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- Actress
- Soundtrack
BernNadette Stanis is best known as Thelma from Good Times (1974), but there's much more to her than that. In the 1970s she was the personification of black beauty. As sophisticated and graceful as she was, she still became TV's first black sex symbol or "It" girl. Thelma/BernNadette and the Evans family also proved many stereotypes wrong about the ghetto and the young black girl, such as that all black girls and black families in the ghetto had no hopes, dreams, or class. Thelma showed that a "ghetto girl" had hopes and dreams, intelligence, respect, dignity, and grace, and it wasn't just acting--BernNadette was that naturally. She introduced a new definitive image of the young black girl and woman.
BernNadette was a wonderful, graceful dancer, which she displayed several times on the series. Everything she did was marked with delicacy, diminutive beauty, form, or grace, all very welcome in TV in the 1970s. Her dramatic, comedic charm, witty one-liners, daintiness, winsomeness, and sexy but innocent image were versatile qualities that made her a great talent and great favorite who will never be forgotten.- Actress
- Soundtrack
Theresa Harris appeared with more stars of the Golden Era of Hollywood than anyone else. She sang, she danced, she appeared in movies and TV. She graced the screen with her magnetic presence and most times stole scenes from the top stars of the day every chance she got and made a lot of dull films worthwhile. Although stereotyped by receiving only maid roles, Theresa stepped outside the stereotype any chance she got, to show she was glamorous, classy, beautiful, and a true actress. While she often played maids, she always showed dignity, grace, and demanded respect. Theresa didn't exactly fit the mammy/maid stereotype fore she was a petite beauty, a stark contrast from Louise Beavers and Hattie McDaniel, and Theresa was one of the very few black women to not fit that stereotype on screen.
There were quite a few movies in which Theresa got a chance to let her light shine and make you forget her maid costume and see her as a talented actress. In the pre-Code classic Baby Face (1933), she and Barbara Stanwyck had equal screentime, which was rare between black and white actors at that time. Playing Chico, Stanwyck's friend and co-worker, Harris gave a moving and memorable performance that contributed to the film becoming one of the essentials of the classic genre. Theresa was allowed to be sexy, glamorous, and her own person, not simply a servant who jumped at her employer's every beck and call, a rarity for a black actress in a maid part in the 1930s, and a true friendship was shared between Stanwyck and Harris' characters, another rarity. In Professional Sweetheart (1933), Harris played a spunky, sexy maid who teaches Ginger Rogers a thing or two about being "hot", and ends up replacing Rogers as a singer, singing a hot song on the radio that turns on the white male listeners, another shocker and rarity at the time for a black actress. But pre-Code movies usually pushed the envelope, which shows in both 'Baby Face' and 'Professional Sweetheart'. Though Theresa played maid roles most of her movie career, she had showed moments of excellence in many other films such as Hold Your Man (1933), Black Moon (1934), Gangsters on the Loose (1937), Jezebel (1938), The Toy Wife (1938), Tell No Tales (1939), Buck Benny Rides Again (1940), Love Thy Neighbor (1940), Blossoms in the Dust (1941), Cat People (1942), and I Walked with a Zombie (1943), among others.
Theresa was a versatile talent; besides acting, she could sing beautifully and dance divinely, when she had the chance in such movies as Thunderbolt (1929), 'Baby Face', 'Professional Sweetheart', Banjo on My Knee (1936), 'Buck Benny Rides Again', What's Buzzin', Cousin? (1943), and The French Line (1953). When Theresa got the chance to show her beauty and sex appeal, it was often with her screen boyfriend, Eddie 'Rochester' Anderson; they were dynamic on screen together in 'Buck Benny Rides Again' and 'What's Buzzin', Cousin?'. In the former, they sing and dance tap, classical, Spanish, and swing in a musical number, "My, My".
Theresa Harris was perhaps the hardest-working woman in Hollywood, appearing in close to 90 films, working at every major studio with most of the big stars. She was respected by studio executives, producers, directors, and co-workers alike, who sometimes went out of their way to get her more lines and screentime. Harris married a doctor and retired from the movies in the late 1950s, living comfortably after having carefully invested the money she made during her career in the films. She was a patient woman who never gave up hope that there would come a time when she would be able to play more than just maid parts. Nevertheless, in every role, she displayed class, dignity, beauty, and true acting talent, not simply the old stereotypes associated with black actors at that time.- Attractive with plenty of personality and versatility, dancer Consuela Harris was the sensational and considered best of the shake, hot, swinging dancers in the 1930s. Consuela was a New York headliner and the darling of the night club patrons and crowds in the East and West who raved over her charm and artistry. She performed at the famous Sebastian's Cotton Club in California and other New York highlights. She was one of the rare dancers who told a story with her dancing. Flexible and graceful she was. Consuela appeared showing off her dancing talents in two Oscar Micheaux films, "Swing" from 1938 and God's Stepchildren also from 1938. She was also in the movie, "Harlem on the Prairie" with Herb Jeffries. Hopefully more info will surface on this great dancer.
