What makes Oscar Micheaux such an exciting storyteller of the silent era?
Oscar Micheaux was an exciting storyteller because he was committed to telling the truth about all kinds of things that other filmmakers were hesitant to address. For instance, skin color politics in the black community, the challenges Black women face in their personal and professional lives, and he was really direct in many of his films about the viciousness of racially motivated violence. Micheaux also worked in a melodramatic style, incorporating last-minute rescues and heroic women and other captivating themes.
How do films like ‘Within Our Gates’ and ‘The Symbol of the Unconquered’ expand our understanding of the silent era and racial relations in the early 20thcentury?
‘Within Our Gates’ and ‘The Symbol of the Unconquered’ directly responded to films like D.W. Griffith’s ‘The Birth of a Nation.’ Oscar Micheaux was actively engaged in creating work counteracted the misrepresentations of Black people in mainstream films. In addition to exposing racism, he was committed to showing the ways that African Americans were advocating for themselves in terms of entrepreneurship, pursuing an education and trying to create strong families and communities.
After someone is enchanted by Micheaux’s work, what filmmakers should they seek out next?
Spencer Williams, a gifted actor and the director of films such as ‘The Blood of Jesus’ and ‘Dirty Gertie from Harlem U.S.A.,’ is a black director who picked up the torch from Oscar Micheaux.
This month we’re honoring the late, great Sidney Poitier. What’s your favorite Poitier performance?
I would say it is his performance in ‘A Raisin in the Sun,’ based on the play by Lorraine Hansberry. He had originated that role on Broadway and it’s fantastic to see him in that stellar ensemble cast with Claudia McNeil, Ruby Dee and Diana Sands. We have certainly recognized the important roles that Sidney Poitier has played in interracial dramas. There’s something uniquely powerful about seeing him in this black family narrative and the way that he evokes the frustrations of being a black man whose dreams and prospects are so limited by his race. It’s a really powerful performance.
How did Poitier change perceptions of Black actors in Hollywood, and how did he lay the groundwork for those who came after him?
He showed that black actors could perform a range of roles. He insisted on playing characters that broke out of the familiar stereotypes, which was absolutely critical. He is an actor who mastered nuance, which was a radical departure from broad style expected from black actors. And it was always really clear, even in the case of films like ‘Guess Who’s Coming to Dinner,’ where I’ve read that he was really awed by Spencer Tracy and Katherine Hepburn – these powerhouse Hollywood legends – that he really holds his own in every scene. He elevated the concept that a black actor could operate in that stratosphere. He’s the first above-the-title black actor, the first genuine black movie star, so that was tremendously meaningful and laid the groundwork for the people who came after.
As a director, Poitier tackled different genres with surprising ease from the western ‘Buck and the Preacher’ to the comedy ‘Uptown Saturday Night’. What do you think Poitier brought to his films from behind the camera?
He’s clearly somebody who directs actors really well from his deep understanding of acting as a craft, and it seems that he earned the highest respect from actors across the board, but especially black actors. He directs ensemble casts very skillfully, and it’s great to see his range as a director too. We don’t typically associate Sidney Poitier with comedy, but ‘Uptown Saturday Night’ is a comedy and ‘Buck and the Preacher’ has some comedic moments as well, and he’s totally comfortable in that space.
Even after Black History Month ends, people should obviously continue to explore the work of Black filmmakers and actors. Where would you recommend that they start?
There’s Black Film Archive (https://blackfilmarchive.com/) that was put together by Maya Cade and it’s an incredible resource to find black films from 1915 to 1979 that are streaming. It’s a one-stop-shop for immediate access to Black films from that rich period. And my first appearance on TCM was to showcase the Kino Lorber box set ‘Pioneers of African American Cinema,’ which is a five-disc collection of early black films, short interviews, and a booklet that provides deeper context for the work these pioneering Black artists.
