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Streaming Movie-HBO Max announced it would air the 1939 classic GONE WITH THE WIND. John Ridley, the talented African American who won an Oscar for his 12 YEARS A SLAVE screenplay, complained in an article printed by the Los Angeles Times. Ridley felt GONE WITH THE WIND, major box office champ from 1939 through to reissues in the 1970s, should not be shown because of its creaky racial images.
I can well understand. However, I feel it can be shown -- in its entirety -- with a disclaimer before the opening credits saying "This film was made in Old Hollywood days. You will see racial and stereotypes that, in no way, reflect the viewpoints of HBO." GONE WITH THE WIND was removed from the schedule. Temporarily. When it was announced that it would air preceded by a discussion on its racial images and history, I knew we'd see a Black film historian. There is no shortage of Black film critics and historians in this country. Black people who can write and talk about all kinds of films -- new releases, classic Hollywood fare and foreign films. But do you see those people on TV? No. They're available and willing to go on, but white TV producers usually only contact them when...
A. They need recommendations for films viewers should see during Black History Month
B. There's a diversity controversy like "Oscars So White"
C. There has to be a discussion on racial images in films
D. A Black celebrity has died or been thrown in jail.
Professor Jacqueline Stewart, a Chicago teacher and an excellent Sunday night host on TCM (cable's Turner Classic Movies), led the GONE WITH THE WIND discussion. Yep. She's Black.
Instead of Ridley and some other folks being mad at the late Hattie McDaniel, the woman who made history by winning the Oscar for Best Supporting Actress, I say let us see how she made Hollywood history and why she deserved that Oscar. Move on to asking why TV news producers and syndicated film review show producers have kept the TV field of film critics segregated. It's been predominantly white male. This goes from when each network morning news program -- on CBS, ABC and NBC -- had a weekly film critic who did reviews on Friday. Then there was the famous Siskel & Ebert film review show and similar duos that followed. Black critics were overlooked or just downright ignored. Look at the fine 2017 HBO documentary called SPIELBERG. It runs an interesting 2 1/2 hours. There are 7 film journalists giving soundbites about Steven Spielberg in that documentary. Not a one is Black. There's not even a Black film critic in the 10 minutes devoted to Spielberg's THE COLOR PURPLE. All the comments about that film are delivered through the white gaze.
I worked as a regular on local New York City morning news programs from 1992 to 1999. The first show was on WNBC. That job lasted from 1992 to 1995. The next one, on local Fox TV, lasted from 1995 to 1999. I was approached for each job. I quit each one because I felt a definite inequality of opportunities. During the first four years of my professional TV career, I was a weekly film critic on Milwaukee's ABC affiliate. I was half of a weekend film review team that aired on a local independent station.
The work got me noticed by Chicago PBS. Execs contacted me to audition to be half its new film review team when Siskel & Ebert left PBS for Disney syndication.
I went to WNBC's new project, WEEKEND TODAY IN NEW YORK, after three great years at VH1. There, I had my own weeknight prime time talk show. I'm proud to say I got excellent reviews from the New York Times, People magazine and TV Guide.
Not only that -- VH1 flew me to London for a special one-hour interview of Paul McCartney and, on St. Patrick's Day in 1989 while I was in L.A. taping for VH1, Lucille Ball invited me to her home that evening for cocktails. Of course, I went.
I accepted the part-time WNBC offer because, when I met with execs, it was mentioned that I could do weekend film reviews in the studio. This appealed to me. I grew up in Los Angeles. Neither in L.A. or in New York City, had I ever seen a reflection of myself in film reviewers on TV. I wanted to do reviews to show that Black people could do them. I hoped I could help open a door for others.
The day before the show premiered, the Caucasian producer said "I don't think you have the skills to do film reviews." I would do lifestyle features and be the funny man-on-the-streets. I challenged my Caucasian producer. I fought to do film reviews. I would've had an easier time getting a permit to open a Hooters in Vatican City.
