6 Insights Unveiled by the Historical Docuseries

Justin Simien’s four-part documentary series “Hollywood Black” spotlights the impacts, challenges, and triumphs of Black pioneers in Hollywood. The first episode tackles the industry’s earliest portrayals of Black people in media, including minstrels and stereotypical characters, and highlights the Black leaders who sought to change the narrative.

“Cinema is not really possible without Blackness. For starters, Black is literally the thing that all cinema fades in from and fades out to,” Simien narrates. “From its very beginnings, Hollywood has been fascinated with Blackness. Not only are we the first subjects in early motion pictures, but we are also the subject of the first blockbusters, early animation, and of course, the first talkie.”

“In fact, every time Hollywood is looking to reinvent itself or expand its reach, it tends to do so with Black bodies,” Simien adds. “Consciously or not, Black faces make money, Black culture makes money. But who controls what those faces do or say? And who benefits?”

Structural racism in America has permeated every layer of society, including the entertainment industry. From blackface comedy and mammy caricatures in film, to the release of “The Birth of a Nation,” anti-Black rhetoric has been intentionally planted in some influential films and television shows. This is where “Hollywood Black” begins its exploration.

“Hollywood Black,” inspired by Donald Bogle’s book of the same name, premiered on MGM+ on Sunday, Aug. 11. Here are the six key points from Episode 1: “Built On Our Backs.” Episode 2 airs next Sunday, Aug. 18.

“Hollywood Black” begins with the Black pioneers of the motion picture industry, starting with silent film star Bert Williams, one of the most popular entertainers during the vaudeville era.

At that time, Black actors were frequently cast in roles that perpetuated racist stereotypes or were parts in blackface-centered theatrical shows known as “minstrels.” Williams, often credited as the first Black comedian to appear in cinema, rose to fame during this era. Although he was already Black, he was instructed to darken his skin further to appeal more to white audiences, as explained in the docuseries.

“He’s taking cork and blackening his skin in order to be more palatable to white audiences,” one interviewee shared about Williams, who went on to create the first Black Broadway show, “In Dahomey.”

The documentary also details the backstory of minstrel shows, blackface in film, and the earliest portrayals of Black people in cinema, focusing on D.W. Griffith’s 1915 film “The Birth of a Nation,” originally titled “The Clansman.” This movie, based on Thomas Dixon’s novel, depicted the Klu Klux Klan as heroes saving a white community from vengeful formerly enslaved people.

“D.W. Griffith used blackface and many horrifying yet familiar minstrel stereotypes to convey fear of what would happen if Black people ran the country,” Justin Simien said.

“The Birth of a Nation” was shown at the White House in February 1915, attended by President Woodrow Wilson. The film sparked racially motivated violence against Black Americans across three dozen American cities in 1919, during what was known as Red Summer.

In response to “The Birth of a Nation,” Black filmmakers like Oscar Micheaux began to emerge with the intention of correcting false Black narratives in Hollywood. Micheaux responded with his film “Within Our Gates” (1920), which he financed by going door-to-door asking for donations.

“He would go from house to house and he would go, ‘Hi, I’m a Black man making a movie, would you put some money in?’ He did that enough times to make a movie, and then the movie made enough money for him to pay people back and make another movie,” writer-director Reginald Hudlin said.

Without studio backing or financial support, Micheaux went on to make 40 independent films between 1918 and 1948.

Paul Robeson broke through cinematic barriers by becoming the first Black actor to star in a leading role in the 1933 drama “The Emperor Jones.” Not only was he a pioneer in cinema, but he was also a powerful voice against racism and advocated for the working class.

“In his contract, he stated that he would not do any scenes shot below the Mason-Dixon line,” Bogle said. Robeson’s anti-racist forthrightness ultimately cost him his Hollywood career.

He was questioned by the House Un-American Activities Committee and refused to name names. Consequently, his passport was taken away, limiting his ability to travel and continue his work as an artist.

Hattie McDaniel, the first Black person to win an Oscar, wasn’t seated with her castmates at the 1940 Academy Awards. Instead, she was placed at a side table. McDaniel won Best Supporting Actress for her performance in “Gone With the Wind,” where she played a house slave named Ruth “Mammy.”

“Hattie McDaniel is dressed to a tee when she goes to the Academy Awards in 1940,” Stewart said. “It’s held at the Coconut Grove, a whites-only ballroom. She’s there because an exception was made.”

Despite her nomination, McDaniel was seated apart from her castmates. Her win marked a significant moment in Hollywood history, yet it would be 23 years before another Black actor, Sidney Poitier, would win an Oscar for Best Actor.

The episode closes by highlighting Lena Horne’s career. Horne’s rise from the Cotton Club in Harlem to Hollywood was partly facilitated by the NAACP, which wanted her to represent a new, more positive image of Black people.

Horne signed a seven-year contract with MGM Studios with the condition that she would never play maids or domestics, a move that received mixed reactions from other Black actors. However, Hattie McDaniel supported Horne’s decision, recognizing it as a step forward for Black creatives in Hollywood.

Ultimately, “Hollywood Black” shines a light on the tenacity and creativity of Black pioneers in the film industry and their enduring impact on Hollywood.

Source: TheWrap, MGM+