"A sweet old woman who runs a candy manufacturing business out of her home is swindled out of her business by a businessman and his som who have connections with the underworld."@en
"A sweet old woman who runs a candy manufacturing business out of her home is swindled out of her business by a businessman and his son who have connections with the underworld."@en
"An old woman who runs a candy manufacturing business out of her home with the help of her niece and a young divinity student, is swindled out of her business by a big businessman and his son, who has connections with the underworld."
"This is a musical murder mystery. The corporate baron swindles the sweet, honest but naive young woman out of her candy business, and she is blamed when he meets an untimely end."
"In trying to resemble Hollywood B pics in the forties, black movies eschewed messages but could not escape the issue of race. In this independent black feature, on the face of it a naive murder mystery involving a candy store swindle, it is the implicit content that is interesting. The central characters have been described as 'the embodiment of the postwar economic philosophy': educated, middle class and optimistic, primed for the integrationist fifties. Placed in an all-black cast Stepin Fetchit in his Hollywood 'coon role' apparently did not offend black audiences."@en