This particular video recording of Boat River contain some stereotypical images of Paul Robeson and Hattie McDaniel. Never the less, both actors performed superb in this edition of Show Boat. A bio on Hattie is printed below. A bio of Robeson is already listed on the blog, If you would like to read the bio on Robeson, just click the link below enjoy
Bio: Paul Robeson
http://www.operntanz.com/2011/11/my-forward-paul-robeson-was-not-only.html
Paul Robeson - Ol' Man River (HD) | Film: Showboat (1936) Wikipedia:
Bio of Hattie McDaniel (June 10, 1895 – October 26, 1952) was an American actress. She was the first African American to win an Academy Award. She won the award for Best Supporting Actress for her role of Mammy in Gone with the Wind (1939).
In addition to acting in many films, McDaniel was a professional singer-songwriter, comedian, stage actress, radio performer, and television star; she was the first black woman to sing on the radio in the U.S. During her career, McDaniel appeared in over 300 films, although she received screen credits for only 80 or so.
stamp
Controversy over roles
As her fame grew, McDaniel faced growing criticism from some members of the black community. Groups such as the NAACP complained that Hollywood stereotypes not only restricted blacks to servant roles but often portrayed blacks as lazy, dim-witted, perfectly satisfied in lowly positions, or violent. In addition to addressing studios, they called upon actors, and especially leading black actors, to pressure studios to offer more substantive roles and at least not pander to stereotypes. They also argued that these portrayals were unfair as well as inaccurate and that, coupled with segregation and other forms of discrimination, such stereotypes were making it difficult for all blacks, not only actors, to overcome racism and succeed. Some attacked McDaniel for being an "Uncle Tom"—a person willing to advance personally by perpetuating racial stereotypes or being an agreeable agent of offensive racial restrictions. McDaniel characterized these challenges as class-based biases against domestics, a claim that white columnists seemed to accept. And she reportedly said: "Why should I complain about making $700 a week playing a maid? If I didn't, I'd be making $7 a week being one."[38] McDaniel may also have been criticized because, unlike many other black entertainers, she was not associated with civil rights protests and was largely absent from efforts to establish a commercial base for independent black films. She did not join the Negro Actors Guild of America until 1947, very late in her career. (The Guild was a benevolent organization that helped black entertainers in need; many major black stars and some white ones belonged to it.) McDaniel hired one of the few white agents who would represent black actors in those days, William Meiklejohn, to advance her career. Evidence suggests her avoidance of political controversy was premeditated. When columnist Hedda Hopper sent her Richard Nixon placards and asked McDaniel to distribute them, McDaniel declined, replying she had long ago decided to stay out of politics. "Beulah is everybody's friend," she said. Since she was earning a living honestly, she added, she should not be criticized for accepting such work as was offered. Her critics, especially Walter White of the NAACP, claimed that she and other actors that agreed to portray stereotypes were not a neutral force but rather willing agents of black oppression.
McDaniel and other black actors feared that their roles would evaporate if the NAACP and other Hollywood critics complained too loudly. She blamed these critics for hindering her career and sought the help of allies of doubtful reputation. After speaking with McDaniel, Hedda Hopper even claimed that McDaniel's career troubles were not the result of racism but had been caused by McDaniel's "own people".
McDaniel died at age 57 on October 26, 1952, of breast cancer in the hospital on the grounds of the Motion Picture House in Woodland Hills. McDaniel was survived by her brother, Sam McDaniel. Thousands of mourners turned out to celebrate her life and achievements. In her will, McDaniel wrote: "I desire a white casket and a white shroud; white gardenias in my hair and in my hands, together with a white gardenia blanket and a pillow of red roses. I also wish to be buried in the Hollywood Cemetery." The Hollywood Cemetery on Santa Monica Boulevard in Hollywood is the resting place of movie stars such as Douglas Fairbanks, Rudolph Valentino, and others. Hollywood Cemetery refused to allow her to be buried there, because it, too, practiced racial segregation and would not accept for burial the bodies of black people. Her second choice was Angelus-Rosedale Cemetery, where she lies today.
In 1999, Tyler Cassidy, the new owner of the Hollywood Cemetery that had renamed it Hollywood Forever Cemetery, offered to have McDaniel re-interred at his cemetery. Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake. It is one of Hollywood's most popular tourist attractions.
McDaniel's last will and testament of December 1951 awarded her Oscar to Howard University, where she had been honored by the students with a luncheon after she had won her Oscar. At the time of her death, McDaniel would have had few options. Very few white institutions in that day preserved black history. Historically, black colleges had been where such artifacts were placed. Despite evidence McDaniel had earned an excellent income as an actor, her final estate was less than $10,000. The IRS claimed the estate owed more than $11,000 in taxes. In the end, the probate court ordered all of her property, including her Oscar, sold to pay off creditors. Years later, the Oscar turned up where McDaniel wanted it to be: Howard University, where, according to reports, it was displayed in a glass case in the University's drama
department.
No comments
Post a Comment