kidboots This movie is a mighty epic and many critics believe it was a response to Griffith's fairytale vision of the South and was trying to show that "primitivism" belonged to the White Southern culture. Just the year previously was the Chicago Race riot where white mobs had killed blacks and burned residential districts leaving thousands homeless. Oscar Micheaux worked with a very limited budget, borrowing costumes and props and having no money to reshoot scenes.Dealing with the value of education and the right to vote, this race movie has some shocking scenes involving a lynch mob - no one watching this would not be moved and sick to their stomachs. The plot is extremely convoluted with characters established then disappearing. Sylvia (Evelyn Peer) is visiting her cousin, Alma, who secretly loves Conrad, the man Sylvia is engaged to. She intercepts a telegram sent to Sylvia to tell of Conrad's surprise arrival and arranges for the girl to be caught in a compromising position with Alma's brother, Larry, a criminal who is wanted by the police. Sylvia returns to the South after being rejected by Conrad and knowing Larry to be a murderer.She then becomes involved in the running of a school for poor black children but soon returns North when funds run out and she promises to do what she can to try and meet the right sort of people. She meets Mrs. Warwick, a wealthy philanthropist who is eager to help Sylvia's people gain knowledge and suffrage but unfortunately the lady seeks advice from Mrs. Stratton, a racist Southern woman who feels that "black people are only good as slaves and education is wasted on them - all they care about is getting to heaven"!! The film then goes off on another tangent showing Preacher Ned bowing and scraping to the white man but full of self loathing and disgust at the way he has to behave. Micheaux is quick to show that while Preacher Ned is an "Uncle Tom" he is not an evil man. The school ends up with a $50,000 donation as Mrs. Warwick is sickened by the other woman's remarks.Back in the South once more Sylvia is visited by Larry who wants her to get rid of some stolen property or he will tell her new friends about her unsavoury past. She runs, rather than become involved in crime, straight to the arms of Dr. Vivian who has always loved her and wants to help her forget her unhappy past (Alma, now repentant, has confessed all to the doctor, which includes a very graphic depiction of a family being lynched).At the time critics feared riots if certain scenes were not deleted from the print and it was banned from cities which had just experienced the race riots.Highly Recommended.

tavm With this month being once again Black History Month, I'm-for the second time since first writing these IMDb reviews back in 2006-commenting on various films made by African-Americans both in front of and behind the screen in the order they were made and released chronologically whenever possible. So it's 1920, which is the year from which the earliest surviving movie made by writer, producer, and director Oscar Micheax comes from. In Within Our Gates, Sylvia Landry (Evelyn Preer) dedicates her life to helping poorly educated kids of her race get a good education in the Southern states she resides in. But the money the school gets are not enough so she goes up North to get some more funding from a rich white lady. I'll stop there and just say that while there are some compelling scenes concerning other characters-like that of a couple of people that betray their own race like that of Rev. Wilson Jacobs (S. T. Jacks) and Efram (E. G. Tatum), a loyal butler of a wealthy white man named Gridlestone-the most compelling focus of the story concerns Sylvia's background concerning her previous family life with the Landrys which consist of father Jasper (William Stark), his wife (Mattie Edwards), and their young pre-teen son, Emil, (Grant Edwards) when we learn of their fates and that of Sylvia herself when she nearly gets mixed up with another man named Gridlestone, especially when the intertitle reveals his connection with her. Some of the other characters like that of fiancée Conrad Drebert (James D. Ruffin), Alma Prichard (Flo Clements), Larry Prichard (Jack Chenault), Dr. V. Vivian (Charles D. Lucas), and Det. Philip Gentry (William Smith) don't seem so connected especially concerning Conrad but they also have some compelling scenes. One more thing, as a Chicago native, I was fascinated seeing the Windy City as it looked at the time and learning that some of these players came from there. So on that note, Within Our Gates is worth seeing.

Michael_Elliott Within Our Gates (1920) *** (out of 4) Oscar Micheaux's response to Griffith's The Birth of a Nation faced its own share of controversy when originally released and was banned in black communities all over the country. The film was thought lost until a print showed up in Spain in 1993 and this remains the oldest surviving feature from a black director. A light skinned black woman, living up North, travels to the South to teach at an all black school. Since the government isn't helping to educate black kids, the woman goes back North to try and find rich white folks who will help in her cause but she's met with racism, from blacks and whites and a secret from her past might catch up to haunt her.As with the Griffith film, you could overlook all the controversy surrounding this film and judge is for what good it does do and its historical importance. Watching the film with today's standards and politically correct nature, it's still easy to see why so many black folks were offended by a film that was made to have a moral tale. Micheaux shows racism going from black to white and white to black but, unlike the Griffith film, he also shows that races can show hatred toward their own race. Not many people have viewed this film, which is a real shame because it's heart is certainly in the right place and if you take the historic importance away from the Griffith film, more folks should be checking out this movie instead of that one.Technically speaking it's rather amazing at how well Micheaux pulled this low budget film off. The editing is very good and really helps build up the suspense towards the end of the film. The story could have been worked on and a lot of the performances are quite poor but that doesn't take away from the film's message. The ending involves the backstory to our main character and this includes a lynching scene as well as a rape scene. Both of these scenes are very well done and pack quite a punch for a 86-year-old film. This sidestory, which is basically a remake of the ending to the Griffith film, has some over the top moments, which weren't needed but again, the film's heart and message is in the right place so hopefully more will seek this film out and let the other one die.

Arthur Hausner I was deeply affected by parts of this story about the plight of negroes as told for negroes by negro director Oscar Micheaux. Ostensibly, it's about a woman who tries to help a poor southern school for negroes by getting financial help to supplement the meager amount the state provides, but it is laced with observations about racial prejudice. One bigoted southern woman living in the north is against the women's suffrage movement for fear that negro women will get the right to vote. And she expresses her negative sentiment about educating negroes: "Thinking will give them a headache." Micheaux gets more points across in the best part of the film, the flashback scene near the end prefaced with a title card "Sylvia's Story." We see how a negro preacher agrees with some condescending whites that the negroes should keep their place, but privately condemns himself for doing so, announcing that "negroes and whites are equal" to himself. We see how injustice reigns with a lynch mob and how the innocent, even an innocent bystander, can easily become victims of racial prejudice. The film is worth seeing for this sequence alone, providing images that caused me to lose some sleep. Micheaux also slips in comments about the negroes' accomplishments in the Spanish-American and Mexican wars and WWI, as if to bolster the low self-image of his negro viewers. The film may be primitive by some standards, but Oscar Micheaux tells a powerful story.The film was intended for negro audiences, but because of some controversial parts (rape and lynching) many exhibitors refused to show it, so very few saw it when it was released. This being the earliest surviving film made by an African American, it was placed on the National Film Registry and lovingly restored from the only surviving copy in Spain (see the alternative version listing for details). The Library of Congress is to be commended for doing such a fine job.