Since last week, when the Golden Globes premiered, I’ve had very spirited discussions with some of my film students. Many are concerned and somewhat disenchanted with the restrictive culture of Hollywood as it relates to roles for black folks, especially black women.
I watched the Globes last week and celebrated Octavia Spencer's win for Best Supporting Actress in “The Help.” I also had to bite my nails when one of my favorite actresses, Meryl Streep, won for her role in “The Iron Lady” and ousted Viola Davis for her incredible role in “The Help” in the Best Actress category.
Some critics will point out that the Golden Globes is a significant indicator of who will represent during Oscar night. The nominations were released yesterday and both Octavia Spencer and Viola Davis in their roles in “The Help” are nominated for Best Supporting actress and Best Actress respectively.
Here is where I begin my rant. I typically have a problem with Hollywood “era” films that deal with race or in most cases do not deal with race authentically.
My grandmother worked her entire life for white families, and I saw first hand the caste system at work.
(Side note: Why is it that when black actors play servants or domestic roles like in “The Help,” they are always referenced as being “dignified?” If dignified is code for being able to get through an interview without pimp slapping the person that references your role as dignified, then I guess they are accurate.)
There are incredible roles being portrayed by black actors and even recognized by alternative organizations like the Essence awards and the NAACP Image Awards. Many artists who are honored by these alternative organizations will say it means a lot coming from their own community. However, few of these awards shows have the career-advancing potential when compared to being honored by mainstream environments like the Oscars. And even then it can be hit or miss for many black actors.
Why does Hollywood only recognize a limited range of roles for black women? I call it the “domestic, comic and tragic figure syndrome.” The ultimate movie would be to have a black woman play the role of a wisecracking, domestic that goes rogue and turns into a baking, stand-up comedian, window-washing nanny and serial killer with a catchy rap theme song. Now that would be a blockbuster film!
Hollywood seems to be much more comfortable with the black actress as servant, comedian and/or fallen figure. Let's test that theory for those who have actually won an Oscar:
• Hattie McDaniel: Best Supporting actress for the happy domestic in “Gone With the Wind” (1939)
• Whoopi Goldberg: Best Supporting actress as funny medium in “Ghost” (1990)
• Halle Berry: Best Actress as a woman who falls for her ex-husband's racist executioner in “Monster's Ball” (2001). I would have been more comfortable with her winning for “Catwoman.”
• Jennifer Hudson: Best Supporting role as wisecracking plus size Diva in “Dreamgirls” (2006)
• Monique: Best Actress for her role as a caustic, angry, sexual predator and abusive mother in “Precious” (2009).
Did I miss anyone?
I have always maintained that it is not the responsibility of one film to carry the weight of an entire community and culture, but the real challenge is that more films are made that explore the rich diversity and experiences of that culture.
The issue or challenge at hand is: When will the mainstream organizations acknowledge and honor such great performances that do not fit its historically narrow perspective of how black women should be portrayed? I am curious who will represent on Oscar night.
