"Reflections On... Black Cinema"
One Woman's Reflection
by Brandy Brooks
May 19, 2006
Editor's Note: Wild About Movies is proud to announce the debut of its newest series - "Reflections On..." Every month, Wild About Movies, with the help of a guest writer, will be dissecting a various genre of film - everything from Gay film, to Bollywood, to Spaghetti Westerns to Films of the 80s, to Martial Arts films. Will the next guest writer be you?
The reflection that follows gives but a glimpse at ten of the films which have had the greatest impact on African American cinema - in our contributor, Brandy Brooks's opinion. "While most of the movies listed below were box-office successes of their time, this cinematic compilation is less about box-office success as it is an exploration of those films that purvey the black image on screen. This list doesn't pretend to be extensive. It merely highlights those films as seen from the perspective of someone born in the X generation. What follows is an extremely subjective reflection upon black cinema. Hopefully you agree with some of the selections and if not the blame lies entirely with the mass media for corrupting my young mind," says Brooks.
10. Carmen Jones (1954)
This movie is included if for the only purpose being its non-inclusion would result in protest letters and commentary on my lack of appreciation for the cinematic forefathers. While I do agree that the film benefited from superb casting (Dorothy Dandridge, Harry Belafonte, Dianhann Carroll, and Pearl Bailey to name a few) and was a big-production of Georges Bizet opera Carmen told from an African American viewpoint for someone with the attention span of a two-year old the nearly two-hour musical is a bit much. Yet despite the film’s length at the time when Carmen Jones premiered it was a rarity for a film to even feature an all-black cast let alone market that film to white audiences. The context laden, dialogue-heavy period piece is definitely worth a second glance if only for historical purposes as a testament to the growth of black cinema.
9. Birth of a Nation (1915)
When deciding whether to include Birth of a Nation I was torn between its blatant racism and its cinematic importance in being cinema’s first blockbuster. While Birth of a Nation is a complex artifact that was both highly praised by moviegoers and criticized by the National Association for the Advancement of Colored Peoples (NAACP) the film pointedly sheds light on social conceptions of race, culture, identity, gender, and identity at the turn of the 20th century. Even though this film introduced cinematic effects such as wide-angle shots, still cards, and still shots that alone does not diminish the fact that this film served as the blueprint for extremist depictions of African Americans on film. Yet despite the negative stereotypes of blacks by blackface white actors the film is relevant within an historical context. Despite the fact that this was (and probably still is) used as a recruitment piece for the Ku Klux Klan this film is included because the movie’s substance will incite viewers to make sure that future films are more accurate reflections of what it means to be black in America.
8. Shaft (1971)
It may seem odd to follow-up Birth of a Nation with Gordon Parks’ Shaft but given the blatantly racist Birth of a Nation it seems only right to follow that with a films that contextualizes the Black Nationalist Movement of the 1970s as well as represents a cinematic reclamation of Black Power. Blaxploitation films embodied the FUBU image – For Us, By Us Despite being highly criticized by civil rights groups the films were immensely popular for its Afrocentric entertainment as they headlined the need and buying capacity of black audiences. Not only did audiences identify with the ass-kicking John Shaft and some of the movie’s memorable quotes but the Oscar winning theme song by Isaac Hayes makes this movie a cinematic classic. While the remake starring Samuel L. Jackson does not live up to the original it’s the ultimate compliment when a film is so revered that it becomes a remake nearly 30 years later. Additionally, I’d feel remiss if I didn’t at least give honorable mention to a few other films that remain as influential as Shaft. Sweet Sweetback’s Badass Song (1971), Cleopatra Jones (1973), Foxy Brown (1974), and Superfly (1972) alongside Shaft make for one Soul-Fest Badass movie marathon.
