Biyografi
During the 1920s and 1930s, Ethel Moses was one of Harlem's most celebrated performers. By the late 1930s, she had become the most popular, recognizable, and beloved actress in Black cinema—a legacy that endures to this day. Ethel Moses was truly a Harlem star, a key figure during Harlem's Golden Era. On stage, she was hailed as "One of the Most Beautiful Women in America," voted "The Most Beautiful Girl on Stage," and acclaimed as "The Most Shapely Dancer."
Beginning her career in the mid-1920s, Ethel gained fame as a chorus dancer in prominent Black Broadway shows like Shuffle Along, Keep Shuffling, and Showboat. She performed at Harlem's top nightclubs such as The Cotton Club, Connie's Inn, and the Ubangi Club. Later, she became a sought-after feature dancer, performing with Cab Calloway's band. Ethel appeared in several shorts alongside Cab, including Cab Calloway's Hi-De-Ho—filmed at the Cotton Club—where she was the subject of the song "The Lady with the Fan," and Cab Calloway's Jitterbug Party. She also toured internationally with Lucky Millinder's band, captivating audiences around the world with her elegance and beauty.
Transitioning to acting, Ethel Moses made her mark not in Hollywood but in American cinema through Black independent films. Unlike many Black actresses in Hollywood, Ethel enjoyed the opportunity to portray a wide range of characters without being confined to stereotypes. She launched her film career with legendary filmmaker Oscar Micheaux, whose films benefited greatly from her star power, drawing audiences eager to see her performances. Ethel brought beauty, grace, charm, and a sense of mystery to Micheaux's films, helping to balance some of the more controversial elements in his work. She truly became a movie star through these collaborations.
Her first starring role was in Temptation, which premiered at the Howard Theater around 1936 or 1937. On opening night, an estimated 5,000 people crowded to catch a glimpse of the "Bronze Venus," as she was called, and to get her autograph. A police escort was needed to help Ethel navigate through the enthusiastic crowd after she gave an interview.
In films, Ethel Moses was often billed as "The Black Jean Harlow" due to her resemblance to the famous white star. She starred in other significant Oscar Micheaux films such as Underworld, God's Stepchildren, and Birthright, as well as Black independent productions like Policy Man, Harlem Mania, and Gone Harlem. What set Ethel apart as a movie star was her warmth, sincerity, natural charisma, and enigmatic presence on screen. She was seen as a kind of America's Sweetheart who could do no wrong. Unlike many curvaceous and stunning actresses who often played seductresses or femme fatales, Ethel portrayed the long-suffering good girl who faced troubles but ultimately triumphed. She also embodied the steadfast partner, reminiscent of Greta Garbo's mystique, conveying stories through her expressive face even without dialogue. Her image on stage and screen blended sexiness with innocence, mystery, warmth, and allure. Ethel commanded attention effortlessly and represented a refreshing counter to negative stereotypes of Black women as harsh or unfeeling. She carried herself with class and possessed a golden heart that endeared her to audiences.
During her career, Ethel Moses enjoyed widespread popularity and acclaim, with both Black and white newspapers praising her performances. The only notable controversy occurred in 1939, when she and others were escorted out by police for protesting the German Bund meeting at Madison Square Garden. Rather than facing criticism, she was applauded for standing against the Nazi gathering. By the early 1940s, Ethel retired from show business, but her contributions to Harlem, Black cinema, American film, and Black history remain significant and enduring.
