I enjoyed this race movie intended for black audiences, even though I am not African-American or any racial minority. The forward states its point of view that a poor environment for a child will inevitably bring on a sense of shame, and then proceeds to unfold its story of an educated man in the field of music marrying a lower class woman to protect her from her stepfather, who beats her. Problems arise, however, when he won't take her to see his mother, who doesn't know he got married, and who he knows will be disappointed he did not marry a girl from his own class. My only problem with the movie was in the casting of the very refined Lucia Lynn Moses as the woman, so I could not fathom why her husband, well played by Harry Henderson, would not want his mother to meet her. It's an old-fashioned movie with some old-fashioned ideas, but has a few twists and wound up producing a few tears in my eyes. Watch it with some hankies close by if you are a softy for such movies, like me.
20 Reviews
A bit heavy-handed but good
planktonrules17 November 2006
Warning: Spoilers
This film was made for Black-American audiences and stars an all-Black cast. The film in many ways is a social commentary, as again and again it points out that good and respectable citizens are a product of good upbringing and environment. From this theme, you can infer that there were many well-educated and more upwardly mobile Blacks who felt that improved social conditions would eventually lead to equality and opportunity.
The film is about a decent lighter-skinned Black man who seems to always be coming to the rescue of someone who is being oppressed, as he has a very strong sense of justice. However, this decent instinct within him make him blind to the importance of nurturing on adult behavior. He makes the mistake of falling for a poor lady who was abused by her awful step-father, so the film make it appear that she is pretty much predestined to pull this decent man into the gutter with her. While all this is very entertaining, it also seems like a rather stereotypical view of the world! Despite this and all the evil that she dumps on this poor Sir Gallahad, by the end, good does prevail. Huzzah! The acting is pretty good as are most of the production values, though the script is a bit heavy-handed and preachy. Of course, in the late 1920s, this was true of some mainstream pictures as well, so this can be somewhat forgiven. Still, after all these years, the film is pretty entertaining and a wonderful time capsule into the past.
The film is about a decent lighter-skinned Black man who seems to always be coming to the rescue of someone who is being oppressed, as he has a very strong sense of justice. However, this decent instinct within him make him blind to the importance of nurturing on adult behavior. He makes the mistake of falling for a poor lady who was abused by her awful step-father, so the film make it appear that she is pretty much predestined to pull this decent man into the gutter with her. While all this is very entertaining, it also seems like a rather stereotypical view of the world! Despite this and all the evil that she dumps on this poor Sir Gallahad, by the end, good does prevail. Huzzah! The acting is pretty good as are most of the production values, though the script is a bit heavy-handed and preachy. Of course, in the late 1920s, this was true of some mainstream pictures as well, so this can be somewhat forgiven. Still, after all these years, the film is pretty entertaining and a wonderful time capsule into the past.
The Scar of Shame was an interestingly good silent "race movie" drama
tavm13 February 2014
Since it's once again Black History Month, I thought I'd once again review various movies made by people of color for the occasion. This production of the Colored Players Film Corporation (which was co-founded by one African-American, Sherman H. Dudley, a former stage performer) was quite compelling as a cautionary drama though the melodramatic trappings do permeate. Still, there were quite some good performances by the cast of which one of them, a Lucia Lynn Moses, was quite alluring in going from a victimized girl to one trying to be more seductive. It's interesting finding out on this site she filmed this in Philadelphia while also commuting to New York as a chorus girl at the Cotton Club. I don't feel like revealing much else so on that note, I recommend The Scar of Shame.
One half the world doesn't know how the other half lives
gbill-748777 June 2020
Despite having an all African-American cast, this film doesn't deal explicitly with race, as its script could have been applied to white people, which is a nice thing for 1927. The film is in part about the dynamic between social classes, and has some good early scenes that deal with that. In one, we see the intertitle "One half the world doesn't know how the other half lives" while a poor woman is scrubbing the laundry over a washboard. Eventually it gets a little bit pushy in its message, which is for people to choose higher aspirations in life (education, the arts, steady jobs) vs. lower (gambling, drinking, violence), making it a simplistic morality tale, and one that is of course directed at the African-American community.
In that sense, it has everything to do with race, and says (1) look, we're people too, not the stereotypes Hollywood and white supremacist culture ordinarily portrays us to be (2) we can do better, that "Our people have much to learn." The plot and the love triangle which develops in the second half is more than a little melodramatic, but the screen presence of all three leads is undeniable (Harry Henderson, Lucia Lynn Moses, and Pearl McCormack), and had these actors been white they all might have been stars of the era. The film is pretty well made as well, making it a silent worth checking out.
In that sense, it has everything to do with race, and says (1) look, we're people too, not the stereotypes Hollywood and white supremacist culture ordinarily portrays us to be (2) we can do better, that "Our people have much to learn." The plot and the love triangle which develops in the second half is more than a little melodramatic, but the screen presence of all three leads is undeniable (Harry Henderson, Lucia Lynn Moses, and Pearl McCormack), and had these actors been white they all might have been stars of the era. The film is pretty well made as well, making it a silent worth checking out.
Very Important Film
Michael_Elliott27 February 2008
Scar of Shame, The (1927)
*** (out of 4)
Historically important race film (black cast for black crowds) is one of the best I've seen from this genre of films. A rich concert pianist (Harry Henderson) marries an abused poor girl (Lucia Lyn Moses) so that she can escape her abusive stepfather but this leads to tragedy as the girl doesn't know any life other than the ghetto. Sadly a lot of these silent race films are now lost but from the few I've seen I can see why they were controversial back when they were originally released. Like Within Our Gates, this film spends a lot of time bashing black people for their living conditions, alcohol and the "shame" of their race, which is interesting to see since this film was meant for a black crowd. I guess the producers knew black folks would be seeing these films so they wanted to push some sort of moral issue on them. What I also find interesting and somewhat hypocritical is the fact that these race films always put light skinned black people in the lead roles. In fact, if you just looked at the actors in this movie you'd never guess they were black and in several scenes it appears that the actors are wearing make up to make themselves look lighter. I've read a couple books by race experts and they said this was due to the producers hoping these films could sneak into white theaters (they never did).