7. Gone with the Wind (1939)
I know I will probably receive more than a few disagreeing emails but I am not a big fan of the movie Gone with the Wind. The only reason why it appears on this list is because of Hattie McDaniel’s Best-Supporting Actress Oscar winning performance. Being the first African American (of anything) let alone being the first awarded representative of a medium that has worldwide appeal is monumental, despite the fact that she earned this award portraying a maid. While this film is included on AFI’s 100 Greatest Films in 100 Years list I would argue that its appearance on that list has more to do with its nostalgic romanticism to the antebellum South and frankly that is quite scary. The music, sets, costumes, cinematography, box-office success, and directing aside the “Old South” was a period of blatant racial and gender inequalities, aristocracy, and “King Cotton.” Not to mention the little-known fact that during the movie’s premiere in Atlanta, GA Hattie McDaniel skipped the premiere as a result of not wanting to be forced to sit in the colored section of the theater. Despite this film being historically accurate – for me that does not translate into it being an important and iconic piece which should be revered within the African American community. In short, this film should be remembered, but not celebrated.
6. What’s Love Got to do with it? (1993)
Angela Bassett….Angela Bassett…..Angela Bassett….need I write more? While several others auditioned, including Whitney Houston, Robin Givens, and Halle Berry, the coveted role to play Anna Mae Bullard was convincingly embodied by Angela Bassett. As not to diminish the performance of Laurence Fishburne his acting evokes such passion and commitment in his lines that the viewer both hates and pities his one-dimensional character. The pairing of Angela Bassett and Laurence Fishburne in What’s Love Got to Do with It? is purely cinematic brilliance. This movie is included here because it is important for filmmakers and audiences alike to see biographical features headlining prominent African American individuals. In the same vein of Introducing Dorothy Dandridge starring Halle Berry this movie is a celebrity biopic that offers an intense portrait of Tina Turner’s musical career and her turbulent relationship and subsequent divorce to Ike Turner. While the film suffers from chronological gaps (it is hard to squeeze 60 years into two hours) the character-driven powerhouse performances and foot-stomping concert scenes make this movie an urban classic.
5. School Daze (1988) & Do the Right Thing (1991)
After flipping coins and various elimination games I just could not decide which of Spike Lee’s films I thought should be included on this list. Furthermore, since many product taglines give reference to two being better than one I figured that I would include two films. Spike Lee is the modern-day filmmaking Renaissance man. He is a controversial and groundbreaking director, writer, producer, actor, and documentarian. School Daze is an urban musical based in part on Lee’s experiences at Atlanta’s Morehouse College. The movie explores the racial, social, and economic tensions between fraternity and sorority members, the general student body and the local underemployed and undereducated townsmen and women. Additionally, the movie touches upon the discriminations apparent within the African American community as indicated with the light-skin/dark-skin production “Black and Nappy.” Lee’s 1991 Do the Right Thing almost predicted the Rodney King riots which erupted in Los Angeles a few years later. Besides the fact that the film was deemed “culturally significant” by the U.S. Library of Congress the film adeptly tiptoes the line of bigotry and underlying racial conflict that can occur within multi-ethic communities. Lee’s films provide depth and analysis and allow viewers the rare opportunity to examine diverse and complex issues such as race relations, media’s influence on society, politics, as well as urban poverty, crime, and underemployment. In the same vein as John Singleton his films bring to life contemporary issues which impact ethnic communities.
4. Guess Who's Coming to Dinner (1967)
Guess Who’s Coming to Dinner is included less for its understated performances (Katherine Hepburn, Beah Richards, and Spencer Tracy shine) and more for its suggestion that within several hours over a home-cooked meal two families can overcome the racial inequities that have plagued the United Stated for centuries. If only life could always have as happy an ending. The film is centered on interracial marriage which at the time of its release was still illegal in several U.S. states. Additionally, as with Shaft this movie’s remake (while bland and barely comedic) serves as a compliment to the themes integration and the possibility that over one dinner the racial inequities that have plagued the county for centuries can be reasoned and a middle ground found. The movie is a testament to the pedagogy that no matter the obstacle one can overcome – in this case parental and societal objections to interracial marriages. For its time the film was socially progressive even if it appears a bit old-fashioned today. This is a great film to watch when you begin to question the humanity within us all.