- Actress
- Soundtrack
Leila Hyams was one of the top leading ladies of the early talkie pre-code years. She was a likable, pleasing actress with a charming presence. She had much spark, personality and charisma, and a touch of down-to-earthiness and naturalness that won over movie fans; they could relate to her. A versatile, excellent actress she was, able to conform to any role and maintain that special heartfelt sincerity she always displayed in her role. Freaks (1932) was her best-known movie, in which she played Venus and gave a compassionate performance. Her image on screen was beautiful but not conceited, not high and mighty, tough but sweet and she had sex appeal but always came across as a lady who managed to keep her innocence. Those were the qualities that carried her to fame and set her apart from the other leading ladies of early Hollywood.- Actress
- Soundtrack
Pretty-as-a-picture Marjorie White was a charming comedienne, and although she was never the star, she stole many scenes from stars. She co-starred with some of the leading comedians of the day, such as Wheeler and Woolsey, the Three Stooges, and Joe E. Brown, and brought smiles to the faces of moviegoers and theatergoers alike. It's easy to tell she was a favorite in the 1930s.
In addition to having acting talent and screen presence, she could sing and dance, which made her fantastic in musical comedies on stage and screen. In her early career, she was teamed up with Thelma White, another popular performer and actress, and together they became a popular singing and dancing duo known as the "White Sisters".- Ellen Holly is a retired Black American actress. She was best known for her part as Carla Benari Hall in "One Life to Live" which she played for more than 20 years but she she was more then a soap opera actress.
On Broadway, she showed her versatile acting talent in the various roles she played in "A Hand Is on the Gate", "Tiger Tiger Burning Bright", "Face of a Hero", "Taming of the Shrew", "Henry V", "Too Late the Phalarope", "MacBeth", "Funnyhouse of a Negro", "Camino Real", "The Cherry Orchard", and others. She appeared in a handful of films, starting with "Take a Giant Step".
Her autobiography was titled "One Life: An Autobiography of an African American Actress". - Suzette Harbin won a beauty contest which gained the way for a movie career. Suzette started out appearing in many Hollywood films that had African American musical numbers, she either sang, danced, or just looked pretty. She also appeared in the iconic films, Cabin in the Sky (1943), (where she had a speaking part, close-ups, and danced), and she also danced in Stormy Weather (1943). She often appeared in Lena Horne's musical numbers. She also danced and sang in Duke Ellington's Jump for Joy musical. Suzette may be more recognizable for her roles in The Foxes of Harrow (1947), Look-Out Sister (1947), and Bomba and the Jungle Girl (1952). She became a star through the movie "The Foxes of Harrow," her wonderful performance in the controversial film made her a movie star. She played the role of a beautiful slave girl who would rather die than bring her child up in slavery. She was praised for being the first to play such a role and not be stereotypical. Her versatility, magnetic presence, and trademark million dollar smile always won over audiences and gained her commendable roles on stage and screen.
Suzette's many performances in films and stage elevated her to star status. She appeared on the covers of Jet magazine and in many black newspapers of the day. To add to her list of achievements, Suzette entertained the GIs in Korea in the early 1950s. She was considered a rivalry for Marilyn Monroe who also performed for the GIs, though Monroe received more publicity. It was Suzette who the GIs gave a bigger applause to and came out in greater numbers. - The name Mildred Washington isn't remembered but she appeared in under 15 films in small parts but her presence, finesse, beauty and vivacious personality wasn't small. Mildred was a beautiful, curvaceous, popular Black actress and dancer in the 1920s and 1930s. She started on the stage appearing in musicals for many years and later conquered California nightclubs and theaters becoming a full-fledged, substantial, popular entertainer who was called the sensation of the West. She was headliner and dance director for many years at the legendary Sebastian's Cotton Club. Mildred was the ultimate performer; she was a skilled dancer who knew how to wow a crowd and amaze them with her great dance and lively stage presence as is seen in the Hollywood movies she appeared in. On the side she appeared in Hollywood films because it was her dream to be in movies. Her beauty and outgoing personality helped her into movies like many white females. Mildred had an magnetic charm that couldn't be overlooked on stage and screen. Mildred introduced a new image of Blacks, she wasn't the common homely, sad, blue, and unintelligible type, Mildred was gorgeous, fun-loving, spoke intelligently, had poise and though sexy she was quite dainty and winsome.
