Say Amen, Somebody is a 1982 documentary film directed by George Nierenberg about the history and significance of gospel music as told through the lives and trials of its singers. Included are Thomas A. Dorsey, considered the "Father of Gospel Music", and "Mother" Willie Mae Ford Smith, an associate of Dorsey's who trained gospel singers for decades. Ford and three singing acts – Delois Barrett Campbell and the Barrett Sisters, Zella Jackson Price, and the O'Neal Twins, Edgar and Edward, backed by a choir – provide music throughout. After its debut at the New York Film Festival to a sold out audience, Say Amen, Somebody saw a limited release in major cities. It received widespread critical acclaim with reviewers focusing especially on the strong personalities within gospel and the joyful music. It was restored in 2019 and was shown at limited theaters, again receiving positive reviews. Summary Say Amen, Somebody gives an overview of the history of gospel music in the U.S. by following two main figures: Thomas A. Dorsey, considered the "Father of Gospel Music," 83 at the time of filming, recalls how he came to write his most famous song, "Take My Hand, Precious Lord" (1932), and the difficulty he faced introducing gospel blues to black churches in the early 1930s. "Mother" Willie Mae Ford Smith, 77 years old and an associate of Dorsey's, is the film's primary subject. Smith was closely involved with the organization Dorsey co-founded, the National Convention of Gospel Choirs and Choruses (NCGCC), becoming the director of the Soloists' Bureau in 1939. In this position, she trained several very influential 20th century gospel singers though remained relatively unknown herself outside of gospel. Delois Barrett Campbell, and Zella Jackson Price are shown confronting the sacrifices they have made to put gospel music in the fore of their lives and the lives of their families, and the O'Neal Twins, Edward and Edgar, discuss the difficulties in trying to make a living exclusively in gospel music. The film features informal moments of subjects singing in private places, such as Dorsey in his back yard and Smith at her kitchen table, and two music recitals, one at an NCGCC meeting in Houston (1981), and a tribute concert for Willie Mae Ford Smith in St. Louis that Nierenberg organized. Development As a 28-year-old Jewish filmmaker, George Nierenberg had no experience with gospel music before taking on the project. He