As for the film itself, it's pretty much a remake of Griffith's Broken Blossoms bit it's still very powerful and memorable. The best thing about the movie are the performances, which match any of the actors appearing in Hollywood films at the time. The real highlight is the work of Lucia Lynn Moses, who while filming this was also working at The Cotton Club. She's an incredibly beautiful woman who uses those looks to bring out a certain sadness, which would touch anyone. She's does a remarkable job here and it's a damn shame that this was her only film. The film's final act is pretty predictable and far fetched but it still works pretty well. At times the film pushes its moral lessons a tad bit too strongly but this is still an important film that more people need to see.
*** (out of 4)
Historically important race film (black cast for black crowds) is one of the best I've seen from this genre of films. A rich concert pianist (Harry Henderson) marries an abused poor girl (Lucia Lyn Moses) so that she can escape her abusive stepfather but this leads to tragedy as the girl doesn't know any life other than the ghetto. Sadly a lot of these silent race films are now lost but from the few I've seen I can see why they were controversial back when they were originally released. Like Within Our Gates, this film spends a lot of time bashing black people for their living conditions, alcohol and the "shame" of their race, which is interesting to see since this film was meant for a black crowd. I guess the producers knew black folks would be seeing these films so they wanted to push some sort of moral issue on them. What I also find interesting and somewhat hypocritical is the fact that these race films always put light skinned black people in the lead roles. In fact, if you just looked at the actors in this movie you'd never guess they were black and in several scenes it appears that the actors are wearing make up to make themselves look lighter. I've read a couple books by race experts and they said this was due to the producers hoping these films could sneak into white theaters (they never did).
As for the film itself, it's pretty much a remake of Griffith's Broken Blossoms bit it's still very powerful and memorable. The best thing about the movie are the performances, which match any of the actors appearing in Hollywood films at the time. The real highlight is the work of Lucia Lynn Moses, who while filming this was also working at The Cotton Club. She's an incredibly beautiful woman who uses those looks to bring out a certain sadness, which would touch anyone. She's does a remarkable job here and it's a damn shame that this was her only film. The film's final act is pretty predictable and far fetched but it still works pretty well. At times the film pushes its moral lessons a tad bit too strongly but this is still an important film that more people need to see.
Good if somewhat overly melodramatic
preppy-33 October 2007
An all black silent film made exclusively for black audiences in the 1920s (back then theatres were segregated). Poor but beautiful Louise Howard (Lucia Lynn Moses) is beaten by her stepfather (William E Pettus) but dreams of a better life. She meets good honest Alvin Hillyard (Harry Henderson) and he falls in love with her. But her stepfather and evil Eddie Blake (Norman Johnson) aren't going to let her go without a fight.
Interesting from a historical standpoint and not too bad as a drama either. It does get overly melodramatic with a lot of eye-rolling speeches and gets more than a little ridiculous during it's last half hour but I was never bored. The acting is actually pretty good and it moves quickly. Also the cards telling us what's going on have some interesting designs. When Blake is introduced there's a wolf shown on the title card! So, a pretty good movie. Also interesting to see how blacks were shown and treated back then. A 7.
Interesting from a historical standpoint and not too bad as a drama either. It does get overly melodramatic with a lot of eye-rolling speeches and gets more than a little ridiculous during it's last half hour but I was never bored. The acting is actually pretty good and it moves quickly. Also the cards telling us what's going on have some interesting designs. When Blake is introduced there's a wolf shown on the title card! So, a pretty good movie. Also interesting to see how blacks were shown and treated back then. A 7.
Pretty Good For It's Time
budgetbabecouture31 July 2016
OK first of all let's face it. Some films during the silent era can be boring and painful to actually get into, but are more worth the watch for the visuals of what things were like back then. I personally like watching them because there aren't a crazy amount of them left and it is fun to fantasize what it would have been like back then. I always feel like there are not enough words to justify having words at all during the films. This film is a silent black film with a great story. It doesn't put you to sleep and it has some powerful silent acting along with a powerful story about class. (This movie is called a race film bc it was a film made for black people starring black people. It does not mean that this movie is about racial issues with other races, but about a couple who marries each other outside of their classes and how the female lead has a very difficult time adjusting to a higher class life.) It is definitely worth the watch. It is very sad how many very early films such as this did not make it through the years. Watch them and appreciate them.
A Race Film with Class but No Race
Cineanalyst1 March 2021
Having finished reviewing Oscar Micheaux's three silent films that remain accessible to this day ("Within Our Gates," "The Symbol of the Unconquered" (both 1920) and "Body and Soul" (1925)), it was interesting to check out a race film made by others, "The Scar of Shame." While produced and directed by Jewish émigré filmmakers, although perhaps with an integrated crew, it features, in contrast to Micheaux's non-segregated oeuvre, an all-black cast from Colored Players Film Corporation of Philadelphia, with which they made four films, the last of which was this one. Those familiar with Micheaux's films will recognize among the supporting cast former Micheaux regular Lawrence Chenault, who starred in "The Symbol of the Unconquered" and "Body and Soul."
Like Micheaux's films, "The Scar of Shame" is a melodrama, but its singular focus on "uplift" to the exclusion of even the mention of race is in stark contrast to the African-American director's work. Being produced a few years later (sources differ on whether this one is from 1927 or 1929) and evidently with more financing and resources than Micheaux's surviving silents, "The Scar of Shame" does feature superior production values. Improvements in lighting, or the luxury of retakes and censors not ripping the nitrate to shreds, though, are at the expense of sophisticated storytelling, intriguingly complex plotting, greater relevance and an ideology that challenges rather than muddles. For all the technical limitations, I'll take a Micheaux silent over the glitz and classist commentary on class, or "caste," as its titles often put it, of "The Scar of Shame" any day.
