Oscar Micheaux (𝐛𝐨𝐫𝐧 January 2, 1884, Metropolis, Ill., U.S.—died March 25, 1951, Charlotte, N.C.) was a prolific African American producer and director who made films independently of the Hollywood film industry from the silent era until 1948.
While working as a Pullman porter, Micheaux purchased a relinquished South Dakota homestead in 1906. Although he lost the farm because of family entanglements, his experiences became the subject of a series of self-published books, including The Homesteader (1917), which he sold door-to-door. In 1917 he was approached by an African American film company for movie rights to The Homesteader. He refused the offer but liked the idea and made his own film version, thus launching his career as an independent filmmaker.
Between 1919 and 1948 he wrote, produced, directed, and distributed more than 45 films for African American audiences, who watched these “race” (all-black) films in the 700 theatres that were part of the “ghetto circuit.” Micheaux was one of the few black independents to survive the sound era, and he did so largely because of his tenacity, personal charisma, and talent for promoting his work. While on promotional tours, he used his completed films, which he often distributed by hand to waiting theatres, to secure from personal investors the financing for his next project.
Micheaux’s features emulated familiar Hollywood genres, and he used a modest version of the studio star system to lure audiences to his movies. His gangster films, mysteries, and jungle adventures featured Lorenzo Tucker (called the “coloured Valentino”), Ethel Moses (the “black Harlow”), and Bee Freeman (the “sepia Mae West”), among others. Despite Micheaux’s understanding of certain Hollywood conventions, his films reveal a consciousness of race as a force in the lives of African Americans, and some deal directly with racial issues; these include his examination of white prejudice (Within Our Gates, 1920), interracial romance (The Exile, 1931), and skin-tone issues within the African American community (God’s Step Children, 1937).
Micheaux’s necessarily low budgets forced him to cut costs and resulted in technically inferior films with poor lighting, little editing, flubbed lines, continuity problems, and poor sound. Yet he treated issues that were important to his audience, offered an alternative to the stereotyping of blacks by Hollywood, and successfully operated outside the mainstream film industry during the powerful studio era.