Another thing. Because of my VH1 talk show reputation, publicists followed me over to the local show and offered me their clients to interview in studio. Getting the green light to do celebrity interviews was also a battle. I did some but really got irritated when I noticed my producer rejected my opportunities to highlight talent of color -- like singers Patti LaBelle and Dianne Reeves and actress Pam Grier. The situation was better at local Fox 5. I did a bunch of celeb interviews there. However, I still encountered difficulty trying to get the same degree of attention and respect for talent of color that white celebrities got. My executive producer turned down my opportunity to do live segments with Chris Rock simply because he didn't know who Chris Rock was. (This was the late 90s.) I was offered another live shot opportunity with Sean "P. Diddy" Combs. The exec. producer didn't think viewers would be interested. I won that battle. My interview of Spike Lee, talking about his blistering and brilliant 4 LITTLE GIRLS documentary, was not promoted and it was pushed to the last half hour of the show when viewership had a significant drop off.
ABC News hired me in 2000 to be the weekly film reviewer/historian on its live, hour-long Lifetime TV production called LIFETIME LIVE. I was hired after pushing for an interview. Why did I push? Because the white producer kept asking "Does he know anything about movies?" I got the job. The show lasted one year. I loved that job. I wrote, researched and performed an 8-minute segment live every Friday without TelePrompter. And I wrote reviews for the show's website. Besides the reviews of 2 new theatrical releases and a DVD release, it was my idea to recommend a strong performance by an actress in a classic film as a "Women in Film" history spot considering it was Lifetime TV.
For this network job, I got $500 a week and, as the ABC rep said, "...not a penny more." That was $500 a week -- before taxes. Yes, I loved that network TV job even though I could've made more money wearing a paper hat and working behind the counter in a fast food franchise.
I heard that CNN was seeking an entertainment reporter in 2002. I contacted the producer. He asked if I'd ever done entertainment reports. I was no longer interested in the job. I pitched myself to CBS SUNDAY MORNING from the 1990s to 2004 to be an entertainment contributor. I never got a response. Oh. About pitching myself. I got myself the following jobs:
VH1 veejay/talk show host
CBS Late Night semi-regular on THE PAT SAJAK SHOW
WNBC News, WEEKEND TODAY IN NEW YORK
Fox5, GOOD DAY NEW YORK
ABC News, LIFETIME LIVE
PBS New York, Host
Food Network, TOP 5 Host
The Whoopi Goldberg Morning Show on PREMIERE RADIO, Entertainment contributor
I got myself those jobs because -- during all that time -- broadcast agents (who were all white) turned me down for representation. They usually said, "I wouldn't know what to do with you."
That, in a way, ties back to why a lot of us African Americans wanted to be entertainment contributors. We knew the systemic racial barriers Black/Latinx talent hit in the entertainment industry. The Hollywood Credo was "Black stories don't sell." Because top studios wouldn't green light stories with predominantly Black casts, there weren't as many work opportunities for Black actors and filmmakers. If there wasn't work for Black talent, agents would say "They're not gonna bring me in a big 10% like a Reese Witherspoon or a Ryan Gosling. So why bother representing them?"
If a Black filmmaker made a film that got a standing ovation at the Cannes Film Festival, that's terrific news. However, it doesn't mean Hollywood will give him/her the juicy marketing budget that it would give a white filmmaker. THAT'S where we Black entertainment contributors and talk show hosts come in. We know how that game goes. We want to spotlight Black/Latinx talent so folks will see the work and the directors/actors can get more work. But we have to punch through our white bosses saying "I don't know who these people are" and publicists not giving Black entertainment journalists equal opportunities on the red carpet. After they chatted with white entertainment reporters, I've seen publicists whiz their actors past the Black reporters so quickly that the actors experienced G-force.
Back to the versatile Hattie McDaniel. She was a stand-out in dramas, comedies and musicals. But two years after her historical Oscar victory for GONE WITH THE WIND, Hollywood was still treating her like a bit player. With her charisma, she continued to stand-out but she was never elevated. She was never given another big, significant role that could've brought her another Oscar nomination. She never got a lead role. Think about Hattie. Now think about Black/Latinx actresses from Rita Moreno in 1961's WEST SIDE STORY followed by Diahann Carroll, Cicely Tyson, Alfre Woodard, Angela Bassett, Margaret Avery from THE COLOR PURPLE to Taraji P. Henson, Gabourey Sidibe, and Jennifer Hudson who was the Best Supporting Actress Oscar winner for 2006's DREAMGIRLS. They all got one Oscar nomination -- Rita Moreno won Best Supporting Actress for WEST SIDE STORY -- and then they had to go to TV for regular employment because Hollywood had no other good script opportunities for them after their Oscar nominations. To me, that is a bigger story than racial images in 1939's GONE WITH THE WIND. We should discuss the lack of Hollywood opportunities for women of color who got Oscar nominations after Hattie McDaniel's breakthrough for 1939's GONE WITH THE WIND.