That's not to say this film doesn't have more than superficial appeal. Just as a historical record and a glimpse into the depiction of class distinctions in black communities from the 1920s is interesting. Moreover, once the picture picks up, the melodramatics are sometimes amusingly unpredictable until the aggravating conclusion. I hate these old-timey melodrama contrivances that always sacrifice the poor woman (and always a woman, usually of lower class, and often marked by some physical deformity) to make way for a supposedly-happy resolution for the upper-class couple. The same thing annoys me when it happens in, say, a Mary Pickford vehicle such as "Stella Maris" (1918). Micheaux's silents, by contrast, are also remarkable for how advanced they are in the representation of sex, including female protagonists and heroines who rescued the men. You won't find that here. The hero rushes to rescue the damsel-in-distress three times, including once from little more than saving her from accepting a job, I guess. And a woman's scar, which is easily concealed with scarves, is described at one point as completely marring her beauty.
Additionally, if you thought Micheaux was overly didactic, try the hero here practically talking directly to the camera from the get go about uplifting the poors with "the finer things in life," which seems to consist largely of playing piano, a bit of reading and not abusing women. All fine things, indeed, even if every time "finer things" are mentioned I was reminded of the Finer Things Club from "The Office" TV series. It doesn't help that the lead male character here is quite pompous. "Oh! Our people have much to learn!," he bemoans as the picture has long since moved past pictures of Frederick Douglass hanging on the walls to a close-up of a copy of a "True Romance" book, and as the picture's silence on race seems to do little more than support another, more illusory caste system. Talk about mixed messages.
Like Micheaux's films, "The Scar of Shame" is a melodrama, but its singular focus on "uplift" to the exclusion of even the mention of race is in stark contrast to the African-American director's work. Being produced a few years later (sources differ on whether this one is from 1927 or 1929) and evidently with more financing and resources than Micheaux's surviving silents, "The Scar of Shame" does feature superior production values. Improvements in lighting, or the luxury of retakes and censors not ripping the nitrate to shreds, though, are at the expense of sophisticated storytelling, intriguingly complex plotting, greater relevance and an ideology that challenges rather than muddles. For all the technical limitations, I'll take a Micheaux silent over the glitz and classist commentary on class, or "caste," as its titles often put it, of "The Scar of Shame" any day.
That's not to say this film doesn't have more than superficial appeal. Just as a historical record and a glimpse into the depiction of class distinctions in black communities from the 1920s is interesting. Moreover, once the picture picks up, the melodramatics are sometimes amusingly unpredictable until the aggravating conclusion. I hate these old-timey melodrama contrivances that always sacrifice the poor woman (and always a woman, usually of lower class, and often marked by some physical deformity) to make way for a supposedly-happy resolution for the upper-class couple. The same thing annoys me when it happens in, say, a Mary Pickford vehicle such as "Stella Maris" (1918). Micheaux's silents, by contrast, are also remarkable for how advanced they are in the representation of sex, including female protagonists and heroines who rescued the men. You won't find that here. The hero rushes to rescue the damsel-in-distress three times, including once from little more than saving her from accepting a job, I guess. And a woman's scar, which is easily concealed with scarves, is described at one point as completely marring her beauty.
Additionally, if you thought Micheaux was overly didactic, try the hero here practically talking directly to the camera from the get go about uplifting the poors with "the finer things in life," which seems to consist largely of playing piano, a bit of reading and not abusing women. All fine things, indeed, even if every time "finer things" are mentioned I was reminded of the Finer Things Club from "The Office" TV series. It doesn't help that the lead male character here is quite pompous. "Oh! Our people have much to learn!," he bemoans as the picture has long since moved past pictures of Frederick Douglass hanging on the walls to a close-up of a copy of a "True Romance" book, and as the picture's silence on race seems to do little more than support another, more illusory caste system. Talk about mixed messages.
Great 1927 Silent Film
whpratt11 October 2007
Enjoyed viewing this film about an African American film during the Year 1927 and loved the entire story that concerned itself with a successful piano player who was a very good person and lived in a boarding house with other people. He noticed a certain lady was being abused by her father and decided to protect her and provide a place to protect her from any more harm. It was not too long that he decided to marry her and completely change her life and give her more security. However, her father had a very serious drinking problem and was convinced by a friend of his to abducted his daughter and bring her into the entertainment business or prostitution. This story has many twists and turns and is a great film about race and there are plenty of mixed emotions in 1927 with relationships between Black & White people. I doubt if this film was very popular during the 1920's but our country has progressed much further today.
"Oh, our people have so much to learn."
oscaralbert19 March 2014
Warning: Spoilers
So says the final title card in the 1927 silent film THE SCAR OF SHAME, a teaching tool designed to enforce a strict "caste system" for ordinary Americans. The moral of SHAME is that you can take a girl out of the ghetto, but you cannot take the ghetto out of the girl. Though African Americans were the target audience for SHAME, Hollywood always has been an equal opportunity preacher of this sermon. Any poor person who tries to rise above his "station in life" gets slapped down by the end of most movies. Examples abound. Just look at last year's THE WOLF OF WALL STREET, or the first ROCKY flick. Did the MILLION DOLLAR BABY have any more hope of seeing her 30th birthday than "Louise Howard" does here in SHAME? Some folks say that "hope floats," but generally in American cinema, anything that rises to the top soon gets flushed down the toilet. Tinsel Town kowtows to the caste system imposed on we 90% by their self-proclaimed and glorified One Per Cent. The "Middle Class" buffer between Them and Us--60% under President Kennedy--is down to about 9% now, and shrinking.
David Jeffers for SIFFblog.com
rdjeffers2 February 2006
Monday February 6, 7:00pm The Paramount Theater
In a contemporary study of film history The Scar of Shame (1927) has great value as an early surviving example of the "Race Movie" genre. These were motion pictures produced from the silent era through the nineteen-forties using black actors for a black audience in a racially segregated market. Race movies were screened in the schools and churches of small towns as well as theaters in larger cities. The films of Oscar Micheaux were of particular significance in the early days of the genre. "The Scar of Shame" was one of four films produced by The Colored Film Players Corporation of Philadelphia. Harry Henderson (Alvin Hillyard) is a well-educated musician with high aspirations. In an act of altruism he marries Louise Howard (Lucia Lynn Moses) to save her from her abusive Stepfather but is ashamed to take her home to his Mother because she not "in our set". Essentially a well executed melodrama, "The Scar of Shame " is noteworthy for its high production values which indicate a larger than typical budget, as well as elements of colorism and classism.
