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Blacks demanded increasingly realistic screen images. As the works of black writers realized the black experience more fully and more sympathetically, flimmakers looked to that literature as the basis for their productions. When black novels, however, were adapted as motion pictures, they were often reworked for mainstream audiences so that much of their cultural and idiosyncratic importance was lost and/or downsized. Native Son, Richard Wright’s most distinguished work, was adapted into film twice, by Pierre Chenal in 1951 and by Jerrold Freedman in 1986. The film in 1951 suffered from many of the problems that the early independent black films did. And Freedman’s film did the same mistake. This shows how hard the black films and/or the films in general free from the multiple layers of Hollywood’s commercial net.