WITHIN OUR GATES (1920) is now known as the first surviving movie by an African-American director, Oscar Micheaux. Micheaux was a pioneering filmmaker, not so much in a technical or aesthetic way, but in his aim to present black people realistically and honestly. WITHIN OUR GATES shows him taking on the issue of education for blacks and the various degrees of racism and prejudice both outside and inside the black community. Following is my review.
SCRIPT: The story deals with the efforts of Sylvia Landry (Evelyn Preer) to secure funding for a black school in a small Southern town, as well as her romantic trials and tribulations. The movie features an array of story lines and supporting characters, some of whom curry favor with whites by putting their own race down and discouraging black involvement in politics (such as Preacher Ned), or by snitching (the servant Efrem). At the end of the story we learn about Sylvia's family life and how her happy home was torn apart by racism and violence. The script's attempts to juggle multiple story lines are not entirely successful, as the film tends to linger on some segments longer than others and some loose ends aren't completely tied up. Nevertheless, it is commendable for portraying the different aspects of life in the black community. SCORE: 7/10
ACTING: The quality of the acting varies, especially for modern viewers unaccustomed to the dramatic displays common in silent movies. Evelyn Preer anchors the film with what is, for the most part, a sensitive and controlled performance which shows charm and evokes sympathy for her plight. Towards the end some of her reactions tend toward the melodramatic, but not really much more so than what was common for the period. James Ruffin (as Sylvia's fiancée) and Flo Clements (as her "friend", Alma) also imbue their performances with realism. Some of the supporting characters (too numerous for me to discuss individually) don't fare as well. The "stooge" characters (Efrem and Preacher Ned) are portrayed rather broadly as buffoons with virtually no redeeming qualities. EG Tatum (Efrem) in particular does a lot of bug-eyed reactions and hysterical laughter that must have come straight out of minstrelsy. SCORE: 7/10
CINEMATOGRAPHY/PRODUCTION: The cinematography is fairly competent, especially considering that Micheaux was almost certainly working with a limited budget. The shots tend toward the static but are well framed. There are some good location shots. The film could perhaps benefit from tighter editing in some spots, but the ending sequence shows a good command of cross cutting for dramatic effect. (Incidentally, this ending sequence cuts between a lynching and a rape attempt by a white character, and serves as a rebuttal to the virulently racist ending of BIRTH OF A NATION 5 years earlier). SCORE: 7/10
SUMMARY: WITHIN OUR GATES is a very important movie for many reasons. It stands as the earliest surviving feature film that attempts to show African-Americans with dignity and realism. It may strike modern viewers as didactic, but that is completely appropriate considering the time in which it was made and the subject matter. The story tends to wander, and could benefit from perhaps shaving off a character or two, but the subject matter keeps it interesting. The acting varies in quality from one player to the next, but the best performances are handled with sincerity and naturalism. The cinematography and production are good considering the budget limitations that Micheaux surely had to deal with. WITHIN OUR GATES is an important accomplishment and merits viewing today. TOTAL SCORE: 7/10
SCRIPT: The story deals with the efforts of Sylvia Landry (Evelyn Preer) to secure funding for a black school in a small Southern town, as well as her romantic trials and tribulations. The movie features an array of story lines and supporting characters, some of whom curry favor with whites by putting their own race down and discouraging black involvement in politics (such as Preacher Ned), or by snitching (the servant Efrem). At the end of the story we learn about Sylvia's family life and how her happy home was torn apart by racism and violence. The script's attempts to juggle multiple story lines are not entirely successful, as the film tends to linger on some segments longer than others and some loose ends aren't completely tied up. Nevertheless, it is commendable for portraying the different aspects of life in the black community. SCORE: 7/10
ACTING: The quality of the acting varies, especially for modern viewers unaccustomed to the dramatic displays common in silent movies. Evelyn Preer anchors the film with what is, for the most part, a sensitive and controlled performance which shows charm and evokes sympathy for her plight. Towards the end some of her reactions tend toward the melodramatic, but not really much more so than what was common for the period. James Ruffin (as Sylvia's fiancée) and Flo Clements (as her "friend", Alma) also imbue their performances with realism. Some of the supporting characters (too numerous for me to discuss individually) don't fare as well. The "stooge" characters (Efrem and Preacher Ned) are portrayed rather broadly as buffoons with virtually no redeeming qualities. EG Tatum (Efrem) in particular does a lot of bug-eyed reactions and hysterical laughter that must have come straight out of minstrelsy. SCORE: 7/10
CINEMATOGRAPHY/PRODUCTION: The cinematography is fairly competent, especially considering that Micheaux was almost certainly working with a limited budget. The shots tend toward the static but are well framed. There are some good location shots. The film could perhaps benefit from tighter editing in some spots, but the ending sequence shows a good command of cross cutting for dramatic effect. (Incidentally, this ending sequence cuts between a lynching and a rape attempt by a white character, and serves as a rebuttal to the virulently racist ending of BIRTH OF A NATION 5 years earlier). SCORE: 7/10
SUMMARY: WITHIN OUR GATES is a very important movie for many reasons. It stands as the earliest surviving feature film that attempts to show African-Americans with dignity and realism. It may strike modern viewers as didactic, but that is completely appropriate considering the time in which it was made and the subject matter. The story tends to wander, and could benefit from perhaps shaving off a character or two, but the subject matter keeps it interesting. The acting varies in quality from one player to the next, but the best performances are handled with sincerity and naturalism. The cinematography and production are good considering the budget limitations that Micheaux surely had to deal with. WITHIN OUR GATES is an important accomplishment and merits viewing today. TOTAL SCORE: 7/10