In a contemporary study of film history The Scar of Shame (1927) has great value as an early surviving example of the "Race Movie" genre. These were motion pictures produced from the silent era through the nineteen-forties using black actors for a black audience in a racially segregated market. Race movies were screened in the schools and churches of small towns as well as theaters in larger cities. The films of Oscar Micheaux were of particular significance in the early days of the genre. "The Scar of Shame" was one of four films produced by The Colored Film Players Corporation of Philadelphia. Harry Henderson (Alvin Hillyard) is a well-educated musician with high aspirations. In an act of altruism he marries Louise Howard (Lucia Lynn Moses) to save her from her abusive Stepfather but is ashamed to take her home to his Mother because she not "in our set". Essentially a well executed melodrama, "The Scar of Shame " is noteworthy for its high production values which indicate a larger than typical budget, as well as elements of colorism and classism.
A Naturalistic Melodrama with Fine Performances
CJBx712 February 2014
THE SCAR OF SHAME (1927) is one of the few surviving movies from the silent era to feature an all black cast. It tells the story of Alvin Hillyard, an educated musician from the black upper class, and Louise Howard, a woman from "the other side of the tracks". When her drunken father starts to beat her, Alvin, who is staying at a nearby boarding house, intervenes and brings her to the house so that she may escape from her father's clutches. The two eventually fall in love and marry, but their differences in station complicate their lives in a way that neither would have imagined
.
SCRIPT: THE SCAR OF SHAME has a premise worthy of exploration – the differences in social classes among blacks – that would never have been attempted in mainstream Hollywood movies at the time. It also proposes that the environment in which one is raised unalterably shapes one's future, an idea that was explored in the naturalistic novels of authors such as Stephen Crane and Frank Norris. Unfortunately, the narrative starts to sag in the middle of the movie, and relies on melodramatic plot turns at times. Louise in particular does things that seem to have no motivation either emotionally or rationally. This causes the film to lose its way somewhat and stops the movie from exploring the its theme more successfully. The assertion is that Louise's strange behavior is due to her inability to overcome her environment, but it's not made entirely clear in the exposition. Still, the movie's screenplay does have considerable virtues. Instead of completely villainizing Louise's father, the writers attempt to balance his character out with regret over his treatment of her, and you can see his struggle to overcome his weakness. Alvin Hillyard is presented as a sympathetic character that wants to do what is right. The movie also scores points for not portraying any characters as buffoons, an all-too-common tendency at that time. SCORE: 7/10
ACTING: The acting is generally quite restrained and believable. The two leads, Harry Henderson and Lucia Lynn Moses, show ease before the camera and contribute solid performances that are scaled for the intimacy of the camera. The ensemble cast plays effectively in an understated manner, generally avoiding the mugging and melodramatics that could occur frequently during the silent era. Pearl McCormack is particularly effective as Alice Hathaway, a young woman with whom Hillyard falls in love years after the breakup of his marriage to Louise. William Pettus also does fine work in his portrayal of Louise's father, with a finely balanced performance that shows his character as a flawed human being instead of a mere monster. SCORE: 9/10
CINEMATOGRAPHY/PRODUCTION: The camera-work is solid and the editing is well done (there was one slight repetition of frames early on). The director, Frank Perugini, and the cameraman, Al Liguori, show a good command of the use of silent film as a visual storytelling medium. There are some interesting touches here and there that contribute to the narrative – specifically the use of a baby doll to show the couple's hopes and aspirations at first, and then the way their relationship deteriorates later. There is also some interesting cross cutting during a climactic scene. Some scenes are a bit static but not too lengthy. SCORE: 8/10
SUMMARY: THE SCAR OF SHAME tackles an issue that mainstream films would never have touched at the time of its release. In spite of the flaws of its narrative and characterizations, the actors do uniformly fine work in their portrayals. The movie is competently filmed and produced with occasional outstanding moments of visual interest. The film does deserve commendation for its portrayal of the complexities of life within the black community of the early 20th century. SCORE: 8/10
SCRIPT: THE SCAR OF SHAME has a premise worthy of exploration – the differences in social classes among blacks – that would never have been attempted in mainstream Hollywood movies at the time. It also proposes that the environment in which one is raised unalterably shapes one's future, an idea that was explored in the naturalistic novels of authors such as Stephen Crane and Frank Norris. Unfortunately, the narrative starts to sag in the middle of the movie, and relies on melodramatic plot turns at times. Louise in particular does things that seem to have no motivation either emotionally or rationally. This causes the film to lose its way somewhat and stops the movie from exploring the its theme more successfully. The assertion is that Louise's strange behavior is due to her inability to overcome her environment, but it's not made entirely clear in the exposition. Still, the movie's screenplay does have considerable virtues. Instead of completely villainizing Louise's father, the writers attempt to balance his character out with regret over his treatment of her, and you can see his struggle to overcome his weakness. Alvin Hillyard is presented as a sympathetic character that wants to do what is right. The movie also scores points for not portraying any characters as buffoons, an all-too-common tendency at that time. SCORE: 7/10
ACTING: The acting is generally quite restrained and believable. The two leads, Harry Henderson and Lucia Lynn Moses, show ease before the camera and contribute solid performances that are scaled for the intimacy of the camera. The ensemble cast plays effectively in an understated manner, generally avoiding the mugging and melodramatics that could occur frequently during the silent era. Pearl McCormack is particularly effective as Alice Hathaway, a young woman with whom Hillyard falls in love years after the breakup of his marriage to Louise. William Pettus also does fine work in his portrayal of Louise's father, with a finely balanced performance that shows his character as a flawed human being instead of a mere monster. SCORE: 9/10
CINEMATOGRAPHY/PRODUCTION: The camera-work is solid and the editing is well done (there was one slight repetition of frames early on). The director, Frank Perugini, and the cameraman, Al Liguori, show a good command of the use of silent film as a visual storytelling medium. There are some interesting touches here and there that contribute to the narrative – specifically the use of a baby doll to show the couple's hopes and aspirations at first, and then the way their relationship deteriorates later. There is also some interesting cross cutting during a climactic scene. Some scenes are a bit static but not too lengthy. SCORE: 8/10