Our lives were suddenly, drastically changed by the coronavirus pandemic. During our health lockdown, the murder of George Floyd brought the national virus of racism to a fever pitch. "Black Lives Matter" became a global chant in protest marches. Then companies got "woke." They started embracing the "Black Lives Matter" statement. In entertainment, TV shows stopped streaming episodes that had white actors in blackface. I had no idea so many modern shows had blackface moments. White actors who'd been doing the voiceovers for Black characters in animated shows stepped away from their jobs to allow actual people of color to do the voiceovers. I had no idea all that work was available! Then, again, I don't hear about auditions. Last month, Jon Stewart said that he could've done more to have racial diversity in his THE DAILY SHOW staff. I love that show. Nevertheless, over 10 years ago, I always noticed his writing team was practically all-white each time it went onstage to accept Emmy awards. Last month, the co-creator of FRIENDS revealed she could've done more to bring diversity into its cast. Hello! Oprah brought up the lack of racial diversity on the sitcom when she had the cast on her show in the 1990s.
In 2009, I saw Disney's THE PRINCESS AND THE FROG. How I loved seeing Disney's first African American princess. The story was delightful and the animation gorgeous. Then Princess Tiana was gone. I wondered if she'd entered an animated witness protection program for some reason. In 2013, Disney's FROZEN comes out and it's all about Elsa. Blonde Elsa gets a sequel, she gets a star spot in Disney on Ice and she gets a Broadway musical based on FROZEN. One Halloween on GOOD MORNING AMERICA, did Robin Roberts dress up like Tiana from THE PRINCESS AND THE FROG? No. They put a platinum blonde wig on her head and made her dress up like frigid Elsa.
Another Oscar-wining box office champ starred Hattie McDaniel and caused a controversy. Disney's SONG OF THE SOUTH is a 1946 live action/animated musical that takes place on a plantation. Hattie is the plantation cook who's friends with storyteller Uncle Remus. Today, Disney hides that feature but its Splash Mountain ride at Disneyland still had the SONG OF THE SOUTH plantation character images from the movie. Disney got "woke" and, finally, Princess Tiana will make a comeback. The Splash Mountain ride will renovated with a THE PRINCESS AND THE FROG theme.
This tells me that folks and companies who considered themselves to be quite liberal had not really embraced racial inclusion and equal opportunities -- and they knew it. They treated Race like it was a Jehovah's Witness knocking at the door early on a Saturday morning. They pretended to not be home and peeked at it through the Venetian blinds until it went away.
Today, they've been forced to open the door.
Link Souce
A. They need recommendations for films viewers should see during Black History Month
B. There's a diversity controversy like "Oscars So White"
C. There has to be a discussion on racial images in films
D. A Black celebrity has died or been thrown in jail.
Professor Jacqueline Stewart, a Chicago teacher and an excellent Sunday night host on TCM (cable's Turner Classic Movies), led the GONE WITH THE WIND discussion. Yep. She's Black.
I worked as a regular on local New York City morning news programs from 1992 to 1999. The first show was on WNBC. That job lasted from 1992 to 1995. The next one, on local Fox TV, lasted from 1995 to 1999. I was approached for each job. I quit each one because I felt a definite inequality of opportunities. During the first four years of my professional TV career, I was a weekly film critic on Milwaukee's ABC affiliate. I was half of a weekend film review team that aired on a local independent station.
I went to WNBC's new project, WEEKEND TODAY IN NEW YORK, after three great years at VH1. There, I had my own weeknight prime time talk show. I'm proud to say I got excellent reviews from the New York Times, People magazine and TV Guide.