In Hollywood Mildred played the role of a maid in the pre-code era which meant Mildred wasn't forced to be demeaning or stereotyped. In the pre-code era, there were no rules, Blacks had more to do outside the stereotype and most importantly was apart of the films they appeared in not just a maid or servant thrown in. Mildred added her own winning personality, sense of humor and spark; she simply glowed on screen. She entertained her white employees when they were down and out, educated them on life, and lifted their spirits. Mildred was one of the few, very few, beautiful black women who played the maid roles, she wasn't overweight or homely but beautiful, engaging, and scintillating, often stealing attention in scenes from leading white stars because of her beauty, talent and sex appeal. Her persona was certainly in the same fashion as Clara Bow, Alice White, and Jean Harlow. Though, Mildred had little to do on screen in a few of her movies, she still took advantage of getting herself recognized. Her maid costumes was just that...a costume, it didn't define her or her talent and that's what the black community loved about her. Mildred got fan mail, requests for her autographed photo, and she was featured in many leading black publications and newspapers. Whether Hollywood wanted her to be a stereotype or not is not the question, she took it upon her own initiative to present herself the way she wanted and she took her roles seriously and presented them the best she thought would entertain the public. "Hearts in Dixie" was one of the first black cast films made in Hollywood where Mildred co-starred, Mildred was said to have gave an excellent performance, the reviews were in Mildred's favor but sadly the film is believed to be lost. Her best role was in "Torch Singer" starring Claudette Colbert, in which she played a maid/confidante to Colbert. In this particular film she showed her awesome versatility and sincerity, where she went from dramatic to comedic naturally in good timing and she did some hot dancing. She was just marvelous in her role that you would forget she was suppose to be a maid, sometimes Mildred forgot, because she made her roles significant by being an actress not a maid.
Mildred was an highly educated and cultured woman, she graduated from Los Angeles High School where she was an honor graduate and valedictorian. She had two years at the University of California at Los Angeles and also studied at Columbia University. She could speak fluent Spanish and French. Mildred chose being an entertainer and actress as her career but her education was always there to fall back on. Off screen she lived well, she dabbled in real estate and one of the few black movie stars who made enough to own a big, beautiful home in which she had a maid working for her. Mildred was truly a Renaissance Black woman and a new kind of Black woman who didn't let anyone hold her back. Mildred was on her way to becoming a full-time actress and studio heads were very satisfied with her previous work and beauty but it was her untimely death in late 1933 that stalled her escalating screen career. During an major earthquake in the spring of 1933, Mildred developed appendicitis when she fell running for cover from Graumans Chinese Theatre. Her death was caused by peritonitis following appendicitis, she died on a Thursday afternoon at the White Memorial Hospital during surgery. She was 28 years old. Her funeral was a star- studded one with many black and white stage and screen stars. - Actress
- Music Department
- Soundtrack
Originally from Trinidad and Tobago, classical and jazz musician Hazel Scott became one of America's premier pianists of her time. Born on June 11, 1920, this child prodigy first started tickling the ivories at age 3 under the guidance of her mother. She moved with her family to the U.S. in 1924 where she started performing in New York City and receiving scholarships to study classical music at the Juilliard School of Music -- all of this by age 8. Her mentors in jazz technique were Art Tatum and Teddy Wilson. Topping her talents off with a warm singing voice to complement her glamorous presence, she was a club and radio star by the late 30s and performed with such notables as Count Basie. She gained some attention for her swinging versions of classical themes. Hazel appeared in the productions "Singing Out the News" and "Priorities of 1942" on Broadway and played twice at Carnegie Hall. As a sometime actress, Hazel became a noted specialty performer in musical motion pictures, including "Something to Shout About" (1943), "I Dood It" (1943) and "Broadway Rhythm" (1944) during the war-era while releasing dozens of albums during her prime. Her most famous hit was "Tico Tico" and her catchy boogie-woogie style proved quite popular during the 40s, while her versatility and ability to shift from jazz to classical to blues was incomparable. Hazel married the Rev. Adam Clayton Powell Jr., noted Congressman, preacher and editor in 1945. She became the first black woman to host her own television show in 1950 but, within months, the show was canceled. An outspoken personality all her life, she was subsequently accused of being a Communist sympathizer. She refused to perform in segregated theaters and became a vocal critic of both McCarthyism and racial injustice. Following her divorce from Powell, she lived in Paris where she performed and enjoyed racial freedom during the 1960s. Her return to the U.S. marked a second career on TV with guest parts on such shows as Julia (1968) and The Bold Ones: The New Doctors (1969) coming her way. Scott continued to perform in clubs until her death from cancer in 1981.- Actress
- Soundtrack
Beautiful multi-talented Sheila Guyse was a popular, well-loved figure on the stage and screen of the Dorothy Dandridge era. Some critics even felt she was a better actress than Dandridge, some said if Sheila ever decided to go to Hollywood, she would give her a run for her money. She appeared in three independent black films, "Boy, What A Girl", "Sepia Cinderella" and "Miracle In Harlem" giving magnificent performances in all of them.
