I can't think of an earlier film example of ethnic parity than Al Jolson's "Hallelujah, I'm a Bum", 1933. It's a fun musical (with bit parts played by composers, Rodgers and Hart) and co-starring Harold Lloyd and Frank Morgan. Lots of delightful rhyming dialogue. Among Depression era musicals, it's an oddity in that it doesn't dodge the poverty issue, yet remains light-hearted while dishing out the political/economic statements. I particularly liked the bank sequence where the camera tracks from the entrance, through the bank and ends behind the tellers' cages. It begins with a pair of big-wheeling businessmen discussing a deal involving an immense fortune. As successive conversations are overheard, the monies involved become smaller and more paltry. A guy can't get a loan for some small pittance. Finally one teller asks another for a measly buck is it just a dime?], and his buddy says he hasn't got one to give (this teller played by lyricist, Lorenz Hart).
Anyway, I'm off the point of the introductory statement: Jolson's the unofficial "mayor of Central Park" -- a leader amongst all the hoboes living there. And his best friend, his friend mind you -- not some Rochester-style servant, not some lackey -- his FRIEND, who alone can get in his face to defy him when none of the other bums can -- his friend is an African-American wonderfully played by Edgar Connor.
Anyway, I'm off the point of the introductory statement: Jolson's the unofficial "mayor of Central Park" -- a leader amongst all the hoboes living there. And his best friend, his friend mind you -- not some Rochester-style servant, not some lackey -- his FRIEND, who alone can get in his face to defy him when none of the other bums can -- his friend is an African-American wonderfully played by Edgar Connor.