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The Black Kino Fist: Black life as depicted in film historyMain MenuThe Black Kino FistThe ProjectA Fool and His Money (1912)Directed by Alice Guy-BlachéThe Homesteader (1919)Directed by Oscar MicheauxWithin Our Gates (1920)Directed by Oscar MicheauxBody and Soul (1924)Directed by Oscar MicheauxThe Scar of Shame (1927)Directed by Frank PereginiHallelujah (1929)Directed by King VidorThe Exile (1931)Directed by Oscar MicheauxImitation of Life (1934)Directed by John M. StahlHarlem on the Prairie (1937)Directed by Sam NewfieldThe Blood of Jesus (1941)Directed by Spencer WilliamsHome of the Brave (1949)Directed by Mark RobsonPinky (1949)Directed by Elia KazanNo Way Out (1950)Directed by Joseph L. MankiewiczThe Jackie Robinson Story (1950)Directed by Alfred E. GreenCry, the Beloved Country (1951)Directed by Zoltán KordaCarmen Jones (1954)Directed by Otto PremingerBlackboard Jungle (1955)Directed by Richard BrooksBand of Angels (1957)Directed by Raoul WalshSt. Louis Blues (1958)Directed by Allen ReisnerThe Defiant Ones (1958)Directed by Stanley KramerPorgy and Bess (1959)Directed by Otto PremingerA Raisin in the Sun (1961)Directed by Daniel PetrieParis Blues (1961)Directed by Martin RittA Patch of Blue (1965)Directed by Guy GreenGuess Who's Coming to Dinner (1967)Directed by Stanley KramerIn the Heat of the Night (1967)Directed by Norman JewisonTo Sir, With Love (1967)Directed by James ClavellThe Story of a Three-Day Pass (1968)Directed by Melvin Van PeeblesSweet Sweetback's Baadasssss Song (1971)Directed by Melvin Van PeeblesSounder (1972)Directed by Martin RittThe Wilby Conspiracy (1975)Directed by Ralph NelsonA Soldier's Story (1984)Directed by Norman JewisonThe Color Purple (1985)Directed by Steven SpielbergShe's Gotta Have it (1986)Directed by Spike LeeMississippi Burning (1988)Directed by Alan ParkerDo the Right Thing (1989)Directed by Spike LeeGlory (1989)Directed by Edward ZwickParis is Burning (1990)Directed by Jennie LivingstonDaughters of the Dust (1991)Directed by Julie DashMississippi Masala (1991)Malcolm X (1992)Directed by Spike LeeDevil in a Blue Dress (1995)Directed By Carl FranklinWaiting to Exhale (1995)Directed by Forest WhitakerEve's Bayou (1997)Directed by Kasi LemmonsUnBowed (1999)Directed by Nanci RossovSomething New (2006)Directed by Sanaa HamriThe Princess and the Frog (2009)Directed by Ron Clements and John MuskerPariah (2011)Directed by Dee ReesDear White People (2014)Directed by Justin SimienMoonlight (2016)Directed by Barry JenkinsAlexandria Paul014600705294d3be68699bbfdbd499ecb5541133
Stormy Weather (1943)
12017-04-23T13:12:03-07:00Alexandria Paul014600705294d3be68699bbfdbd499ecb5541133168498Directed by Andrew L. Stoneplain2017-04-25T14:45:14-07:00Alexandria Paul014600705294d3be68699bbfdbd499ecb5541133
"The annals of Hollywood are filled with movies that scrimp by on flimsy plots. But few of those movies are as significant - culturally or even historically - as Stormy Weather (1943), a dazzling entertainment with an all-black cast, set in a world of sophistication and glamour.
Stormy Weather was a world apart, even, from another picture released earlier that year, Cabin in the Sky: While that picture - the first big-ticket Hollywood film with an all-black cast -- certainly represented a leap of progress in terms of how people of color were represented in Hollywood cinema, its themes were somewhat biblical, pitching Lena Horne's bad gal against Ethel Waters' woman of virtue. Stormy Weather, set in a different milieu, the world of entertainers, didn't completely ignore the struggles faced by African Americans in midcentury America. But it cast those issues in a different light, presenting them as potentially surmountable with talent and hard work. The characters in Stormy Weather may struggle, but they want - and ultimately get - the same things that all Americans would have wanted at the time: Respect and remuneration for doing good work, enough money on which to live well, the love of a good man or woman. Is the plot of Stormy Weather 100 per cent realistic? Of course not. But the movie presents something more important than realism: It's a fantasy version of an America that might have been if Americans of all colors had, literally and figuratively, been sitting at the same table.'"