Guyse wasn't an experienced or trained actress but you never know it. She appeared in many stage productions such as "Lost in the Stars" and "Finian's Rainbow" which were both long-running. Her singing voice was as beautiful as she was, divine, sweet, easy on the ears whether singing jazz, pop, or gospel.
Very popular in the 1940s and 1950s, Sheila graced many covers of magazines like Jet, Ebony, Our World and many others, reviews were always flattering.- Handsome Reginald Fenderson was a talented actor, one of the top black movie stars. Before the movies, he was quite popular on the stage, appearing in "Sailor, Beware!," and he became famous in the stage version of "Green Pastures."
Fenderson became worldwide known through what were known as "race films" or "all black cast" independent films. He was quite popular with movie audiences, appearing in dozens of movies as the gangster, or best friend of the gangster. He appeared in the best of the black cast films, such as Gang Smashers, Am I Guilty?, Bargain with Bullets, Four Shall Die, Gang War, Lady Luck, Life Goes On, Lucky Ghost, Prison Bait, Reform School, While Thousands Cheer etc.
He wasn't always the star of films, but he made his presence known with his natural, cool, collective acting. He only appeared in one Hollywood film and that was "Green Pastures." There wasn't a lot of opportunities open for a talented black actor in Hollywood, so, Reginald showed his talents in films that weren't stereotypical and it paid off.
He continued to appear in films as he got older, and in the 1970s had small scenes in movies and a guest appearances on TV. - Actress
- Soundtrack
Francine Everett, who was called the most beautiful woman in Harlem and one of the most beautiful actresses to appear on screen. She became a familiar face with black audiences through the race films, now known as Black Cinema. She was one of the few who became a movie star through Black Cinema and could call themselves a true actress. Blacks could relate to the beauty because despite her roles, she maintained a down to earthness about her, warmth and was attainable more so than Lena Horne and Dorothy Dandridge who in Hollywood movies developed aloofness and had to please white audiences more so than Blacks and had to let go of some of the black image. The films in Black Cinema may have been low-budgeted but Francine's performances surely weren't, she gave her all in films, as though they were Hollywood movies. Francine didn't have a lot of directions in her movies but being the true actress she was, she didn't need much direction to give a stellar performance.
When she wasn't acting, she was in soundies, singing or dancing, it's said she appeared in over a 100. She modeled clothes and hairstyles for print ads, magazines and newspapers. Also she sang in nightclubs, her lovely singing voice possess soul, allure, and charm which she also showcased in many movies. She was also quite a dancer, dancing in a dance group called The Four Black Cats that traveled the U.S. Her stage appearances included, Humming Sam and Swing It which were both very popular shows on Broadway.
Francine started in show business at a young age. She studied and acted with the Federal Theater in Harlem, which was sponsored by the Works Progress Administration. She married legendary actor 'Rex Ingram' i who gained fame in his starring role on screen in "Green Pastures." It's been said Francine was offered the role of one of the angels but turned it down mainly because it was stereotyped.
Francine appeared in the most important films of Black Cinema, the ones that could be called a true movie. She appeared in Paradise in Harlem (1939), 'Keep Punching (1939), Big Timers (1945),"Stars on Parade," '_Tall, Tan, and Terrific' (1946)_, '_Dirty Gertie from Harlem U.S.A.' (1946)_, '_Ebony Parade' (1947)_ (which also starred Dorothy Dandridge) and its been said she appeared in 2 Hollywood movies, "Lost Boundaries" and 'No Way Out (1950).