SUMMARY: THE SCAR OF SHAME tackles an issue that mainstream films would never have touched at the time of its release. In spite of the flaws of its narrative and characterizations, the actors do uniformly fine work in their portrayals. The movie is competently filmed and produced with occasional outstanding moments of visual interest. The film does deserve commendation for its portrayal of the complexities of life within the black community of the early 20th century. SCORE: 8/10
The wrong moral
charlesem10 September 2022
Warning: Spoilers
The Scar of Shame is usually categorized as a "race" movie - one made for exclusively African-American audiences - but it's really more about caste than about race. As sociologists point out, any group of people set aside for some overriding characteristic - age, skin color, language, religion, sexual orientation, you name it - tends to subdivide, to establish its own hierarchies, cliques, clans, privileged or subjugated groups. In its melodramatic way, The Scar of Shame is a keen-edged portrayal of Black Americans under segregation, and the more remarkable because it was produced, written, and directed by white men. But the acceptance of the film by the audiences for which it was made suggests that it may have embodied some home truths. It's mostly a well-made film, though one in need of a stronger editor - none is credited - and eventually it has a misfire of an ending. The story centers on the fortunes of Alvin Hillyard (Harry Henderson), a young musician with ambitions to prove himself a serious (i.e., not jazz) composer, or as another character puts it in an intertitle, to become "the leading composer of our race." He rescues a young woman, Louise Howard (Lucia Lynn Moses), from being abused by her alcoholic stepfather, Spike (William E. Pettus), and marries her, mainly because she's pretty and he feels sorry for her. Unfortunately, he can't bring himself to tell his mother that he's wed someone not of their social class, and whenever he goes to visit her he leaves Louise at home. Meanwhile, the crooked Eddie Blake (Norman Johnstone) wants Louise to become a star attraction in the club he plans to open, and engineers a showdown with Alvin in which shots are fired and Louise is wounded. Having discovered that Alvin is ashamed of her lack of social status, Louise blames him and goes to work for Eddie. Alvin goes to prison, escapes, starts a new life under an assumed name, and falls in love with the pretty and socially prominent Alice Hathaway (Pearl McCormack). Meanwhile, Eddie has made a success of his club and Louise has a new admirer - none other than Ralph Hathaway (Lawrence Chenault), Alice's father. It all ends with Louise first trying to blackmail Alvin but having a change of heart. She kills herself and exonerates Alvin in her suicide note, leaving Hathaway to moralize in a wordy intertitle, opining that if Louise had "had the proper training, if she had been taught the finer things in life, the higher aims, the higher hopes, she would not be lying cold in death! - Oh! Our people have much to learn!" Which is, of course, not the point at all: If Alvin hadn't been such a snob, such a "dicty sap," as Eddie calls him (the touches of African-American slang in the intertitles are delicious), Louise wouldn't have had to suffer. It would have been nice if the makers of The Scar of Shame had been more attentive to the ironies of their story and not so quick to slap on a wrong-headed moral about the need of the Black community to pull itself up by its bootstraps. Still, it's a useful window onto the mindset of an era.
Minor race film
JohnSeal28 April 2004
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.
"Living a daily lie"
evening119 March 2022
Warning: Spoilers
This movie has some good production values, and wonderful flapper fashions. The only thing that's missing is characters of any discernable depth.
So we just don't care about them.
Alvin Hillyard (Henry Henderson) is somewhat of a cipher, a gifted composer who marries a lower-class woman not out of love but because she needs protection from her stepfather. Yet he lacks the guts to admit as much to his mother, who favors a mate from their upwardly mobile "set."
Newlywed Louise (Lucia Lynn Moses) is just as passive. Lacking chemistry with her musical savior, and disappointed that he won't stand up to his mom, Louise hugs a little doll and never tries to really talk with her spouse.
The story is mildly interesting in its take on African-Americans who ponder the ways of their race. Behavioral psychology seems conjured in the movie's take on Louise as a product of her environment.
"Oh, our people have much to learn!"
Ain't it the truth for us all.
So we just don't care about them.
Alvin Hillyard (Henry Henderson) is somewhat of a cipher, a gifted composer who marries a lower-class woman not out of love but because she needs protection from her stepfather. Yet he lacks the guts to admit as much to his mother, who favors a mate from their upwardly mobile "set."
Newlywed Louise (Lucia Lynn Moses) is just as passive. Lacking chemistry with her musical savior, and disappointed that he won't stand up to his mom, Louise hugs a little doll and never tries to really talk with her spouse.
The story is mildly interesting in its take on African-Americans who ponder the ways of their race. Behavioral psychology seems conjured in the movie's take on Louise as a product of her environment.
"Oh, our people have much to learn!"
Ain't it the truth for us all.
Scar of Shame an significant film with an important message even to this day!
msladysoul21 January 2010
Warning: Spoilers
Scar of Shame is the best race film and one of the few surviving silent films with a black cast. Scar of Shame is an early example of black life in films. The movie simply is about the wrong road people can go down when there is no positive guidance nor education in their lives. Lucia Moses plays Louise, an abused young girl who has men in her life who wants to sexually exploit her, she's saved and looked after by Alvin Hillyard (Harry Henderson) who is a hero, who feels women should be respected, and fights for Louise's honor. They fall in love, but Louise isn't of Alvin's class, he's sort of ashame of her, Louise senses this shame, and wants to get even. Alvin goes to prison for a crime he didn't commit. They meet up later in a nightclub, Alvin had escaped from prison and lived under a different alias. He has a new love interest, the innocent, doll-faced Alice (Pearl McCormmack) who knows nothing of his past. Her father Ralph Hathaway (Lawrence Chenault) is a prominent lawyer who frequents nightclubs and knows Alvin's former wife Louise very well, but doesn't know Alvin and Louise were once married. To make a long story short, Louise tries to win back Alvin's love but realizes she can't. She even tries to blackmail him but she finds it no use. She asks forgiveness for her sins and shortcomings and commits the unthinkable. Lawrence Chenault emotes "Our people have so much to learn" when he witnesses what Louise has done. What he said has a strong message even to this day. I won't tell all what happens from beginning to end, cause I don't want to spoil it. With all the junk movies out today, you can spare an hour and a few minutes for a good movie.