Not only that -- VH1 flew me to London for a special one-hour interview of Paul McCartney and, on St. Patrick's Day in 1989 while I was in L.A. taping for VH1, Lucille Ball invited me to her home that evening for cocktails. Of course, I went.
I accepted the part-time WNBC offer because, when I met with execs, it was mentioned that I could do weekend film reviews in the studio. This appealed to me. I grew up in Los Angeles. Neither in L.A. or in New York City, had I ever seen a reflection of myself in film reviewers on TV. I wanted to do reviews to show that Black people could do them. I hoped I could help open a door for others.
The day before the show premiered, the Caucasian producer said "I don't think you have the skills to do film reviews." I would do lifestyle features and be the funny man-on-the-streets. I challenged my Caucasian producer. I fought to do film reviews. I would've had an easier time getting a permit to open a Hooters in Vatican City.
Another thing. Because of my VH1 talk show reputation, publicists followed me over to the local show and offered me their clients to interview in studio. Getting the green light to do celebrity interviews was also a battle. I did some but really got irritated when I noticed my producer rejected my opportunities to highlight talent of color -- like singers Patti LaBelle and Dianne Reeves and actress Pam Grier. The situation was better at local Fox 5. I did a bunch of celeb interviews there. However, I still encountered difficulty trying to get the same degree of attention and respect for talent of color that white celebrities got. My executive producer turned down my opportunity to do live segments with Chris Rock simply because he didn't know who Chris Rock was. (This was the late 90s.) I was offered another live shot opportunity with Sean "P. Diddy" Combs. The exec. producer didn't think viewers would be interested. I won that battle. My interview of Spike Lee, talking about his blistering and brilliant 4 LITTLE GIRLS documentary, was not promoted and it was pushed to the last half hour of the show when viewership had a significant drop off.
ABC News hired me in 2000 to be the weekly film reviewer/historian on its live, hour-long Lifetime TV production called LIFETIME LIVE. I was hired after pushing for an interview. Why did I push? Because the white producer kept asking "Does he know anything about movies?" I got the job. The show lasted one year. I loved that job. I wrote, researched and performed an 8-minute segment live every Friday without TelePrompter. And I wrote reviews for the show's website. Besides the reviews of 2 new theatrical releases and a DVD release, it was my idea to recommend a strong performance by an actress in a classic film as a "Women in Film" history spot considering it was Lifetime TV.
For this network job, I got $500 a week and, as the ABC rep said, "...not a penny more." That was $500 a week -- before taxes. Yes, I loved that network TV job even though I could've made more money wearing a paper hat and working behind the counter in a fast food franchise.
I heard that CNN was seeking an entertainment reporter in 2002. I contacted the producer. He asked if I'd ever done entertainment reports. I was no longer interested in the job. I pitched myself to CBS SUNDAY MORNING from the 1990s to 2004 to be an entertainment contributor. I never got a response. Oh. About pitching myself. I got myself the following jobs:
VH1 veejay/talk show host
CBS Late Night semi-regular on THE PAT SAJAK SHOW
WNBC News, WEEKEND TODAY IN NEW YORK
Fox5, GOOD DAY NEW YORK
ABC News, LIFETIME LIVE
PBS New York, Host
Food Network, TOP 5 Host
The Whoopi Goldberg Morning Show on PREMIERE RADIO, Entertainment contributor
I got myself those jobs because -- during all that time -- broadcast agents (who were all white) turned me down for representation. They usually said, "I wouldn't know what to do with you."
That, in a way, ties back to why a lot of us African Americans wanted to be entertainment contributors. We knew the systemic racial barriers Black/Latinx talent hit in the entertainment industry. The Hollywood Credo was "Black stories don't sell." Because top studios wouldn't green light stories with predominantly Black casts, there weren't as many work opportunities for Black actors and filmmakers. If there wasn't work for Black talent, agents would say "They're not gonna bring me in a big 10% like a Reese Witherspoon or a Ryan Gosling. So why bother representing them?"