In "Paradise In Harlem," Francine shone brighter than any in the cast when she gave a compelling performance doing Shakespeare by portraying Desdemona. Francine was fantastic as the woman who pleads/sings for her life to be spared.
She only appeared in a few films but substantial films where she showed versatility and talent and proves why she's one of the best black actresses in history. She's done more in her few films than most have done in many films.
Hollywood surely wanted Francine, but first Hollywood felt Francine should pay her dues by playing maid roles first, which she refused. She didn't want to play stereotypes when she could play roles suited for an actress in Black Cinema.- Attractive Sybil Lewis was one of the best, most convincing actresses of Black Cinema. Her sophisticated, sometimes snooty presence was one of many but her more popular approach to acting always worked whether in drama, straight, romance or comedy roles and always remained likable. Sybil's acting would remind one of a Rosalind Russell or even Bette Davis. She was able to adapt to any role and make a film worth watching even if she was the only one acting. Her training and natural touch to acting, gave those films substantiality. "Mystery In Swing," "Broken Strings," "Am I Guilty?," "Midnight Menace," "Lucky Gamblers," "Boy! What a Girl!," and "Miracle in Harlem," are Black Cinema films where Sybil and others got to be a real actress, not a "Black" actress but actress without a label or stereotype and she got to play roles of people from all walks of life unlike Blacks in Hollywood. Even in Hollywood movies, "Revenge of the Zombies," "Going My Way," and "The Very Thought of You," Sybil had a chance to use her acting skills and not be stereotyped too much because of her race.
- Actress
- Soundtrack
Attractive Hazel Diaz was a "Hot-Cha" performer. A popular singer and dancer in the Golden Era of Harlem. Also a fine actress in "Swing!" and "Birthright," films made by Oscar Micheaux. She was a charismatic, emotional actress, the kind of actress to showcase all her emotions in every gesture and attitude. She could adapt to any role, and even though only making 2 films, showed how multi-talented she was with her singing, dancing and acting in "Swing" and "Birthright" and her contribution is very much enjoyed. Not much is known about Hazel Diaz but hopefully some information will surface on this once talented performer and actress.- Tall, model-like angelic beauty Frances Redd only appeared in one film giving a convincing performance in "Midnight Shadow," but she's a face and presence you wouldn't forget once you see her. Her grace, allure, charm and not to mention the way she floated as she walked were qualities of an actress and had she made it her primary career it's obvious she would of been a success. Her brother was the infamous Korla Pandit, who passed as an Hindu, Indian or White, and he may have gotten the idea from a character in his sister movie "Midnight Shadow." Frances comes from a prominent family that is researched by many, it includes a family of many races. Frances was involved in entertainment somewhat but didn't make much of a name for herself. Some say, she was a make up artist and dabbled in behind the scenes work in show business. Her son was Adrian Pepo of the legendary Platters group. Frances appeared in a Black Cinema film which were race films made for and by Blacks which provided positive images of Blacks, provided movie stars, and enabled Blacks to play roles of people from all walks of life and not stereotypes. Frances Redd's contributions to the the race film genre is very much appreciated and hopefully more information will surface on her.
- Actress
- Soundtrack
Dorothy Dare was an actress and singer.
She appeared in quite a few 20-minute Vitaphone shorts and full feature films with bigger stars such as Dick Powell and Irene Dunne. Most of her films are shown periodically on Turner Classic Movies. Some have said Dorothy didn't get a chance in Hollywood. Also, many even claimed the shorts Dorothy appeared in were better than her parts in Hollywood films.
In any event, the real Ms. Dare was part of the great era of entertainment and will forever be remembered in celluloid. Hopefully, more details of Dorothy's personal story and why she left show business in the mid-forties will emerge someday.- Actress
- Soundtrack
Pretty Tomiwitta Moore, who shortened her name to Tommie Moore was the bright, sweet, girl next door ingénue of Black Cinema. She was small in size but had a big presence on screen. To look at her in her early films, Tommie, looked like a young teenage girl but she was really an adult woman in her early twenties but her petite size and babyface looks could fool you and her looks often worked in her favor because she could play a teenage girl, a little sister or a little, vivacious woman. Tommie Moore was a fine actress who had personality, charm, and vitality, she displayed these qualities in the best of the Black Cinema films. In films "Gangsters on the Loose," "Broken Strings," and "Mystery In Swing," Tommie never disappointed. In these films, Tommie dominated every scene she was is. She wasn't just someone picked up off the street, she was obviously a trained actress because she showed such grace and professionalism in her roles and performances. She crossed over and into Hollywood films and gave excellent, memorable performances in "Something of Value" which starred Rock Hudson, "Band of Angels" starring Clark Gable and "The Green-Eyed Blonde" and also in TV she appeared in "The Amos 'n Andy Show" and "Bourbon Street Beat."