I had read how people tried to turn this movie into a color issue or color chaste situation. I didn't see it. I think when it comes to anything black, people want to bring color and race up, instead of just enjoying the talents or just viewing what life and times were like back then. This film included blacks of all complexions and it definitely was a story about black life, though this particularly story could be portrayed by any race. Most race films always had a moral story for blacks and this was one of them. The film wanted to imply that blacks had a lot to learn, so not much has changed in 80 something years, and that ain't good.
This film definitely is the best out of many race films because of the professionalism of how the film was made and the acting is very natural and believable, proving that race films/black actors and actresses could make successful movies if the time and money was put into it. I also enjoy race films to see what life was like back then, the music, dancing, styles. These race films are black history visuals, if not for the talent alone. Race films couldn't make blacks rich or famous, but race films provided blacks the opportunity to be people, be beautiful, glamorous, handsome, to play people from all walks of life and portray different plots and stories that Hollywood would never let them do. Blacks of all hues and looks were given equal chances in race films.
Gorgeous, Clara Bow lookalike Lucia Moses was a popular chorus girl in the late 20's and 1930's. She was an original Cotton Club girl, along with her equally popular sister Ethel Moses, who later became Oscar Micheaux's actress. Had they been white, they would have been movie stars no doubt. Handsome Harry Henderson was a well-known actor in black theater and race films in the 1920's. Lawrence Chenault, often considered the pioneer of black theaters and movies, was a highly respected actor for over three decades. He was in many prolific films and plays in his day. He was also in Oscar Micheaux's Body and Soul with Paul Robeson, that made Paul a star. Dollface Pearl McCormmack was a popular dancer in the late 1920's and 1930's. It's sad that there many black talents who never became huge stars because of racism. All these people were deserving to be stars outside their community.
I have to comment on the color issue people seem to have. People have commented on the lighter-skinned blacks in the movie. What's wrong with lighter-skinned blacks being in movies and having leading roles? No one complains when darker-skinned blacks have leading roles. Some commented on how white Lucia Moses, Lawrence Chenault, and Pearl McCormmack looked, I say not all blacks are dark-skinned with big noses and big lips, this is a very stereotypical image some people hold of blacks. Blacks come in all colors, shapes, features, and textures like any race. It's natural for most people to say someone who is lighter skinned looks white but whites aren't the only ones with lighter skin tones. People also love to say a black woman looks white when she's beautiful; insinuating she's only beautiful because she looks white because a black woman couldn't be beautiful. There's beauty in every race. This country associates beauty with whiteness, so any woman of color that is beautiful, she quickly viewed as "white-looking." There's beautiful black, Spanish, Asian, Indian women, so I didn't find Lucia or Pearl, all that white looking. I would say Lucia looked Spanish more then white, Pearl looked black to me.
We know the color and race issues of the past, why not give these unsung black actors/actresses what they always wanted, to be judged and appreciated for their talents. We'll never get past color and race, unless, people stop being so color conscious when it comes to blacks, as if it's the only interesting thing about blacks. I wasn't looking at color. I just enjoyed watching the movie and beautiful black people, if only more people could do that.
I had read how people tried to turn this movie into a color issue or color chaste situation. I didn't see it. I think when it comes to anything black, people want to bring color and race up, instead of just enjoying the talents or just viewing what life and times were like back then. This film included blacks of all complexions and it definitely was a story about black life, though this particularly story could be portrayed by any race. Most race films always had a moral story for blacks and this was one of them. The film wanted to imply that blacks had a lot to learn, so not much has changed in 80 something years, and that ain't good.
This film definitely is the best out of many race films because of the professionalism of how the film was made and the acting is very natural and believable, proving that race films/black actors and actresses could make successful movies if the time and money was put into it. I also enjoy race films to see what life was like back then, the music, dancing, styles. These race films are black history visuals, if not for the talent alone. Race films couldn't make blacks rich or famous, but race films provided blacks the opportunity to be people, be beautiful, glamorous, handsome, to play people from all walks of life and portray different plots and stories that Hollywood would never let them do. Blacks of all hues and looks were given equal chances in race films.
Gorgeous, Clara Bow lookalike Lucia Moses was a popular chorus girl in the late 20's and 1930's. She was an original Cotton Club girl, along with her equally popular sister Ethel Moses, who later became Oscar Micheaux's actress. Had they been white, they would have been movie stars no doubt. Handsome Harry Henderson was a well-known actor in black theater and race films in the 1920's. Lawrence Chenault, often considered the pioneer of black theaters and movies, was a highly respected actor for over three decades. He was in many prolific films and plays in his day. He was also in Oscar Micheaux's Body and Soul with Paul Robeson, that made Paul a star. Dollface Pearl McCormmack was a popular dancer in the late 1920's and 1930's. It's sad that there many black talents who never became huge stars because of racism. All these people were deserving to be stars outside their community.
I have to comment on the color issue people seem to have. People have commented on the lighter-skinned blacks in the movie. What's wrong with lighter-skinned blacks being in movies and having leading roles? No one complains when darker-skinned blacks have leading roles. Some commented on how white Lucia Moses, Lawrence Chenault, and Pearl McCormmack looked, I say not all blacks are dark-skinned with big noses and big lips, this is a very stereotypical image some people hold of blacks. Blacks come in all colors, shapes, features, and textures like any race. It's natural for most people to say someone who is lighter skinned looks white but whites aren't the only ones with lighter skin tones. People also love to say a black woman looks white when she's beautiful; insinuating she's only beautiful because she looks white because a black woman couldn't be beautiful. There's beauty in every race. This country associates beauty with whiteness, so any woman of color that is beautiful, she quickly viewed as "white-looking." There's beautiful black, Spanish, Asian, Indian women, so I didn't find Lucia or Pearl, all that white looking. I would say Lucia looked Spanish more then white, Pearl looked black to me.
