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God's Step Children is a American drama film directed by Oscar Micheaux and starring Jacqueline Lewis. The film is inspired by a combination of elements shared from two previous released Hollywood productions: Imitation of Life and These leondumoulin.nln by‎: ‎Alice B. Russell‎; Oscar Micheaux.
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Micheaux - God's Step-Children (1938)

Watch Online News All Posts. Facebook Twitter RSS. A light-skinned African-American girl, Naomi Jacqueline Lewis , denounces her own race in this controversial melodrama produced, written, and directed by prolific black filmmaker Oscar Micheaux. As a baby, Naomi was left by her mother at the home of a widow, Mrs.

God's Step Children Oscar Micheaux Vintage Movie Poster Print - Item # VARDOM1204371

Saunders, and much confusion arose as to whether the child was black or white. Throughout the film, the extensive meditation on color within the black community and the culturally suicidal impulse that Micheaux saw passing for white as representing, ties it firmly to the era in which it was made, with the influx of blacks into the urban North causing massive disruption in family life, and the moralizing crusade on the part of both black and white activists.

Shaft: Can You Dig It? In Shaft, his directorial debut, Gordon Parks attempts to find answers to the unasked questions of the Civil Rights movement.

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What do you do when the Dream dies? Is it possible to recoup anything from the broken promises of the s? Can a black man, and better yet, a black man who shoots first and asks questions later, be a hero?

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But the sensationalism and sneer of the theme and the hip dialogue, and the somewhat explicit sex scenes, belie the more serious message Parks wishes to convey of racial reordering in the face of rampant crime, poverty, and political defeat. Together they rescue the girl and bloody the floor with Italian bodies. John Shaft, the galvanizing figure in this tale of the emergence of a new American hero—the black urban warrior, is a man comfortably inhabiting the space between two worlds on multiple levels—black and white, idealism and commerce, law and order, love and lust.

He operates on the margins of that society both by choice and by necessity as a private detective, with contacts both white and black, criminal and cop. He has left the world of his friends in the Black Panthers, who at first consider him an Uncle Tom.

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However, Shaft never fully finds acceptance by the white world either, illustrated by his quasi-law enforcement status as a private eye, rather than as a full-fledged policeman. Yet, Lt.

However, the gay white bartender and the white pick-up Shaft finds there both accept him, though in those instances the dangerous sexuality of the black male is the primary draw, with Richard Roundtree giving embodiment to the perceived sexual threat posed by the African- American male.

He serves as a post-modern black Moses, leading the way between the parts in the sea. Related Papers. By Adam McNeil.

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