With ‘Hollywood Black,’ Justin Simien wants us to rethink cinema’s history and its future

As a film enthusiast and someone who has spent years navigating the complexities of Hollywood, I must say that watching “Hollywood Black” was an eye-opening experience for me. It shed light on stories and artists that have been overlooked for far too long, like Charles Lane and his groundbreaking silent film “Sidewalk Stories.”

“What is a Black movie?”

Justin Simien, known for captivating Hollywood with his debut film “Dear White People” (2014), posed a question to several prominent movie directors. However, he didn’t receive a clear or definitive response from them.

“A movie typically with African Americans in leading roles.”

“A movie inspired by, rooted by, influenced and told by Black people.”

“I know one when I see one.”

Simien’s main objective in “Hollywood Black” is to delve into the history of Black cinema, showcasing both the victories and hardships endured by African American artists. This four-part documentary series on MGM+ debuted in August and will wrap up this Sunday with the episode titled “Dear Black People,” which emphasizes recent achievements by Black filmmakers, including movies like “Get Out” and “Black Panther.”

Drawing inspiration from historian Donald Bogle’s book “Hollywood Black” and incorporating perspectives from various influential figures such as directors Ryan Coogler (“Black Panther”) and Gina Prince-Bythewood (“The Woman King”), actor Giancarlo Esposito, and more, this endeavor delves into the progression of Black cinema – from its inception during the silent film era to the modern day. The project aimed to highlight and celebrate artists and films that have often been overlooked, yet are readily accessible (or “hidden in plain sight”).

In his introduction to the new series, director Simien, who was at the helm of the 2023 reboot of “The Haunted Mansion” by Disney, expressed a desire for everyone to re-evaluate the narrative of cinema’s past. His reasoning being that those who shape cinema also write history.

Discussing in his Hollywood workspace, he delved into the hurdles faced during the creation of the documentary, the heavy repercussions of last year’s industry-wide strikes in Hollywood, and the possibility of multiple adaptations of “The Color Purple” beyond just two. Here are selected parts of our talk.

Trying to cover the history of Black cinema in four hours must have been a formidable undertaking.

In essence, this entertainment industry thrives upon cultural movements that predominantly revolve around Black communities. However, control over it has never been ours to hold. Yet, we are an integral part of its growth and transformation, serving as the unique flavor in every phase. Therefore, the narrative unfolds as these influential figures struggle with gaining, losing, and reclaiming control. Ultimately, this saga becomes more about politics than anything else.

A significant portion of your life’s path was shaped by “The Wiz.” Many people hold this movie dear, yet it didn’t receive widespread acclaim or box office recognition as a hit.

As a movie enthusiast, I must confess that when evaluating films like “The Wiz,” traditional measures of success often fall short. This film, much like a cultural cornerstone, transcends those norms, and it’s particularly evident in something as iconic as “The Wiz.”

A different movie that leaves Black viewers with divided opinions is the 2023 musical adaptation of “The Color Purple,” which was produced by Oprah Winfrey. Many supporters of the 1985 film featuring Whoopi Goldberg have not warmly received this new version.

I get it, but at the same time, I’m thrilled that Blitz Bazawule, who brought the musical adaptation to life, got to debut his first significant film. It’s noteworthy and exciting that it’s unusual for Black filmmakers to direct movies. Given this scarcity, it’s a unique project deserving of our focus. Unfortunately, we don’t have the same abundance of opportunities as others might.

On a personal note, I eagerly anticipate a movie version of “The Color Purple” that accurately highlights the LGBTQ+ themes present in Alice Walker’s original work. As long as we continue adapting this novel, I am content, as there are still deeper layers to explore within its pages.

In this movie review, I found myself captivated by the documentary’s spotlight on underappreciated artists and their works, such as Charles Lane, whose black-and-white silent masterpiece, “Sidewalk Stories,” has often been overlooked.

The inspiration for this project stemmed from watching these movies, which left me equally amazed and infuriated, to the point of being truly angry. “Sidewalk Stories” was released in 1989. That year was significant for Black cinema, marking the time of [Spike Lee’s] “Do the Right Thing.” However, this other film that came out around the same time has been overlooked, failing to create a genre like “Do the Right Thing” did. One reason for this oversight is because it didn’t align with the popular perception of Blackness during that period. Nevertheless, it is a true masterpiece.

When “The Artist” received an Oscar, I recall enjoying that film, yet found its acclaim as something significant puzzling. Reminiscent of this is the movie “Sidewalk Stories,” which employs the silent movie style, notably through Charles’ portrayal of a black child on New York City streets. This film is noteworthy for its reinterpretation of Charlie Chaplin, while also addressing racial diversity. The question arises: Why does it feel distinct watching similar relationships unfold on screen when portrayed by Black characters?

At the early phases of the Hollywood strikes, there was apprehension among Black artists that they would face significant consequences once the strikes concluded. Is it currently more difficult in Hollywood, with many people jobless, than it has been for African-American filmmakers historically?

Indeed, the current situation is more challenging than ever before, and it has particularly affected queer artists. I’ve experienced this pendulum-like shift myself with “Dear White People” [the film]. I felt its swing again when I transformed it into a TV series. Over those years, I sensed the pendulum going back and forth, and now it seems to be swinging back once more, making things incredibly tough. It’s a real struggle.

This year, Da’Vine Joy Randolph was awarded an Oscar for her portrayal of Mary Lamb, the head cook at a prestigious New England boarding school in “The Holdovers”. However, her victory has stirred up debate, as some critics argue that it perpetuates a long-standing trend of recognizing Black actresses for roles where they are subservient to whites or serve supporting roles for white characters, while their performances often go unrewarded in other aspects.

That’s an important conversation. But again she is winning an award for her performance. The bottom line is, that the role did not exist for her, for whatever reason, in the hands of a Black filmmaker. What she did with it was phenomenal. For me, that’s what we are rewarding. It’s the same with Hattie McDaniel in “Gone With the Wind.” We’re not rewarding the representation, the caricature or the stereotype. We are rewarding the person inside a pretty not-so-great system that constantly is representing Black people in a very negative way. Inside of that, she was able to do something pretty magnificent and steal the attention from the other white co-stars.

Could there be a chance for additional episodes in “Hollywood Black”? There’s a wealth of unexplored material that we didn’t delve into in the series.

I think it would be great. It’s up to MGM and MGM+. You could honestly go over the same periods and talk about completely different artists and still not have enough time. Or you could pick one artist per episode. If someone wants to give me some Ken Burns documentary money, then we can really go.

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2024-09-01 13:31