The Negro Soldier (1944) – was a groundbreaking film
for its almost astonishing portrayal of Black Americans as just Americans, with
as deep a sense of responsibility for fighting a war against fascism and as
profoundly courageous as their so-often portrayed white fellow citizens in
inspirational films of this period.
The “inspirational films” are, of course, commonly referred
to as “propaganda,” but since that word has an obvious negative connotation, I
prefer to separate the wheat from the chaff and state simply that many of these
World War II films were actually less about the evil enemy (propaganda) and
more about our resolve to stand for integrity and justice (inspiration).
That the portrayal of Black Americans without stereotype in
this movie is astonishing is, just as obvious, due to the overwhelming stereotype
and often outright negative imagery of African Americans since the start of
cinema. We know that, while prejudice
did not end with the conquering of our enemies in World War II, the end of the
war nevertheless did mark a beginning of a more introspective examination in movies of
racial injustice that slowly began to change the mood in this country. Many historians would point to the fact that
Black Americans, having contributed to the victory, were not willing to
continue being treated as second-class citizens and a foolish, even ugly,
stereotype.
I think, however, part of the change in society had seeds
that were sewn not only by returning Black veterans but by movies of this
type. Though The Negro Soldier
was not the only one of this genre, it was, and is, a fine movie that left a
positive impression with the white civilian population. It was not originally meant for them but
meant only for Black recruits to inspire them to be good soldiers, but so
pleased were they with the representation of themselves, that it was decided to
show it to white soldiers as well, and then to the general public. It was received very well, and in its own
quiet way, made, I think, an important contribution not only to the war effort,
but to the peace that followed. Today,
it is part of the National Film Registry in the Library of Congress.
Produced by Frank Capra as a follow-up to his Why We Fight
series, this short documentary was made under the auspices of the War
Activities Committee of the Motion Pictures Industry, commissioned by the U.S.
War Department. It was directed by
Stuart Heisler and the script was written by Carlton Moss, who also appears in
the role of a minister.
Mr. Moss came from the theatre. After college he was one of the leaders of
the Negro Theatre Unit of the Federal Theatre Project, one of President
Franklin D. Roosevelt’s Works Progress Administration endeavors to employ
writers, artists, directors, actors during the Great Depression. Moss was recommended to help run the Negro
Theatre Unit by John Houseman, who was leaving that role.
The Negro Soldier begins with a Black congregation
singing in a packed downtown church, and Carlton Moss is the minister who
addresses them from the pulpit. He is
not fiery or emotional, but quiet, professorial, and those of us who are fans
of Mrs. Miniver (1942) (a much more famous film roundly referred to as “propaganda”)
may recall the vicar played by Henry Wilcoxon.
His “Wilcoxon speech” at the end of the movie has a different tone that
the words of Preacher Moss, but Moss’s sermon is just as important and
necessary to hear. Like the “Wilcoxon
speech,” it is good for the soul.
First he gestures to the service flag hung in church with
stars for members who are now in the military and he points out members of the
congregation who are in uniform, welcoming them and including among them, a woman
who is a WAC. There is a sense of equity
here not only for African Americans but for Black women, in particular.
Heavyweight champion Joe Louis is recalled for his symbolic trouncing
of the German Max Schmeling in the ring, and both were now in the uniform of
their respective countries “fighting for the real championship of the
world.”
Jesse Owens, likewise, is recalled for his triumphs, along
with Ralph Metcalfe and other team members, over the track and field German
competitors at the 1936 Berlin Olympic Games.
Having thus far made the connection between the phony declarations of
the superiority of the Aryan race,
Preacher Moss then quotes from Hitler’s memoir, Mein Kampf.
Moss refers to it as “The gospel according to Hitler.” He reads a passage wherein Hitler outlines
his desire to conquer by force, and as regards to themselves as Black
Americans, of the folly of America to “train a born half-ape.”
This is perhaps the most startling image, to hear the vile
words of an evil man read calmly from the pulpit in a house of worship, insulting
to the congregation, but this has an even greater effect than angry outcry. It is as if the evidence is put on display in
court. The camera shows us closeups of
many faces in the congregation. Here,
too, is a kind of judicial proof. They
are human beings and they are not stereotypes
Then the minister takes us through United States history and Black participation
in every major event from the Boston Massacre, the Battle of Lexington-Concord,
Bunker Hill, Valley Forge, battles of the War of 1812, pointing out with images
perhaps revelatory to those in the theater audience who were unaware of the
longstanding and unbroken involvement of African Americans in the history of the
nation. We catch a glimpse of Black
faces peering out from broad-brimmed hats and bonnets on covered wagons heading
West as pioneers. These people are part
of history but were not part of history books for likely a majority of the
theater audience.
Moving closer to the present day, Black soldiers are seen in
the Spanish-American War and in World War I.
Then Moss moves on to images of notable Black Americans in fields of
science, literature, art, finance, medicine.
In the present war, Dorie Miller, who was awarded the Navy
Cross for heroism at Pearl Harbor, and who died in battle the year before this
film was released, is briefly mentioned, as well as the Tuskegee pilots, but
the film shifts at this point from these noble images to the equally noble if
mundane review of a new recruit’s experiences.
A mother in the congregation reads aloud a letter from her
son, who recently entered the Army. She is
Mrs. Bronson, played by Bertha Wolford or Woolford (who seems to have had
uncredited parts in only three other films, including Night and Day, covered
here).
The flashback scenes show her son arriving on the train
platform with other men, including white recruits, as they shed civilian dress
and go through the process of induction.
They are interviewed, taught military courtesy, yelled at by sergeants,
stumble around marching, until they finally become soldiers.
On leave, he attends a dance and there is the
romantic image of him dancing with a lovely young woman. He also observes WACs in training and offers
his admiration for them in his letter to his mother.
His next post, he hopes, will be officer’s candidate
school. He is no stereotype, nor is his
quietly proud mother, nor is anyone in the congregation. Over 900,000 African Americans served in the
military in World War II all over the globe.
One of the few complaints of the film is it does not stress the
injustice of a segregated military.
Nevertheless, the film leaves its audience, as all good films should,
with something to think about and to broaden their minds.
Have a look at The Negro Soldier here on YouTube.
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Our greatest gift from the Greatest Generation was freedom from fascism. Relive, and celebrate, how evil was faced, discussed, dramatized...and fought. Classic films were Hollywood's weapon.
Get your copy of my book Hollywood Fights Fascism here at Amazon in print or eBook, or here at Barnes & Noble, Apple, Kobo, and a variety of other online shops.
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Jacqueline T. Lynch is the author of Ann Blyth: Actress. Singer. Star. and Movies in Our Time - Hollywood Mirrors and Mimics the Twentieth Century and Hollywood Fights Fascism and Christmas in Classic Films. TO JOIN HER READERS' GROUP - follow this link for a free book as a thank-you for joining.
