By Sarah Melendez
One of the brightest stars in the African American film movement was Oscar Micheaux. This paper discusses how he was covered by the media in his own time and how that coverage directly or indirectly affected his film career.
Early Life
Oscar Micheaux, born 1884 in Illinois, had a desire to go west and try to further improve his life and the life of his race. He purchased land in South Dakota as a homesteader (McGilligan, 2007). Although more well known as a filmmaker, he began as an author. His book, The Homesteader, led to the film adaptation and the beginning of a career in movie production. After Micheaux was unable to produce this film with the Lincoln Motion Picture Company, he decided to begin his own company. He incorporated The Micheaux Book and Film Company which later led to The Micheaux Film Company (McGilligan, 2007).
To improve his financial backing and to be closer to the south, Micheaux ventured down to Roanoke, VA. The population was 25% black meaning greater potential for actors. The setting there lent itself to wilderness scenes for his movies and the climate meant a long season in which he could film (McGilligan, 2007). Micheaux’s investors owned the Hampton Theater in Roanoke (The Roanoke Times, 2015). It was here he produced the film The Virgin of Seminole (McGilligan, 2007).
Influence of Media Coverage
Media coverage of Oscar Micheaux, which was mainly newspapers, journals and ads during that time period, both directly and indirectly influenced the public perception of his films and thereby influenced his career. Direct influence would be in articles that summarized his films prior to viewing and offered its interpretation. Media coverage indirectly influenced his career by publishing events of his daily life such as his arrest (Chicago Defender, 1932). Sometimes the influence was subtle such as placing his review at the top of the newspaper page with bold lettering or farther down the page next to a picture of Berlin Reds with guns that distracted from his mention in an adjacent article (Richmond Planet, 1919).
Samples of Media Coverage
A film review in Variety, stated “The Negro will not take his race made talker seriously” (Variety, 1931). They went on to critique the cast saying “Morrell stalks too much and is entirely too serious.” They describe the actor, Miss Brooks as “a looker and does fairly well on her first talker trick but has yet to shake off a certain staginess.” They see Micheaux as having a “tendency to drag out scenes and have slow tempo which is ruinous.” This article is editorial. Although very opinionated, the critique was supported by detail.
The editor in Feature Reviews wrote about The Betrayal stating, “If properly exploited, the picture might do good business in Negro theaters. It has no value elsewhere” (Feature Reviews, 1948). This article is totally opinionated and somewhat pompous or bombastic.
A New York Times critique faulted The Betrayal as often confusing with poor photography and consistently amateurish performances (Pryor 1948). This editorial offers a negative critique supported with details that could be helpful to the producer but deter potential audiences.
In 1924, The Billboard wrote “Micheaux has made a really great picture…just because it has been so well done everyone of us should see it (Jackson, 1924). The photography is good, the scenes well selected, the continuity carefully done and the atmosphere carefully created and maintained.” He goes on to say “Micheaux has a film of which he may well be proud.” This article offers specifics of what makes the film great and so even if it is the author’s point of view, it is more believable.
The same year, The Baltimore paper headlines “Local Theater Presenting Best Bills in History” with a subtitle stating, “Colored Producer Still Battles Against Unfairness of Prejudiced Exhibitors” (Afro-American, 1924). This begins with an enthusiastic title and then a sympathetic subtitle. Both are supportive of the filmmaker but unsure how the general public especially those he is referring to might see the subtitle. It leans more toward stating a factual item than opinion since the battle was a well known struggle.
A Chicago paper wrote “Oscar Micheaux’s Famous Story Makes Great Picture” in reference to his film The Homesteader. It calls Micheaux’s film a “credible dignified achievement…every detail of the production has been given the most minute care and…casting marvelous” (Chicago Defender, 1919). This supportive editorial gives details of Micheaux’s achievement. So, although opinionated, it is based in facts.
A more neutral article simply announces the “talking film” and gives details on the cast and the story line (Norfolk Journal and Guide, 1931). It concludes with information of a showing on broadway. It is factual and is a narration of the story line.
One Pittsburg article described Micheaux as “the most outstanding colored movie producer in the country, whose pictures have come nearer to standing on merit alone in the competitive field than those of anyone else” (Pittsburg Courier, 1930). This is an opinionated sensational article. It is definitely helpful to Micheaux’s career but bombastic in comparison of the filmmaker to all others.