In the mid-1940s, Moore was also one of the stars in the hit Broadway show "Beggar's Holiday" that had a long successful run. She's one of many unsung talented actresses who deserves much recognition. Most importantly she wasn't just a black actress but an actress able to play anyone from all walks of life. She contributed hugely to American Cinema and particularly Black Cinema, by opening the doors for Black actors and actresses, proving that they could be successful on their own, create their own images, and be able to be talented without any labels or stereotypes. Tommie Moore was certainly a delight, she was a black actress who displayed a rare image that hasn't been seen much, her warmth, charisma, sweet nature and genuine qualities within herself and what she contributed to her acting makes her an unforgettable talent. proving good things do come in small packages.- Actor
- Composer
- Soundtrack
Handsome Noble Sissle is one of the unsung legends of ragtime, blues and early jazz. He and his band had an easy-listening, hot and breezy sound unlike any other contemporary band. When you went to see Sissle you got more then an earful of good music--you got good entertainment that would put a smile on your face. He was an energetic, charismatic, humorous band leader, which was an ingredient for the success of his band because it rubbed off on his band. He was also a dancer, singer and songwriter.
Sissle was partners with another musical genius, songwriter / band leader / composer / arranger Eubie Blake. Together they wrote "I'm Just Wild About Harry" and other standards. They helped create the famous "Shuffle Along", "Chocolate Dandies" and "Harlem Calvacade", which in turn helped launch the careers of Florence Mills (I), Josephine Baker, Valaida Snow, Blanche Calloway and other black performers. The dancing in the shows so impressed impresarios Florenz Ziegfeld Jr. and George White that they paid the artists in the show to come down and teach their white dancers how to dance. During the 1930s and 1940s he and his band appeared in various films. Not only was the music energetic and hot, the band had an energy that appealed to audiences. However, when the "Big Band" era ended, so did Sissle's tenure as a band leader.
He was involved in many things, like forming the Negro Actors Guild, for which he served as president. He continued working with partner Eubie Blake until the end. A book was written about them called "Reminiscing with Noble Sissle and Eubie Blake", by Robert Kimball and William Bolcom.- Actress
- Soundtrack
Delicate beauty Ida James was a sweet, honey-voiced singer whose singing could rival the birds. She gained popularity in the 1940s for her beauty, high, bird-like voice, grace, and glamour. She was the definition of daintiness and winsomeness. She gained stardom by singing her trademark song, "Shoo Shoo Baby," and from then on, she was always known as and billed as "The Shoo Shoo Baby" and "The Shoo Shoo Girl." Her recognition came by singing with Nat 'King' Cole, and they both popularized the song "Is You Is, Or Is Not My Baby," which they sang in a musical short together. She sang with various popular trios and bands with which she recorded. In 1945, she was voted by music fans as one of the top twenty popular vocalists in America. As an actress, she was very convincing, her first screen appearance was in The Devil's Daughter (1939) where she gave a watchable performance, demonstrating that she could be a fine actress, given the chance. Several years later, she appeared in Hi De Ho (1947) with Cab Calloway, where she gave another good performance, and in between, she did quite a few musical shorts. She appeared in leading Black magazines and print ads of the time as well. Ida James was always a likable presence on stage and screen, irresistibly pleasing to the eyes and to the ears.- Actor
- Soundtrack
Alfred Grant was one of the most suave, talented actors of Black Cinema and Golden Era Hollywood. He had quite a powerful presence on screen. He was the tough, macho type but still romantic and had a softness that the female movie-watchers loved. He could play any role there was and had an actor's voice if ever there was one; powerful, distinct, soothing and convincing.
