The earliest surviving film of African American filmmaker Oscar Micheaux is a very in-your-face response to the off-handed racism of most of cinema at the time, particularly D.W. Griffith and “The Birth of a Nation.” Not necessarily the most fun experience to watch, it is nevertheless a fascinating document from the “other side” of history.
Evelyn Preer (introduced in the titles as a “renowned Negro artist”) plays Sylvia, a Southern African American woman living in the North with her friend Alma (Floy Clements, called “Flo” in the intertitles). Sylvia is engaged to serviceman Conrad (James D. Ruffin), but Alma secretly wants him for herself, setting up the first conflict of the film. When he announces his return from overseas, Alma hides the letter and sees to it that he will find Sylvia with an unnamed white man (whose presence isn’t explained until the final reel). Meanwhile Sylvia has been ducking the advances of Larry, Alma’s step brother (Jack Chenault), who is being investigated by a righteous detective (William Smith) at the behest of the police. When he gets into a shootout with some gamblers, Larry makes for Alma’s place, where Sylvia has dreamed that he is a murderer. All that aside for the moment, when Conrad sees Sylvia and the white man, he blows his top and calls off the engagement.