The Birth of a Race

Plot

The Birth of a Race is an ambitious epic that traces the history of peaceful, freedom-loving peoples from biblical times through World War I. The film begins with Old Testament stories including Noah building the ark and Moses leading the Israelites to freedom, then moves to the New Testament with Jesus Christ's sacrifice for humanity. The narrative progresses through significant historical moments including Columbus's discovery of America, the signing of the Declaration of Independence, and Abraham Lincoln's Emancipation Proclamation, highlighting the ongoing struggle for human freedom and dignity. The film culminates in the modern era as democratic nations face the threat of autocratic powers during World War I, questioning whether this race of peace-loving people can survive the assault on freedom. Throughout its sweeping historical scope, the film emphasizes the universal human quest for liberty, peace, and self-determination across centuries of civilization.

Historical Background

The Birth of a Race was produced during a turbulent period in American race relations, just three years after the release of D.W. Griffith's 'The Birth of a Nation' had sparked nationwide controversy. The early 1910s saw the rise of the NAACP, increased Jim Crow legislation in the South, and the Great Migration of African Americans from rural to urban areas. World War I was reshaping global politics while raising questions about democracy and freedom at home. The film was released just as the war ended, during the deadly 1918 influenza pandemic and a period of intense racial tension that would culminate in the 'Red Summer' of 1919. This context made the film's message of universal brotherhood and freedom particularly relevant, though also challenging for audiences of the time.

Making Of

The Birth of a Race emerged from the African American community's outrage over D.W. Griffith's 'The Birth of a Nation.' Emmett J. Scott, former secretary to Booker T. Washington, secured funding from wealthy African American investors and sympathetic white philanthropists. The project initially attracted significant attention and support from the NAACP and other civil rights organizations. However, creative tensions soon emerged between Scott and the production team. The original director, W.S. Smith, was replaced by John W. Noble early in production. As financial difficulties mounted, investors demanded changes to make the film more commercially viable, leading to the dilution of its original African American focus. The production employed hundreds of actors and extras, including both professional performers and local residents in filming locations. Despite the challenges, the film represented one of the first attempts by African Americans to produce a feature-length response to racist Hollywood portrayals.

Visual Style

The cinematography, handled by James E. Abbe and Arthur Edeson, attempted to emulate the epic scale of D.W. Griffith's work but was hampered by budget constraints. The film employed some location shooting in the American South, which was relatively unusual for the period. Visual techniques included biblical recreations, historical battle scenes, and symbolic imagery meant to convey the universal struggle for freedom. The film used some innovative camera movements for its time, including tracking shots during battle sequences. However, much of the cinematography was criticized for being technically uneven, with some scenes appearing amateurish due to rushed production schedules and limited resources.

Innovations

The film's primary technical achievement was its ambitious scope, attempting to cover thousands of years of human history in a single feature film. It employed large-scale sets for biblical and historical scenes, requiring significant production design work. The film utilized some early special effects techniques for scenes like Noah's Ark and the parting of the Red Sea. However, budget limitations prevented the film from achieving the technical polish of contemporary Hollywood productions. The use of both black and white actors in integrated scenes was technically and socially progressive for its time, though the film ultimately maintained many of the era's racial casting conventions.

Music

As a silent film, The Birth of a Race would have been accompanied by live musical performances during theatrical screenings. The film likely used a combination of classical music pieces and original compositions tailored to the epic nature of the story. Music would have been particularly important during the biblical sequences, battle scenes, and emotional moments to enhance the dramatic impact. Unfortunately, specific details about the original musical scores or typical accompaniment arrangements have been lost to history, as was common with many silent films of the era.

Memorable Scenes

• The opening sequence depicting Noah building the ark as humanity faces divine judgment
• Moses leading the Israelites through the parted Red Sea in a spectacular display of divine intervention
• The crucifixion of Christ with its message of redemption and universal love
• Abraham Lincoln signing the Emancipation Proclamation, symbolizing hope for the oppressed
• The climactic World War I battle sequence showing the forces of democracy confronting autocracy
• The final montage of free peoples from all nations united in their quest for peace

What Critics Said

Contemporary critical reception was mixed to negative. The Chicago Defender, an influential African American newspaper, praised the film's ambitions but criticized its execution and failure to deliver on its promise. White mainstream press largely ignored the film or gave it lukewarm reviews. Many critics felt the film was too preachy and lacked the dramatic impact of Griffith's work. Modern film historians view the film as a historically significant but artistically compromised work, noting its importance as an early attempt at African American cinematic self-representation while acknowledging its technical and narrative shortcomings. The film is now studied primarily for its historical context rather than its artistic merits.

What Audiences Thought

Audience reception was generally poor, with the film failing to attract significant viewership in either black or white theaters. African American audiences were disappointed that the film didn't more directly address their experiences and contributions to American history. White audiences showed little interest, and many theaters refused to book the film. The poor box office performance was attributed to various factors including its altered focus, inadequate marketing, and the general reluctance of theaters to screen controversial racial content. The commercial failure was particularly disheartening for the African American community, which had hoped the film would prove the viability of black-produced cinema.

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