We know the color and race issues of the past, why not give these unsung black actors/actresses what they always wanted, to be judged and appreciated for their talents. We'll never get past color and race, unless, people stop being so color conscious when it comes to blacks, as if it's the only interesting thing about blacks. I wasn't looking at color. I just enjoyed watching the movie and beautiful black people, if only more people could do that.
Strong performances by all
burntorangeboy28 February 2022
Too many who write reviews here do not understand how those in this film would have lived. The acting is strong, the sets are extraordinary, and the cinematography is exquisite! I loved the depth of character development, including the use of props to draw us closer to the characters and villains with actual heart! I want to see movies where we see more than one side to a villain, more than one side to a character, and more than side to a heroine, including something ugly at times. The heroine in this movie is deep with heart but with some vicious envy, loathingC anger, hatred, and ugliness. She is also sad, beautiful, hurt, and a victim. She needs protection.
There is no true hero here, i belive. This makes this movie truly interesting.
There is no true hero here, i belive. This makes this movie truly interesting.
The Expressive Face and Beauty of Lucia Lynn Moses!!
kidboots10 June 2014
Warning: Spoilers
The story is almost a carbon copy of what was being churned out by the cart load in Hollywood studios in the 1920s - the big difference was that the story was filled out and translated into a scene of black American life. It was produced by The Colored Film Players Corporation of Philadelphia and was partly shot on location in the surrounding suburbs but most interesting, it attempted to show the hopes, fears and aspirations of middle class Afro American life. There is adultery, attempted rape, attempted murder and a prison break but more than that it is a study of class and caste among people who are determined to be respectable. As was usual in those times, morality was determined by colour - the "good" people in the movie are light skinned and the "bad" have dark complexions.
When idealistic young Alvin Hillyard (Harry Henderson) rescues drudge Louise (Lucia Lynn Moses) from her brutal stepfather, he seeks to introduce her to the finer things of life like fine music, good books etc and Louise, who has her own day dreams while scrubbing over a tub, is eager to leave her crude life behind. Louise's beauty makes her a magnet for boarding house low life, Eddie, and Alvin finds himself involved in yet another scuffle so he decides to marry her himself. It's obvious there is no love and he marries her out of pity (sadly symbolized when he accidentally walks on her black baby doll). Three months on and Louise has still not met his family and the reason is clear in a letter written by Alvin's mother where she praises a certain young girl by calling her a "young lady" and adding she is really "one of our set" - yes, class consciousness in black society was alive and well in the 1920s!!
Meanwhile Eddie and her stepfather hatch a plan to get her away from Alvin and to put her into a cabaret so they can "clean up" and they rely on the snobbishness of Alvin and his class driven family to help their plan to succeed. There are a number of slang terms dotted throughout the movie - "jump steady"(rotten liquor), "hot puppy" (endearment) and "licker ticket"(someone who is supposed to keep a person supplied with alcohol). Alvin rushes back but Louise, who has found out that he has not informed his mother about his marriage, is more than willing to join in Eddie's scheme.The day ends in a shoot out with Alvin receiving 2 years prison time on the strength of Louise's emotional testimony. Two years later finds Louise, living out her old day dreams, now part of the smart set and finding the high flying rich easy to fleece - with Eddie's teaching!!
Unfortunately there is no fairytale ending with the moral of the film implying that in 1920s black society, to find lasting happiness (as Alvin is destined to find with Alice, one of his "own set") people have to stick to their own caste and with the death of Louise, who found it impossible to find contentment in a society where class is a matter of degrees of colour as well as education and riches. The movie was a breakthrough as part of the "Harlem Renaissance" movement although for me it was astonishing that the superbly talented Lucia Lynn Moses (who does actually look like Clara Bow) had only this movie credited to her. Apparently she was contracted to the Cotton Club and had to commute back and forth during the making of this movie. This film also strives to show the different ways to escape the ghetto existence, whether by the higher sphere of music and culture or by the lower methods of dupe and trickery.
I was just amazed by how high the quality was of this film was compared to some of the early sound race movies of Oscar Micheaux but apparently companies that financed black features were always on a tight budget and the increased cost involved with sound recording meant even more cutbacks, so early sound features suffered as a result.
When idealistic young Alvin Hillyard (Harry Henderson) rescues drudge Louise (Lucia Lynn Moses) from her brutal stepfather, he seeks to introduce her to the finer things of life like fine music, good books etc and Louise, who has her own day dreams while scrubbing over a tub, is eager to leave her crude life behind. Louise's beauty makes her a magnet for boarding house low life, Eddie, and Alvin finds himself involved in yet another scuffle so he decides to marry her himself. It's obvious there is no love and he marries her out of pity (sadly symbolized when he accidentally walks on her black baby doll). Three months on and Louise has still not met his family and the reason is clear in a letter written by Alvin's mother where she praises a certain young girl by calling her a "young lady" and adding she is really "one of our set" - yes, class consciousness in black society was alive and well in the 1920s!!
Meanwhile Eddie and her stepfather hatch a plan to get her away from Alvin and to put her into a cabaret so they can "clean up" and they rely on the snobbishness of Alvin and his class driven family to help their plan to succeed. There are a number of slang terms dotted throughout the movie - "jump steady"(rotten liquor), "hot puppy" (endearment) and "licker ticket"(someone who is supposed to keep a person supplied with alcohol). Alvin rushes back but Louise, who has found out that he has not informed his mother about his marriage, is more than willing to join in Eddie's scheme.The day ends in a shoot out with Alvin receiving 2 years prison time on the strength of Louise's emotional testimony. Two years later finds Louise, living out her old day dreams, now part of the smart set and finding the high flying rich easy to fleece - with Eddie's teaching!!
