The Symbol of the Unconquered (1920)

Drama | 29 November 1920

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HISTORY

This Black independent film was shot in Fort Lee, NJ, under the working title The Wilderness Trail. A 6 Nov 1920 Moving Picture World item noted that editing was taking place at the Miles’s studio located in the Leavitt Building in New York City; this likely referred to facilities owned by the Miles Bros. production company, established by brothers Harry, Herbert, Earle and Joe Miles. Although Moving Picture World stated that the New York premiere was scheduled to take place 23 Nov 1920 at the Lafayette Theatre in Harlem, that opening was delayed until 27 Dec 1920, as indicated by the 25 Dec 1920 New York Age. The 20 Nov 1920 Chicago Defender announced that The Symbol of the Unconquered would open “for the first time on any screen” on 29 Nov 1920 at the Vaudette theater in Detroit, MI. The Kansas City, MO, debut was set to follow on 12 Dec 1920, as advertised in the previous day’s Kansas City Sun. Overseas releases may have occurred, according to a 29 Jan 1921 [Dallas, TX] Dallas Express article, which reported filmmaker Oscar Micheaux’s claims that his pictures were currently being shown in European countries including England, France, Italy, and Spain, and in “leading South American Republics.”
       The Symbol of the Unconquered marked the second “race picture” ever shown at Norfolk, VA’s Attucks Theatre, according to the 1 Jan 1921 [Norfolk, VA] New Journal and Guide. A review in the same day’s New York Age cited the picture as proof that “the race photo play is here ...

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This Black independent film was shot in Fort Lee, NJ, under the working title The Wilderness Trail. A 6 Nov 1920 Moving Picture World item noted that editing was taking place at the Miles’s studio located in the Leavitt Building in New York City; this likely referred to facilities owned by the Miles Bros. production company, established by brothers Harry, Herbert, Earle and Joe Miles. Although Moving Picture World stated that the New York premiere was scheduled to take place 23 Nov 1920 at the Lafayette Theatre in Harlem, that opening was delayed until 27 Dec 1920, as indicated by the 25 Dec 1920 New York Age. The 20 Nov 1920 Chicago Defender announced that The Symbol of the Unconquered would open “for the first time on any screen” on 29 Nov 1920 at the Vaudette theater in Detroit, MI. The Kansas City, MO, debut was set to follow on 12 Dec 1920, as advertised in the previous day’s Kansas City Sun. Overseas releases may have occurred, according to a 29 Jan 1921 [Dallas, TX] Dallas Express article, which reported filmmaker Oscar Micheaux’s claims that his pictures were currently being shown in European countries including England, France, Italy, and Spain, and in “leading South American Republics.”
       The Symbol of the Unconquered marked the second “race picture” ever shown at Norfolk, VA’s Attucks Theatre, according to the 1 Jan 1921 [Norfolk, VA] New Journal and Guide. A review in the same day’s New York Age cited the picture as proof that “the race photo play is here to stay.” Regarding Micheaux’s depiction of a light-skinned Black woman “passing” for white, the 29 Jan 1921 [Dallas, TX] Dallas Express quoted a recent article by the Associated Negro Press, which stated: “‘The Symbol of the Unconquered’ takes a significant thrust at the ‘more than 500,000’ people in America who with American blood in their veins are ‘passing for white.’” Micheaux returned to the this theme in other films such as The House Behind the Cedars (1924), Thirty Years Later (1928), and God’s Step Children (1938, see entries).
       Some modern sources state that "Evon," not "Hugh," owns the oil lands that the Ku Klux Klan attacks, but this is probably an error. One source spells the villain's name as "Drescola" instead of "Driscoll."

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Afro-American [Baltimore, MD]
9 Sep 1921
p. 2
Afro-American [Baltimore, MD]
16 Sep 1921
p. 4
Afro-American [Baltimore, MD]
23 Sep 1921
p. 4
Afro-American [Baltimore, MD]
4 Nov 1921
p. 4
Chicago Defender
20 Nov 1920
p. 6
Chicago Defender
27 Nov 1920
p. 5
Chicago Defender
8 Jan 1921
pp. 4-5
Chicago Defender
22 Jan 1921
p. 4
Dallas Express [Dallas, TX]
25 Dec 1920
p. 3
Dallas Express [Dallas, TX]
29 Jan 1921
p. 1
Kansas City Sun [Kansas City, MO]
11 Dec 1920
p. 5
Kansas City Sun [Kansas City, MO]
18 Dec 1920
p. 5
Moving Picture World
6 Nov 1920
p. 40
New Journal and Guide [Norfolk, VA]
1 Jan 1921
p. 8
New York Age
25 Dec 1920
p. 6
New York Age
1 Jan 1921
p. 6
Philadelphia Tribune
1 Jan 1921
p. 6
DETAILS
Alternate Title:
The Wilderness Trail
Release Date:
29 November 1920
Premiere Information:
Detroit, MI, opening: 29 Nov 1920; Kansas City, MO, opening: 12 Dec 1920; Dallas, TX, opening: 24 Dec 1920; New York opening: 27 Dec 1920
Production Date:

