An educated, upscale young black musician marries a woman from a lower socioeconomic class to get her out of the clutches of her stepfather, who beats and abuses her. However, once he "...
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A nere-do-well man, a beautiful girl, and her one-legged body-guard/family servant are the sole survivors---they think---of a ship wreck and make it to a uninhabited south-seas island. The ... See full summary »
A minister is malevolent and sinister behind his righteous facade. He consorts with, and later extorts from, the owner of a gambling house, and betrays an honest girl, eventually driving ... See full summary »
An educated, upscale young black musician marries a woman from a lower socioeconomic class to get her out of the clutches of her stepfather, who beats and abuses her. However, once he "saves" her, he won't let his new wife meet his mother, as he knows she will be angry and disappointed with him for marrying someone "below his station". Written by
If you've seen more than a handful of 'race films'--the somewhat pejorative term used to describe films made for the African American market until the 1950s--you know what to expect with The Scar of Shame. Though the film avoids religious references or imagery, it teaches moral lessons aimed at 'uplifting the race' and overcoming the adversities of birth and caste. The film suffers from awkward titling and the usual problems of African-American filmmaking of the period, not least of which is the over reliance on light skinned actors in the lead roles (darker skinned actors are, not surprisingly, relegated to roles as maids and bartenders). Having said that, The Scar of Shame does feature a few nifty angular shots by cinematographer Al Liguori, who probably wasn't black, and Harry Henderson is dignified and believable as the talented pianist led astray by bad guy Norman Johnstone.
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