When Thomas Edison was shooting his actualities
in the 1890’s (footage of unedited real events) little did he know that his film of black women bathing their kids in
Jamaica or the return of the African American calvary division from the Spanish American War, would be the first and last
for a long time on film of the non-stereotyped black image. During the early 1900’s when editing was introduced, the
black image became what white directors wanted it to be. In most cases, whites’ played black folks in blackface. The
first black film company was formed by William Foster out of Chicago. From 1909 – 1913 William Foster produced the first all black cast film shorts, i.e. The
Pullman Porter 1910 & The Railroad Porter 1912. But, because of distribution problems he eventually folded
the operation. In 1915, D.W. Griffith's, "Birth of a Nation" was produced. Even though, there were
no black stars in the film, it can be considered to have been the kick that started Black film again in America. The Birth of a Nation
took stereotypes to a new level, it would show the world what coloreds were really like during reconstruction. It showed crazed,
exslaves running wild, raping and killing their good masters, the colored government leaders in session with their bare feet
in chairs, eating chicken and acting like buffoons. The entire movie was an advertisement for the Klu Klux Klan, especially
when they road in and saved the whites from the brutal coloreds at the end
In response to Birth of a Nation,
the Black community was up in arms and decided to counter act this horrid film by producing an All-colored cast, or Race film,(films
especially made for the negro audience) to show the world the real truth. After an attempt by the N.A.A.C.P. to produce a
movie, the Lincoln Motion Picture Company in 1916, produced one of the first positive image feature race film entitled, "The
Realization of a Negro's Ambition." In 1917, the Lincoln Motion Picture Company contacted a young black novelist
about making a film of his novel "The Homesteader." The novelist said he would agree if he could be involved in the directing
of the film. Naturally, company executives refused his demands, and he returned home to South Dakota, determined now to see
his book on film. This novelist, was Oscar Micheaux, the most prolific writer, director, and producer of Race films in the
history of motion pictures.
The Boom Years - Twenties
The boom years of the twenties saw scores
of Black-owned and operated film studios operating out of Philadelphia , New York, Chicago, Los Angeles and Kansas City. They
were producing screen versions of Black novels, parodies of Hollywood movies, and melodramas
with a positive, uplifting theme or the tragic consequences of passing for white. These films were shown in black owned theatres,
schools, churches and at special shows in white theaters. During the 20’s over 30% of the film companies
and movie theatres making and showing race films were black owned. This is the greatest percentage ever for blacks in film.
These boom years were short lived. With the advent of the Great Depression and the new expensive film technology of sound,
many of the Black independent film companies went bankrupt and disappeared. The only Black film company to survive into the
Talkie era was the Micheaux Film Company, headed by Oscar Micheaux. His keen business sense kept him from disappearing, eventhough
he, as well, declared bankruptcy. Micheaux had handed over his stocks and business to his wife before he declared bankruptcy.
He would sell rights to films before they were made, thus allowing him to have money in hand before production began.
The Mid-Thirties began another boom in
the Race film era. This time 99% of the film companies that produced Race films were white owned. The focus of Race films
changed. They were now mainly parodies of Hollywood movies ( gangsters,
westerns, love, science fiction, comedies,etc.) unlike the early period where they focused on themes relative to the Black
community. They were still low budget, but now the plots were "if blacks lived in a black world". Black gangsters ran Black
cities, Black cowboys tamed a Black West , it was an escape to fantasy world. Oscar Micheaux began to produce films with the
same themes, like Underworld, Lying Lips, The Notorious Elinor Lee, and many others.
During this period another multi-talented
man emerged in the person of Spencer Williams, former scenarist for Al Christie comedies in 1929. Spencer Williams, who
was mostly known to the nation as Andy Brown of the fifties television show, Amos n' Andy, wrote,
directed and starred in numerous Race films including the first black science fiction movie the Son of Ingagi.
He also starred and directed films with the good vs. bad, crime vs. religion theme, as in Go Down Death
and the Blood of Jesus. As a director he brought to race films the technique of montage, the superimposing
of scenes. Spencer Williams was the second most prolific person talent wise in race films.
Many Black Hollywood stars got their start in race films, like Mantan Moreland,
Charlie Chan's movie sidekick. He starred in over 20 race films such as, Mantan Messes Up, Professor Creeps, The
Dreamer and the first all black cast western Harlem on the Prairie. Lena Horne started
her film career with The Duke is Tops (Bronze Venus) in 1938. Dorothy
Dandridge’s first feature film was Four Shall Die in 1940. Paul Robeson's first appearance
on film was in Oscar Micheaux's 1924 silent feature Body and Soul. Many stars due to the lack of
work in Hollywood
counted on race films for a living. In the early Forties, Hollywood
tried its hand again at race films, by producing Cabin In the Sky and Stormy Weather,
but the characters were still stereotypical.
Forties - WWII
World War II was the beginning of the end
for race films. The government, on one hand, in an effort to recruit more Blacks for the service, produced several all-black-cast
propaganda films. One film, the Negro Soldier showed the army to be perfect, with ideal conditions
for the Negro. On the other hand, the government took control of all film stock (one reason being the importance of the chemicals
used to make film) and rationed it out to only Hollywood, thus giving the independent film maker another nail for it’s coffin. By this time filmmaking had
become very expensive and race films fell the victim.
After the war, race films changed again.
The focus shifted to almost all musicals. Most films became one musical act after another , like Cab Calloway's, Hi-De-Ho
or Louis Jordan's Look Out, Sister,and Caldonia. As the Fifties approached
and because of outside pressures and changed attitudes after WW II, Hollywood decided to start making films with Blacks,
not as servants or slaves but as the protagonist, as in the problem films of 1949 like Lost Boundaries, Intruder
in the Dust, Home of the Brave and Pinky.
The End - Fifties
During the Fifties, Hollywood produced the all-colored-cast films ,
Carmen Jones, Porgy and Bess, Anna Lucasta, and St. Louis Blues. Some
films came directly from the stage of the Apollo Theater in New York, like "Rock and Roll Review"
and "Rhythm and Blues Review". The race films of the 20's, 30's and 40's played an essential role
in the Black Community , serving as a source of pride, entertainment, and employment. Race films ended when Hollywood finally began to put
blacks in movies in a more positive and true light. Blacks just wanted to see sensible blacks on the big screen. The need
for race films diminished when blacks began going to the Hollywood produced movies to see other African Americans
on the screen.