Two-Gun Man From Harlem (1938)

Directed by Richard C. Kahn and released on May 1, 1938, Two-Gun Man from Harlem is a landmark race Western produced by Merit Pictures and distributed by Sack Amusement Enterprises. With a runtime of 65 minutes, the film stars Herb Jeffries—billed as Herbert Jeffrey—alongside Marguerite Whitten, Clarence Brooks, and Mantan Moreland. It’s one of the earliest Westerns to feature an all-Black cast, blending cowboy heroics with urban intrigue and musical interludes.

Plot Summary

Cowboy Bob Blake (Herb Jeffries) is falsely accused of murder and forced to flee his rural home. He heads to Harlem, where he assumes the identity of a preacher-turned-gangster who bears a striking resemblance to him. Using this disguise, Blake infiltrates the criminal underworld to expose the real killers and clear his name. Along the way, he wins allies, confronts betrayal, and delivers justice with both fists and firearms.

Cast

• Herb Jeffries as Bob Blake
• Marguerite Whitten as Sally Thompson
• Clarence Brooks as John Barker
• Mantan Moreland as Jeff
• Spencer Williams, Mae Turner, Tom Southern, and Jesse Brooks in supporting roles
• Musical performances by The Four Tones and The Cats and the Fiddle

Production Notes

• Herb Jeffries, known as “The Bronze Buckaroo,” was a pioneering Black singing cowboy who starred in several race Westerns aimed at segregated audiences
• The film was shot on modest sets with limited resources, but its ambition and cultural significance far outweigh its budget
• Director Richard C. Kahn also co-wrote the screenplay with Fred Myton, crafting a hybrid of Western and urban crime drama
• The film’s Harlem setting allowed for a rare blend of cowboy action and city noir, with musical numbers woven into the narrative
• Mantan Moreland, later famous for his comic roles in Monogram’s Charlie Chan series, provides comic relief with sharp timing
• The film was part of a short-lived but important cycle of race films, independently produced for Black audiences during segregation
• Though not widely distributed in mainstream theaters, it was popular in the “chitlin circuit” and remains a touchstone of Black cinematic history