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4.8/10
Senior Film Conservator
A definitive 4.8/10 rating for a film that redefined the boundaries of cult cinema. The Exile remains a cornerstone of transgressive art.
Okay, so "The Exile" isn't a Sunday afternoon popcorn flick for most folks. If you’re into the very early days of film, especially if you’re curious about how Black filmmakers were telling stories way back in 1923, then yeah, it’s worth seeking out. But if you need modern pacing or crisp dialogue, you'll probably find this one a bit of a slog. 😬
The film starts with Jean, fresh back from the Great War, landing in Chicago. He’s all bright-eyed and bushy-tailed, ready for a new life. Then he meets Edith, and *bam*, he’s smitten.
She’s beautiful, no doubt. But she's also, shall we say, involved in the city's "rackets." The movie doesn’t really spell out what these rackets *are*, exactly. Just that they're bad news. A lot of implied shady business. The whole thing feels kinda vague, like a plot device more than a real threat.
Jean tries to get her to leave that life. He even proposes! But she can’t, or won't. So, our man Jean just… turns around and goes home to South Dakota. It feels a bit abrupt, honestly. One minute he's deeply in love, the next he's ranching. Talk about a quick change of heart, or maybe just a practical one.
Back on the ranch, Jean gets real good at being a rancher. Like, *really* good. And he finds another love, a white woman this time. The film plays this connection pretty straight, which is interesting for its time. You don’t see a ton of that, you know?
But Jean, he's got this nagging guilt. It’s about Edith. Or maybe it’s about leaving Chicago with things unresolved. It’s hard to tell