Unfortunately there is no fairytale ending with the moral of the film implying that in 1920s black society, to find lasting happiness (as Alvin is destined to find with Alice, one of his "own set") people have to stick to their own caste and with the death of Louise, who found it impossible to find contentment in a society where class is a matter of degrees of colour as well as education and riches. The movie was a breakthrough as part of the "Harlem Renaissance" movement although for me it was astonishing that the superbly talented Lucia Lynn Moses (who does actually look like Clara Bow) had only this movie credited to her. Apparently she was contracted to the Cotton Club and had to commute back and forth during the making of this movie. This film also strives to show the different ways to escape the ghetto existence, whether by the higher sphere of music and culture or by the lower methods of dupe and trickery.
I was just amazed by how high the quality was of this film was compared to some of the early sound race movies of Oscar Micheaux but apparently companies that financed black features were always on a tight budget and the increased cost involved with sound recording meant even more cutbacks, so early sound features suffered as a result.
Lost Boundaries
lugonian16 May 2020
THE SCAR OF SHAME (Colored Players Film Corporation, 1927), directed by Frank Perugini, with story by David Starkman, is an independently produced motion picture that merits consideration for being one of those rare instances of how well-made a movie can be consisting of a cast of unknown black actors giving natural performances not commonly found in silent or sound movies at that time.
Set in Philadelphia, Alvin T. Hillyard (Harry Henderson), is introduced as a "young man of refine tastes - lover of music and finer things in life"; with Eddie Blake (Norman Johnstone), a gambler and "product of evil environment." They are both boarders living under landlady, Lucretta Green (Ann Kennedy). While practicing on his piano, Alvin looks outside the window to see Louise Howard (Lucia Lynn-Moses), being chased and beaten in the alley by her drunken stepfather, Spike (William E. Pettus). Alvin comes to her rescue, takes her to the boarding house under the care of Mrs. Green, allowing the girl to work out her chores for the rent. Out of pity, Alvin marries Louise. She soon senses her husband is ashamed of her lower class upbringing and leaves him to support herself at the Club Lido. In the meantime, Alvin becomes a tutor to Alice (Pearl MacCormick), a woman of his social class, and wants to marry her, thus, keeping secret his scar of shame of his previous marriage a secret, until Louise enters his life again. Lawrence Chennault co-stars as Alice's father.
While most of the players dominate this drama with their near-perfect portrayals, Lucia Lynn-Moses, in her only movie role, stands out as an lower-class girl dreaming for a better life. Her physical appearance comes as a sheer reminder of Nina Mae McKinney, best known for her rare leading role in King Vidor's early talkie of HALLELUJAH (1929). Harry Henderson, with few movie roles to his credit, is a main asset here, especially for a story that reflects an abundance of taste and skill.
Decades before Turner Classic Movies began airing THE SCAR OF SHAME in 1998, consisting of fine piano scoring, I was first introduced to this virtually unknown silent production when it was presented on public television back in 1982 on WNYC, Channel 31, in New York City in mute format. Run times vary, ranging from 75 to 90 minutes, depending on silent film production speed.
While THE SCAR OF SHAME was presented solely to black audiences in 1927, its current availability should still hold interest to anyone today whenever its shown on television or watching it on DVD. (***)
Set in Philadelphia, Alvin T. Hillyard (Harry Henderson), is introduced as a "young man of refine tastes - lover of music and finer things in life"; with Eddie Blake (Norman Johnstone), a gambler and "product of evil environment." They are both boarders living under landlady, Lucretta Green (Ann Kennedy). While practicing on his piano, Alvin looks outside the window to see Louise Howard (Lucia Lynn-Moses), being chased and beaten in the alley by her drunken stepfather, Spike (William E. Pettus). Alvin comes to her rescue, takes her to the boarding house under the care of Mrs. Green, allowing the girl to work out her chores for the rent. Out of pity, Alvin marries Louise. She soon senses her husband is ashamed of her lower class upbringing and leaves him to support herself at the Club Lido. In the meantime, Alvin becomes a tutor to Alice (Pearl MacCormick), a woman of his social class, and wants to marry her, thus, keeping secret his scar of shame of his previous marriage a secret, until Louise enters his life again. Lawrence Chennault co-stars as Alice's father.
While most of the players dominate this drama with their near-perfect portrayals, Lucia Lynn-Moses, in her only movie role, stands out as an lower-class girl dreaming for a better life. Her physical appearance comes as a sheer reminder of Nina Mae McKinney, best known for her rare leading role in King Vidor's early talkie of HALLELUJAH (1929). Harry Henderson, with few movie roles to his credit, is a main asset here, especially for a story that reflects an abundance of taste and skill.
Decades before Turner Classic Movies began airing THE SCAR OF SHAME in 1998, consisting of fine piano scoring, I was first introduced to this virtually unknown silent production when it was presented on public television back in 1982 on WNYC, Channel 31, in New York City in mute format. Run times vary, ranging from 75 to 90 minutes, depending on silent film production speed.
While THE SCAR OF SHAME was presented solely to black audiences in 1927, its current availability should still hold interest to anyone today whenever its shown on television or watching it on DVD. (***)
This film documents what is STILL America's worst problem . . .
tadpole-596-91825610 April 2020
Warning: Spoilers
. . . the viciously violent vile "Caste System" that permeates a certain segment of the USA's populace. Long before contemporary director "Spike L." echoed THE SCAR OF SHAME whistle-blowers with his own SCHOOL DAZE expose, this earlier silent flick pulls no punches as it depicts the seamy underbelly of a Caste System far more devious and diabolical than anything dreamed up by the malingering miscreants over-crowding India. Never too timid to call "a shovel a shovel," THE SCAR OF SHAME highlights the rampant misogyny, the bleary boozing, the ghastly gambling, the gratuitous gun-play and the deadly drug abuse endemic to these craven Caste Cultists. Whether it's "Alvin" callously trampling his wife's most prized possession underfoot, or "Louise" ripping up Al's personal correspondence, family photos and marriage certificate, this insidious ilk of venal vandals is deftly explicated throughout THE SCAR OF SHAME. As Caste System apologist "Hathaway" remarks to sum up this lesson (1:24:30), "Oh, Our People have so much to learn!"
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