With the recent Netflix release of Kino Lorber’s, Pioneers of African-American Cinema, forgotten black filmmakers from the early 20th Century are receiving long overdue recognition for their contributions to filmmaking. While enduring years of legalized second class citizenship, African-Americans thrived, using their creative geniuses to bring all elements of American life to their people, including filmmaking. In the wake of the damaging and volatile film Birth of a Nation, black filmmakers dedicated themselves to presenting honest and realistic representation of the black experience in America. Inspired by the racial hatred of “Birth of a Nation”, black filmmakers retaliated against these distorted depictions of black life, created and endorsed by white filmmakers. Through the establishment of their own motion picture production companies, black filmmakers began to have a voice in how black images were portrayed on the screen by writing, producing, directing, and distributing films.
Noble and George Johnson
The Lincoln Motion Picture Company, George and Noble Johnson. Source: The Weekly Challenger
Noble and George Johnson were two African-American brothers who established the Lincoln Motion Picture Company in 1916. Founded in Omaha, Nebraska the company is considered the first all-black production company in the country. Both brothers felt the need to provide black audiences with a positive reflection of black people instead of what was currently being offered in mainstream films. Blacks were often stereotyped by white actors in “black face” and were usually exhibited as buffoonish and of low character.
At the time, Noble Johnson was an actor with Universal Pictures, obtaining small roles in white films. His acting skills and light complexion helped him obtain roles that were not written for blacks. His brother George held a civil service job as a postal clerk. In 1917, the company was incorporated in California with startup capital of $75,000. Noble Johnson served as president of the company while still maintaining his job at Universal Pictures. George applied for leave from his postal job and became responsible for marketing and advertising the films.
Noble Johnson
Although the brothers hoped to play their films to a larger audience they were mostly booked at churches and schools. The company produced five films: The Realization of a Negro's Ambition (1916), Trooper of Company K (1917), The Law of Nature (1917), A Man's Duty (1919), and By Right of Birth (1921). The film, By Right of Birth, also included a cameo appearance by Booker T. Washington. Limited by production expenses and low sales, the Lincoln Motion Picture Company was forced to stop operations in 1923 after the announcement of their next film, The Heart of a Negro. Noble Johnson continued with his acting career, finding steady work as a character actor until he retired in 1951. George Johnson returned to his postal job, completing 37 years of service. Despite not obtaining long-termed success, the Noble brothers and their production company were extremely influential in the African-American community and filmmaking, inspiring others to take the torch and build upon their success.
Oscar Micheaux
Revered as the father of African-American cinema, Oscar Micheaux, produced, directed and distributed more than 40 films between 1919-1948. Prior to his epic film career, Micheaux wrote novels based on his life as a farmer in South Dakota. Despite living in an all-white area, Micheaux self-published and successfully sold his books door to door. His book, The Homesteader (1919) was optioned by Lincoln Motion Pictures to be made into a motion picture film. Micheaux insisted on directing the film despite having no experience, causing the deal to fall through. Inspired to make the film himself, he established the Micheaux Film Corporation. The Homesteader became the first feature length film written, produced, and directed by an African-American.
Scene from Within Our Gates. Source: San Francisco Silent Film Festival. Actress Evelyn Preer pictured above. Known as a Micheaux first leading lady, she was featured in nine of his films.
Micheaux went on to make more than 40 films, tackling then taboo subjects such as interracial relationships and race relations. His film Within Our Gates (1920) was a direct response to the racism depicted in D.W. Griffith’s, Birth of a Nation (1915). The film displayed the reality of white violence under the tyranny of white supremacy inflicted on a black family. Highly criticized for its lynching scene, attempts were made to ban the film from being shown. The movie was eventually cleared for release, although some cities still refused to allow the film in theaters.
Micheaux was a true genius and played a vital role in opening opportunities for blacks in front of the camera as well as behind the scenes. His goal was to dispel the negative stereotypes that were portrayed by white studios and depict a realistic and favorable vision of African- American life. He continues to garner recognition of his contribution to America cinema. HBO is currently developing a biopic of the prolific figure starring Tyler Perry.
Oscar Micheaux died while on a business trip on March 25, 1951 in Charlotte, North Carolina. His gravestone is inscribed with the words “A Man Ahead of His Times.” Perhaps this direct quote from Micheaux, in addition to his films, best represents his legacy: “One of the greatest task of my life has been to teach the colored man he can be anything.”
James and Eloise Gist
Although not filmmakers by profession, James and Eloise Gist made significant contributions to early African-American cinema. The married couple traveled the country as Christian evangelists, preaching the gospel and using their films in conjunction with their sermons. Without professional equipment or a studio, the films were shot using 16 mm film, with non-professional actors. The short films had religious undertones, cautionary tales highlighting the effects of “sins” such as gambling, drinking, and premarital sex. While the films were not professional, and often the camera was not in focus or steady, they showed great imagination and talent.
James had already shot the film, Hell Bound Train prior to marrying Eloise, but she is credited with rewriting the film and editing it for a smoother production. A graduate of Howard University’s School of Music, Eloise would play the piano and lead the congregation in a hymn prior to the showing of the film. A collection would be taken after and the couple would split the proceeds with the church or organization. Footage of the Gist’s films were donated to the Library of Congress for reconstruction. Hell Bound Train (1930), Heaven-Bound Travelers (1932), and Verdict: Not Guilty (1933) can all be seen in the video release, Pioneers of African-American Cinema, currently streaming on Netflix.