If a Black filmmaker made a film that got a standing ovation at the Cannes Film Festival, that's terrific news. However, it doesn't mean Hollywood will give him/her the juicy marketing budget that it would give a white filmmaker. THAT'S where we Black entertainment contributors and talk show hosts come in. We know how that game goes. We want to spotlight Black/Latinx talent so folks will see the work and the directors/actors can get more work. But we have to punch through our white bosses saying "I don't know who these people are" and publicists not giving Black entertainment journalists equal opportunities on the red carpet. After they chatted with white entertainment reporters, I've seen publicists whiz their actors past the Black reporters so quickly that the actors experienced G-force.
Back to the versatile Hattie McDaniel. She was a stand-out in dramas, comedies and musicals. But two years after her historical Oscar victory for GONE WITH THE WIND, Hollywood was still treating her like a bit player. With her charisma, she continued to stand-out but she was never elevated. She was never given another big, significant role that could've brought her another Oscar nomination. She never got a lead role. Think about Hattie. Now think about Black/Latinx actresses from Rita Moreno in 1961's WEST SIDE STORY followed by Diahann Carroll, Cicely Tyson, Alfre Woodard, Angela Bassett, Margaret Avery from THE COLOR PURPLE to Taraji P. Henson, Gabourey Sidibe, and Jennifer Hudson who was the Best Supporting Actress Oscar winner for 2006's DREAMGIRLS. They all got one Oscar nomination -- Rita Moreno won Best Supporting Actress for WEST SIDE STORY -- and then they had to go to TV for regular employment because Hollywood had no other good script opportunities for them after their Oscar nominations. To me, that is a bigger story than racial images in 1939's GONE WITH THE WIND. We should discuss the lack of Hollywood opportunities for women of color who got Oscar nominations after Hattie McDaniel's breakthrough for 1939's GONE WITH THE WIND.
Our lives were suddenly, drastically changed by the coronavirus pandemic. During our health lockdown, the murder of George Floyd brought the national virus of racism to a fever pitch. "Black Lives Matter" became a global chant in protest marches. Then companies got "woke." They started embracing the "Black Lives Matter" statement. In entertainment, TV shows stopped streaming episodes that had white actors in blackface. I had no idea so many modern shows had blackface moments. White actors who'd been doing the voiceovers for Black characters in animated shows stepped away from their jobs to allow actual people of color to do the voiceovers. I had no idea all that work was available! Then, again, I don't hear about auditions. Last month, Jon Stewart said that he could've done more to have racial diversity in his THE DAILY SHOW staff. I love that show. Nevertheless, over 10 years ago, I always noticed his writing team was practically all-white each time it went onstage to accept Emmy awards. Last month, the co-creator of FRIENDS revealed she could've done more to bring diversity into its cast. Hello! Oprah brought up the lack of racial diversity on the sitcom when she had the cast on her show in the 1990s.
In 2009, I saw Disney's THE PRINCESS AND THE FROG. How I loved seeing Disney's first African American princess. The story was delightful and the animation gorgeous. Then Princess Tiana was gone. I wondered if she'd entered an animated witness protection program for some reason. In 2013, Disney's FROZEN comes out and it's all about Elsa. Blonde Elsa gets a sequel, she gets a star spot in Disney on Ice and she gets a Broadway musical based on FROZEN. One Halloween on GOOD MORNING AMERICA, did Robin Roberts dress up like Tiana from THE PRINCESS AND THE FROG? No. They put a platinum blonde wig on her head and made her dress up like frigid Elsa.
Another Oscar-wining box office champ starred Hattie McDaniel and caused a controversy. Disney's SONG OF THE SOUTH is a 1946 live action/animated musical that takes place on a plantation. Hattie is the plantation cook who's friends with storyteller Uncle Remus. Today, Disney hides that feature but its Splash Mountain ride at Disneyland still had the SONG OF THE SOUTH plantation character images from the movie. Disney got "woke" and, finally, Princess Tiana will make a comeback. The Splash Mountain ride will renovated with a THE PRINCESS AND THE FROG theme.
This tells me that folks and companies who considered themselves to be quite liberal had not really embraced racial inclusion and equal opportunities -- and they knew it. They treated Race like it was a Jehovah's Witness knocking at the door early on a Saturday morning. They pretended to not be home and peeked at it through the Venetian blinds until it went away.
Today, they've been forced to open the door.
Link Souce
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