Posts Tagged ‘TCM’

Should TCM still show films with blackface?

Posted by Winifred on June 19th, 2014  •  No Comments »


We love William Powell and Myrna Loy as Nick and Nora Charles in The Thin Man series and are always pleased when we run across an episode on TCM. As Mr. K has recently started to enjoy the work of William Powell, we thought we would introduce him to the series as well, inviting him to join us for Shadow of the Thin Man. It was mere seconds in when we lost him. All it took to ruin Mr. K’s rare interest in a classic film was the appearance of Louise Beavers as the Charles’ maid, wide eyed with open mouth as she struggles to pronounce the word telepathy. This is a frequent routine for us in our efforts to bring Mr. K into our love for classic film. Mr. K starts off open, is soon offended with the appearance of a black actor in a subservient role, and closes the door on TCM until we slowly, weeks or months later can lure him back with the proper star, story or action, preferably along the lines of Bullitt.

A few days after Mr. K sulked through The Thin Man, we saw Barry Cunningham question with disgust why TCM (the Turner Classic Movie Channel) continues to broadcast films depicting blackface. Mr. K understood the question – he would just as soon scrub a number of titles from TCM’s lineup and not just those showing blackface. We no more enjoy Louise Beavers’ eyes popping out of her head than Mr. K does. We just finally experienced an exquisite moment of elegance with Gugu Mbatha-Raw in Belle, an image of a black woman still so rare in media, some 80 years after The Thin Man. We too would prefer to not, each time we turn to TCM, be confronted with only the most racist, unflattering imagery of black men and women, or feel the greatest regret that the 1930s and 40s had no black Gene Tierney, Carol Lombard, or Bette Davis.

Barry Cunningham offers that TCM at least start with a warning label to films depicting blackface, allowing parents, for instance, to determine if such imagery is something they would allow their children to see. We second that, but also wonder if this label would not be appropriate for just about every film with a black cast member say, pre-1970? Let’s look at In The Heat Of The Night. How hard is it to stomach the gallant, debonair, gem that is Sidney Poitier being called “boy” throughout the film? Would a warning label be placed on that? And if Mr. K had his way and we scrubbed TCM’s lineup clean of such offending films, would In The Heat Of The Night, an important film in the history of Black Hollywood, not be one to be edited out?

We have previously written about the difficulty of loving the early 20th century and the disappointments that come with that for a black woman. But we persist in these films because after we close our eyes for the humiliation of actresses like Louise Beavers, we are left with film that is beautiful, that is art, that shows Myrna Loy making 3 outfit changes within a day, that tells of the social norms of that time, the language, the mannerisms. We get a view of history. We saw Barry Cunningham scoff at this concept a bit, and we do not blame him. But as an immigrant we truly appreciate the opportunity to look back.


We want to know even the unpleasant parts of America. Fortunately on TCM they are served with a side of refinement and style we wished had better endured. We want to know that in 1929 Nina Mae McKinney starred in Hallelujah, the first sound film with an all black cast. We can see for ourselves that despite all efforts to deglamourize her, Nina Mae would have outDietriched Dietrich, outlgamoured Lombard, outposed Garbo.

We would certainly have appreciated a warning for Showboat, letting us know Irene Dunne, who we had just enjoyed in several films including A Guy Named Joe, was going to appear in blackface. Shame on Irene Dunne, but thank you TCM for airing the film and her dirty laundry in effect. Had it not been for TCM, we might not have known and would foolishly have given her a place not deserved. The upside was not missing the opportunity to enjoy the voice of Paul Robeson.