3. Boyz N the Hood (1991)
Boyz N the Hood, John Singleton’s debut film adeptly depicted the epidemic problems within urban ghettos: the proliferation of “pharmaceutical engineers” (drug dealers), inescapable violence, friendship, teen pregnancy, love, black men’s loathing and love for black women, racial profiling, and underemployment. While the film is a cinematic masterpiece in its depiction of the ills and triumphs that besiege African American communities it’s the ensemble cast (featuring a young Cuba Gooding Jr., Nia Long, Regina King, and Morris Chestnut along veterans Angela Basset, and Lawrence Fishburne, and Tyra Ferrell) that breathe life into John Singleton’s words. With lines like “Either they don’t know, don’t show, or don’t care what’s going on in the hood” Singleton takes a non-subtle but realistic approach the film is culturally poignant without becoming overly preachy. The movie is anything but perfunctory as Singleton combines maturity and depth in tackling issues which continue to plague urban areas. If I had three thumbs I would give the movie “Three Enthusiastic Thumbs Up” but since I only have two thumbs, I dub Boyz N Da Hood an impressive feature worthy of “Two Thumbs Up.”
2. Coming to America (1988)
I include this John Landis piece for the sheer purpose that despite viewers opinions of the movie’s themes and albeit laughable plot this movie highlights the emergence and blockbuster success of black comics in the late 1970s and throughout the 1980s. Movies like Coming to America served as a comedic focused way to poke fun at many social, political, and racial issues without being censured or cited as Hollywood bigotry. Additionally, this film and others proved that blacks could headline features that appealed to mainstream audiences which equated with blockbuster success. Also, the fact that these films appear every other weekend as movie selections on local stations reiterates their lasting appeal. Yet at the same time as a friend of mine recently mentioned the 80’s Generation was a trickle-down, get rich at everybody’s expense decade. As a result the empowerment themes of the 70s faded and gave way to stereotypical perceptions of blacks veiled as comedy. The black image is sacred and very fragile as films indicate and the 80s took some jabs at that image. Prime example, is the film Trading Places (1983) which is a great concept on paper but on film the racist dialogue and situations illustrate that whites don’t understand blacks and vice versa. Other films which dissect the 1980s mainstream black comedies were: Beverly Hills Cop trilogy (beginning in 1983), Brewster’s Millions (1985), The Toy (1982), and Jumpin’ Jack Flash (1986).
1. The Color Purple (1985)
This movie is hands-down phenomenal from the cinematography, direction, writing to the impeccable acting (Four Academy Award nominations for acting, alone.) Even though Whoopie Goldberg was touted as the film’s newcomer she held her own alongside Danny Glover, Oprah Winfrey, Margaret Avery, Adolph Caesar, Rae Dawn Chong, and Akosua Busia. The movie is a visual representation of the novel which addressed many issues important to understanding life for black Americans during the mid-20th century. As the movie’s tagline states “It’s About Life. It’s About Love. It’s About Us.” While many films adapted from novels lose the essence of the story along the way that is not the case with The Color Purple. In fact, after viewing the movie I read the book the book for the first time and was grateful for the care that was taken with adapting the Pulitzer Prize winning novel. Additionally, in December of 2005 the novel became a musical adaptation appearing on Broadway. Surprisingly, despite 11 Academy Award nominations, the film did not win any and while the compilation of this list is not on the same tier as an Oscar win – it was not accidental that The Color Purple is listed as the #1 film in depicting and exploring black imagery.
The opinions expressed above are solely those of the author and are not a reflection of WildAboutMovies. For more information on the author, to comment on this piece or to discuss writing an upcoming "Reflections On...," send an email to
Tim Nasson, Publisher of Wild About Movies, at wildaboutmovies@gmail.com