Physical Properties:
Silent
Black and White
Length(in reels):
8
Country:
United States
Language:
English
SYNOPSIS

After the death of her grandfather, Evon Mason, a multiracial woman from Selma, Alabama, travels to the Northwest to identify the mine claim she had been willed. There, Evon meets Hugh Van Allen, a Black man seeking his fortune. Hugh, who loves Evon but thinks that she is white, discovers oil, thereby arousing the enmity of Tom Cutschawl, a racist Southerner, and Jefferson Driscoll, a Black man passing for white who hates his own race. These two provoke an attack of the Ku Klux Klan to drive Hugh off the land, but Evon rescues Hugh, and the Klan is routed. Evon and Hugh eventually resolve their misunderstanding and live happily ever after.
       A review in the 1 Jan 1921 Philadelphia Tribune synopsized the film as follows: “Dick Mason, an aged Negro who had taken a homestead in the wilds of the great Northwest, returns to his former home in the South where he dies, leaving the claim to his granddaughter and the last of his kin, Evon Mason, a beautiful quadroon, who later goes therewith to make proof on the same. Arriving in Oristown, she proceeds to the little hotel wherein one Jefferson Driscoll, night clerk and a Negro, but masquerading as white, refuses her accommodations. Hungry, tired and discouraged, she wanders into the forest; a storm comes up, she becomes lost and is picked up in a miserable condition the next morning by Hugh Van Allen, colored, and a prospector, whom she had met on the street the afternoon before, but who, because he had and was still unknown to her, mistaking her for white, is merely courteous, while with her—she ...

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After the death of her grandfather, Evon Mason, a multiracial woman from Selma, Alabama, travels to the Northwest to identify the mine claim she had been willed. There, Evon meets Hugh Van Allen, a Black man seeking his fortune. Hugh, who loves Evon but thinks that she is white, discovers oil, thereby arousing the enmity of Tom Cutschawl, a racist Southerner, and Jefferson Driscoll, a Black man passing for white who hates his own race. These two provoke an attack of the Ku Klux Klan to drive Hugh off the land, but Evon rescues Hugh, and the Klan is routed. Evon and Hugh eventually resolve their misunderstanding and live happily ever after.
       A review in the 1 Jan 1921 Philadelphia Tribune synopsized the film as follows: “Dick Mason, an aged Negro who had taken a homestead in the wilds of the great Northwest, returns to his former home in the South where he dies, leaving the claim to his granddaughter and the last of his kin, Evon Mason, a beautiful quadroon, who later goes therewith to make proof on the same. Arriving in Oristown, she proceeds to the little hotel wherein one Jefferson Driscoll, night clerk and a Negro, but masquerading as white, refuses her accommodations. Hungry, tired and discouraged, she wanders into the forest; a storm comes up, she becomes lost and is picked up in a miserable condition the next morning by Hugh Van Allen, colored, and a prospector, whom she had met on the street the afternoon before, but who, because he had and was still unknown to her, mistaking her for white, is merely courteous, while with her—she had fallen in love with him at first sight…When later Van Allen discovered how Driscoll had treated her, he goes and beats that one up—result, to ‘get even,’ Driscoll schemes and succeeds in selling Van Allen what he, Driscoll, thought to be a tract of the most worthless land in the country. When he discovered later that those selfsame lands were underlaid with a sea of oil and valuable beyond description, and he was unable to persuade Van Allen to sell them back to him, in league with a Negro hating Squaw-man, he launches a plot to drive Van Allen off the lands and out of the country by recourse to the insidious. At the hour of midnight, robed in white, like ghosts, and with fiery torches, they ride down on Van Allen. In the meantime, Evon, who had gotten world of the plot, dashes into the village and gets the settlers, who ride with her to Van Allen’s rescue. In due time oil is discovered on Van Allen’s lands, he becomes a millionaire—and then of how Evon came back again into his life and he discovered at last that she was of his own blood, makes up one of the most stirring, yet sweetest love stories ever screened.”

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GENRE
Genre:
Sub-genre:
African American


Subject

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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