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4.8/10
Archivist John
Senior Editor
A definitive 4.8/10 rating for a film that redefined the boundaries of cult cinema. Film 3 remains a cornerstone of transgressive art.
Should you spend time watching an unedited reel of 16mm footage from 1925? Short answer: Yes, but only if you care about how history is actually written. This film is for the archival purists and those who want to see the 1920s without the filter of Hollywood's racial caricatures; it is not for those who require a plot, dialogue, or professional lighting.
Film 3, part of the Solomon Sir Jones collection, is a staggering piece of visual evidence. It works because it presents an unvarnished, self-directed view of Black life in the Midwest and Oklahoma. It fails because, as a raw reel, it lacks the rhythmic editing that makes a documentary engaging for a general audience. You should watch it if you want to understand the physical reality of the Harlem Renaissance's reach beyond New York.
Solomon Sir Jones was not a filmmaker by trade, and it shows. But that is exactly why Film 3 is so vital. Unlike The Waif or other contemporary dramas that relied on heavy-handed sentimentality, Jones simply points his camera. He isn't trying to manipulate your emotions. He is documenting existence.
In the church scenes, the camera captures a sense of institutional power. These aren't just places of worship; they are the bedrock of the community. When compared to the fictionalized struggles in Just a Woman, the reality in Jones' footage feels significantly more radical. It is the radical act of being normal, prosperous, and organized.
The movement from Indianapolis, Indiana, to Muskogee, Oklahoma, is more than a geographic shift. It represents the migration patterns and the interconnectedness of Black professional life. In the office scenes, we see men and women at desks, surrounded by the tools of modern commerce. This isn't the 'struggle' narrative we are often sold.
The winter scene is particularly striking. The grain of the 16mm film makes the snow look like static, yet the figures moving through it have a clear, defiant presence. It lacks the polish of A Tale of the Far North, but it possesses a grit that no studio backlot could ever replicate. It is raw. It is real.
From a technical standpoint, Film 3 is a challenge. The exposure varies wildly, and the framing is often utilitarian. Jones was a minister, not a cinematographer like those who worked on La marcia nuziale. However, there is an accidental beauty in his compositions. The way light hits the facade of the theater in Muskogee creates a natural contrast that feels modern.
The pacing is dictated by the length of the film roll, not by narrative tension. This creates a dreamlike quality. You are watching a ghost world. In one moment, you are in a residence, witnessing a private domesticity that was almost never filmed in the 1920s. It makes the staged domesticity of An American Widow look like a cheap imitation.
Film 3 is a rare primary source capturing 1920s African American life without the filters of white-dominated Hollywood. It documents the real-world success of Black businesses and churches in the Midwest and Oklahoma. For anyone interested in the actual history of the United States, it is an essential document.
I’ll be blunt: most people will find this boring. They’re wrong. The boredom comes from an inability to look closely. If you look at the faces of the people outside the theater, you see a world that was supposed to be invisible. That is worth every second of the runtime.
One surprising observation is the lack of performance. In films like Off the Trolley, actors are constantly 'on.' In Jones’ footage, people often look directly into the lens with a mixture of curiosity and pride. They aren't playing characters; they are presenting themselves to the future. It is an act of historical preservation as much as it is a home movie.
The theater sequence is a standout. We see the venue not as a place of segregated restriction, but as a hub of Black leisure. It provides a sharp contrast to the way Black spaces were often depicted as sites of vice in films like Saint, Devil and Woman. Jones shows us the truth, and the truth is dignified.
Pros:
- Unmatched historical authenticity.
- Captures a side of the 1920s rarely seen in cinema.
- The silent format allows for a deeply personal, meditative experience.
Cons:
- Significant technical limitations (lighting, focus).
- No narrative through-line to guide the viewer.
- Requires significant context to fully appreciate.
Film 3 is not a movie in the sense that The Dream Cheater is a movie. It is something more important. It is a rebuttal. It is a visual record of a community that the rest of the world tried to ignore. It works. But it’s flawed. It is a series of moments that, when stitched together, form a powerful narrative of resilience and success.
Don't expect to be entertained in the traditional sense. Expect to be enlightened. Solomon Sir Jones didn't just film churches and offices; he filmed a legacy. If you can handle the silence and the grain, you will see a masterpiece of reality. The camera doesn't blink, and neither should you.
IMDb —
1919
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