Grant displayed his natural talent in the Black Cinema films of the 1930s and 1940s. He starred in "Reform School," "One Dark Night," "Mystery In Swing," "Son of Ingagi," and "Am I Guilty? where Alfred proved himself a wonderful leading actor and gave excellent performances. Black Cinema a.k.a race films gave Alfred plenty of opportunities that he took advantage of to display his art. He made many films watchable by himself alone even if the story and the cast weren't as good. Alfred was in quite a few films in Hollywood but parts were hard to come by for Black actors. The roles he did attain in Hollywood were quite an accomplishment because he got a chance to be a real actor not a stereotype which was rare for a Black actor then. Alfred left lasting impressions in Hollywood films, "Golden Boy," "One Hour To Live," "You'll Never Get Rich," "The Vanishing Virgirian" and "The Well." Alfred also appeared on television in an episode of "Soldiers of Fortune." Grant is truly one of the unsung Black actors of cinema who proved the myths and stereotypes about Black men wrong. Hopefully more information will surface on this talented actor.- Actress
- Soundtrack
Edna Mae Harris was one of the best actresses of the Black race in the 1930s and 1940s. She starred in some of the best all black cast independently produced movies in the 1930s and 1940s. An attractive woman who had a soulful voice, personality, sex appeal, she was a triple threat to show business, for she could sing, dance, and act. She was the personification of an Harlem performer, sexy, vivacious, alive, hot and full of life. Edna found fame by playing in the stage and screen version of The Green Pastures (1936) as Zeba. Naturally audiences loved her, and she received glorious reviews. So it was no surprised when Hollywood asked her to repeat her role on screen and she repeated getting wonderful acclaim. During the Black Cinema, Edna Mae was very much in demand starring in some of the top black movies Spirit of Youth (1938), Paradise in Harlem (1939), Sunday Sinners (1940), The Notorious Elinor Lee (1940), and Tall, Tan, and Terrific (1946), showing her excellent acting skills in drama and comedy. Edna Mae Harris got to tell her story in her later years in the documentary, Midnight Ramble (1994), about independently produced black films.- Carl Mahon another excellent actor of Black Cinema...Carl Mahon was one of Oscar Micheaux's early leading men. He usually played the good guy turned bad by a loose woman or an educated Negro. He was always the aspiring, likable, do-gooder who could be depended on. Always a gentleman with the ladies, a romantic who understood his troubled women and would put his life on the line for them. Most men on screen were tough, macho men, Carl was one of the few men to be gentle on screen and express his feelings without manhandling. Carl Mahon was a natural on the screen with a ready smile and a willing heart. He never ceased to please on screen. His excellent diction and speaking voice was also a plus.
Carl was used in Micheaux's most important early films, "The Exile," "Veiled Aristocrats," "Ten Minutes to Live," and "The Girl From Chicago," which all are available. In these films Carl's character's were always involved in unfortunate incidents usually regarding someone else he intervene to help and his cool, calm, pleasant, intelligent demeanor always made a happy ending. Only in one movie did he do wrong but he only did wrong because wrong was done to him but Carl is one who movie audiences are willing to forgive. Carl really introduced a new way of acting and new image of a Black man on screen that Hollywood wouldn't dare develop.
Carl Mahon is another talent who fans of Black Cinema would like to know more about. However, his talents still live on for movie watchers to enjoy. - Actress
- Soundtrack
Unsung great Babe Matthews was a fabulous singer of songs. She was quite capable of singing anything from blues, jazz, swing, gospel, rhythm and blues. She was a singer before her time, Aretha Franklin has nothing on her. Whatever Babe sang she put over with style, excellence, and much energy. She made you stop and listen. The 1930s were the high years for her, she was one of the most popular, most wanted performer of her race. She appeared in quite a few movies displaying her fine talents as singer, dancer and actress. As an actress, she usually played the hands on the hips, rolling eyes, feisty, wise-cracking wife alongside her husband who also was a performer and her sometime partner, Eddie Matthews. They were in every film they appeared in together. Their work was original and entertaining, they were a great husband and wife team but Babe made a name for herself and was more popular than her husband. She was truly a great performer of the golden era of Black Entertainment and Harlem.- Lorenzo Tucker in his prime was billed and known as "The Black Valentino," named after Rudolph Valentino, because of his tall, dark, dashing good looks, muscular built, secret charm and coolness. Tucker was one of Black Cinema's most popular leading actors, appearing in close to 20 films. He started acting at Temple University in Philadelphia where he contemplated medicine but caught the acting bug. He perfected his art by appearing in college plays and got his entry into movies from legendary film maker Oscar Micheaux. Lorenzo's prime was from the late 1920s to the end of the 1930s. He became a bona fide movie star to Black America, he was often mentioned in the leading Black newspapers.