Another Pittsburg articles reveals that Oscar Micheaux is working on The Ghost of Tolstons Manor. Outdoor work was begun on March 30, at Roanoke, VA (Pittsburg Courier, 1923). This offers no opinion but lets viewers know what is coming.
Media coverage in newspaper ads was mostly factual with an element of sensationalism as it describes a “Murderess and a Suicide” (Chicago Defender, 1919). These were numerous and sure to benefit Oscar Micheaux’s career.
To determine how media affected Mr. Micheaux’s career it might be good to look at Micheaux’s own comment. He wrote, “It is only by constructive criticism arising from an intelligent understanding of the real problem, however, that the colored producer can succeed” (Pittsburg Courier, 1924). So, he welcomed fair critiques of his work. These were shown in previous articles by statements like “slow tempo”. However, unfair coverage was not helpful and was not in short supply. It listed opinions like “it has no value elsewhere” or “shows little improvement”. Media coverage also placed great emphasis on skin color which limited his expansion even if others outside of his race wished to see the film. It is reported that white-dominated Association of Commerce had private screenings for local white businessmen at white theaters (Roanoke Times, 2015).
Conclusion
Mr. Micheaux’s career benefited from the widespread media coverage. It kept audiences as well as theaters aware of upcoming films. Media coverage began with his first film production of The Homesteader and continued until his death which occurred while he was still traveling and promoting his films. Micheaux knew his films would be controversial and spark various reviews. Whether for him or against him, media respected his determinism and will to overcome obstacles like censorship or theater restrictions.
Historian Thomas Cripps said “Even if blacks could make movies in isolation, they still could not release them until white eyes had approved them” (Regester, 1995). He was successful when many thought he could not achieve the art of movie production, but he was described in a 1983 newspaper as a “Black filmmaker who defeated all the odds including Hollywood competition and the depression” (Norfolk Journal and Guide, 1983).
His many recognitions include a star on the Hollywood Walk of Fame, Annual Oscar Micheaux Awards, The Oscar Micheaux Society, a plaque commemorating his time in Roanoke, VA and a recent showing of one of his films at the Grandin Theater in Roanoke, VA; a place he would only have dreamed of having his work shown in the 1920s (Roanoke Times 2015).
Works Cited
McGilligan, Patrick. Oscar Micheaux, the great and only: the life of America’s first Black filmmaker. New York, HarperCollins, 2007.
Our view: When Roanoke was the black Hollywood. The Roanoke Times. 26 April 2015.
Arrest Oscar Micheaux: Producer Is Ordered Held for Larceny. The Chicago Defender. 26 November 1932. p. 3
TRIED TO STOP COLORED MOVIE, Preacher Claims Production Is Actual Reproduction of His Affairs. Richmond Planet. 8 March 1919.
A Film Review: The Exile (Negro Talker). Variety. 27 May 1931. p. 57
The Betrayal Box Office. Feature Reviews Exploitips. 28 August 1948. Entertainment Industry Magazine Archive p. A15
Pryor, Thomas. First All-Negro Film at Mansfield. The New York Times. 26 June 1948. p. 0
J. A. Jackson. Birthright. The Billboard. 26 January 1924. Entertainment Industry Magazine Archive p. 52
Local Theaters Presenting Best Bills in History: Oscar Micheaux Releases Film. The Baltimore Afro-American. 31 October 1924. ProQuest Historical Newspapers. p. A7
The Homesteader: Oscar Micheaux’s Famous Story Makes Great Picture. The Chicago Defender. 22 February 1919. p. 14
Oscar Micheaux To Produce All Talking Films: “The Exile” Will Be First Of Series Of Talkies. Norfolk Journal and Guide. 10 January 1931. p. 7
Oscar Micheaux Of Movie Fame Visits. The Pittsburg Courier. 18 October 1930. p. A8
Micheaux Shooting Thrilling 8-Reeler. The Pittsburg Courier. 7 April 1923. p. 12
Display Ad 32. The Chicago Defender. 5 April 1919. p. 9
Oscar Micheaux Writes On Growth Of Race In Movie Field. The Pittsburgh Courier. 13 December 1924. p. 10
Regester, Charlene. Oscar Micheaux on the Cutting Edge: Films Rejected by the New York State Motion Picture Commission. Vol. 17. No. 2. Popular Culture Association in the South. 1995
The Legend of Oscar Micheaux. New Journal and Guide. 9 February 1983. p. A11