From the moment he first appeared on screen, as a young Jamaican in Ealing Studios' underrated Pool of London (d. Basil Dearden, 1951), Earl Cameron brought a breath of fresh air to the British film industry's stuffy depictions of race relations. Often cast as a sensitive outsider, Cameron gave his characters a grace and moral authority that often surpassed the films' compromised liberal agendas.
Born in Bermuda in 1917, Cameron first arrived in Britain on the eve of the Second World War, working in the Merchant Navy. In 1942, he talked his way into a part in a West End production of Chu Chin Chow, which in turn led to training with the granddaughter of black American actor Ira Aldridge. Cutting his teeth in repertory theatre, he attempted to break into films with unsuccessful auditions for Men of Two Worlds (d. Thorold Dickinson, 1946) and Cry, the Beloved Country (d. Zoltan Korda, 1952).
Born in Bermuda in 1917, Cameron first arrived in Britain on the eve of the Second World War, working in the Merchant Navy. In 1942, he talked his way into a part in a West End production of Chu Chin Chow, which in turn led to training with the granddaughter of black American actor Ira Aldridge. Cutting his teeth in repertory theatre, he attempted to break into films with unsuccessful auditions for Men of Two Worlds (d. Thorold Dickinson, 1946) and Cry, the Beloved Country (d. Zoltan Korda, 1952).
His break came in 1950 when cold-calling an Ealing casting director won him the part of Johnny in Pool of London. Made in the wake of Ealing's hugely successful The Blue Lamp (d. Dearden, 1950), it was ostensibly a diamond-heist caper, heightened by the documentary authenticity of its location photography. One of the first British films to deal with mixed-race romance, it also placed Cameron's Johnny at its moral centre, his performance the most naturalistic amongst the ensemble of deceivers, crooks and cheats. The film was a hit, as was Cameron.
But despite great reviews, Cameron's success didn't lead to stardom and he found little work without a studio contract. Filling his time with bit parts and cameos, Cameron's struggle reveals the lack of opportunity for black actors during the 1950s. Not only were there few black characters in the mainstream industry, all roles on offer were race specific.
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