Tucker was an Oscar Micheaux discovery and appeared in many of his important films, one of the most controversial was "Veiled Aristocrats" where Lorenzo played a Negro who successfully passes as white and returns to the family to coax his sister into passing for white like him. Throughout the movie, Lorenzo plays the part of a white man and plays it very realistically. His light complexion played a part in his exit from movies, it was hard attaining success in mainstream films, particularly Hollywood, because he was considered not Black enough. He had success on the stage in Broadway productions, "The Constant Sinner," "Ol' Man Satan," and "Humming Sam." In one controversial play on stage in Washington, D.C., he played the pimp to legendary Mae West's prostitute. It was to be her last stage role. A scene called for Lorenzo to kiss Mae West, and the theater critics of the capital city's press were outraged to see a Black man kissing a white woman. They demanded the scene to be stricken from the play. Never short of spirit, not one to seek an escape from battle, the show's star never wavered. Miss West would stand for no alteration in the play. It left the city.
Tucker had success outside of show business, service in the army during World War 2 led him to become an autopsy technician for the medical examiner's office in New York City. He handled many celebrities, gangsters and prominent figures like Malcolm X and Nina Mae McKinney in his line of work that in a way still kept him connected to show business. He was also a talented photographer.
Tucker was the only Black involved in Black Cinema who people could locate and who lived long enough to see his talent and contributions recognized, appreciated and awarded. In 1974, he traveled to accept nomination into The Black Film Makers Hall of Fame which he always cherished. He was often compared to early Hollywood actor William Powell because of resemblances in looks and nonchalant acting. He died of lung cancer at his Los Angeles home and was interred at Riverside National Cemetery in Riverside, California. - Pretty as a picture Anise Boyer went from being Harlem's most popular chorine to becoming apart of America's number one dance team Anise and Aland in the glorious Harlem era in the 1930s. Boyer was considered a child prodigy when it came to dancing. She started her career as a chorus girl during the depression at the famous Cotton Club at the age of 15. She danced alongside Lena Horne in the chorus line. Anise gained notoriety and popularity swiftly. Walter Winchell called Anise "the cutest brown skin girl in Harlem." Quite a few times times Anise was voted the most prettiest Cotton Club dancer over Horne by Winchell. Anise was a little lady who always looked younger then she was. She didn't weigh over 100 lbs. but as little as she was that's how much of a big talent and big personality she had. She was a powerhouse performer that exuded charm in her stage presence and in her dance that would outshine the bigger in size and in fame on stage so she was never overlooked. Anise became an instant favorite with her baby face beauty, sweetness, petite figure, energetic personality and the talent of knowing how to dance any dance. She danced at Harlem's most popular nightclubs and at the Apollo theater and then ventured outside of Harlem and danced at some of the U.S. and Europe's prominent cabarets, nightclubs, and theaters.
At the age of 18 Anise starred in "Harlem Is Heaven," from 1932, she played Jean Stratton, a southern good girl who wants to be a dancing star travels to Harlem, stranded with nothing, she gives the famous tree of hope in Harlem a stroke and gets a job with help from legendary Bill Bojangles Robinson, who plays himself, through his help she escapes a scoundrel and finds true love. The movie seem like a true story of Anise Boyer's climb to fame. In the mid-1930s Anise teamed up with Alan Dixon and they became known as Anise and Aland, and they were called the best of the adagio dancers because of their exuberance and athletic dancing. Their dancing varied from tap, ballroom, swing, jazz dancing and sometimes they put it all together for a spectacular performance. In 1936, Anise and Aland were two of the stars of Lew Leslie "Blackbirds of 1936" that opened in London and they received excellent reviews for their versatile dancing. Anise and Aland stayed together until the early 1940s. In the 1940s, Anise star started to dim. Anise danced with other male partners but didn't achieve the same success as she did with Alan Dixon. She appeared in the papers again in the late 1940's when she married actress Louise Beaver's husband and appeared in the papers again where it was said she was working as a secretary after her dancing partner Archie Savage (stage and movie dancer and choreographer) was jailed and serving a term for stealing expensive items from Ethel Waters. Since work was scarce and show business was changing Anise retired from show business. The last known show business gig Anise had was as a bathing beauty in race film "Look Out Sister." After that Anise Boyer became forgotten in show business history, most regrettably in black show biz history.