Old Hollywood was for black actors an unbearable time and continuing to show these films is a reminder of a great shame that should not be forgotten. In a small way we feel that not suppressing these works also honors those who had this shame to bear. We quietly do so every time we tune in…

Posted in : Classic Films, In an Ideal World..., On Style, Vintage Fashion  •  Tags: , , , , , , , , , , , , ,

Nina Mae McKinney, superstar…

Posted by Winifred on May 16th, 2014  •  No Comments »


It was totally by accident that the TV was turned off and left on TCM and that we at the right moment would turn it back on to find ourselves stopped short at what looked like a very early film with an all black cast. It was from 1929 no less! The film was Hallelujah, directed by King Vidor featuring a beautiful, magnetic, sassy, raspy voiced star named Nina Mae McKinney. She jumps off the screen immediately, with her doe eyes, her pouty lips, her decisive but feminine moves. Who was she? Why had we never heard of her before and why was she not on our Pinterest boards?

Nina Mae, (pronounced Nine-ah) was born in Lancaster, South Carolina. She had moved to New York as part of the great migration and was discovered on Broadway in the musical Blackbirds of 1928 by Director King Vidor. What is so remarkable is that Nina Mae was only 16 when she starred in Hallelujah, thus she had everything ahead of her. She had beauty, energy, playfulness, she had sexy, spunk and glamour. She should have had it all.


She was the first black actress to star in a sound film, and was even signed to a 5 year contract with MGM after the success of Hallelujah which included an Oscar nomination for best writing. This, however, never led to any significant roles and she soon left for Europe where she starred in several British films and also performed in cabarets. In Europe they called her the black Garbo. And that she was.

That there are not many photos or even all of her films in the American archives serves us well. That way, we will not mourn for what could have been and not question why she was not a ultra glamorous, divine and richly chronicled star. Without the interference of less flattering photographs and unflattering film roles to mar the thrill of our discovery, we can construct the image of her that we prefer. A great beauty and enduring star.


In our view of her, Nina Mae McKinney has her hair perfectly set and waved, ultra thin long silky lashes make her already large eyes, sparkle. Her lips are ruby red, a shade of russian red just for her. She is in an Orry-Kelly gown, very low in the back, semi low in front, sequins lighting up her tiny frame and curves. Her nails, also red, holding a long cigarette of course, like all elegant ladies of the 1930s should. And in her photographs, shadows play up her beautiful skin against dark backgrounds, her eyes the stars that mesmerize and seduce. Her days would look like this and her glamour shook up the world…

Images Via pocinclassicfilm

Posted in : Beauty Refined, Classic Films, In an Ideal World...  •  Tags: , , , , , , , , , , , ,

Mogambo or Red Dust?

Posted by Winifred on April 18th, 2014  •  No Comments »


We watched Mogambo, 1953, because we were interested in more of Clark Gable’s work and also Ava Gardner’s. Of course we are always a bit hesitant to watch any film shot in Africa knowing that the storyline will be unflattering to natives. There was plenty of ordering natives about, throwing towels at them, unflattering speak behind their backs. Once we accepted that as part of the trial we would have to go through, we settled in for the story. A love triangle set in Africa, with Clark Gable in the lead as a game hunter, and Ava Gardner as a showgirl looking to meet a rich maharajah who did not show. That part of the story seemed to us a bit flimsy, and we actually read it as her looking for an excuse to escape somewhere, not that there really had been any setting of a meeting.

Given how quickly she then started a relationship with Gable, this seemed all the more so. After a few days of frolicking in the wild, a third party enters the scene. Grace Kelly and her husband, who want to film gorillas. Gable then falls for Kelly while taking care of her husband who conveniently falls ill. By the time he recovers, Kelly and Gable are mad for each other and Gardner is the woman scorned left to take it all in.

We did like Gardner with Gable, but her sad pining quickly wore thin next to Kelly’s grace. More and more she looked used up with nothing left to offer, and Kelly though not giving her greatest performance still resonated as the better choice. What we did not know is that Mogambo is a remake of Red Dust from 1932. We watched Red Dust after and were surprised we liked it better. Red Dust also starred Gable, 21 years younger and not much better, we were pleased to say. This time Jean Harlow is a prostitute on the run and Mary Astor the wife of a new employee. The location Indo China, the setting a rubber plantation.


Harlow’s role was considered much racier than Gardner’s, primarily because, as was mostly the case for a Harlow role, her breasts were not confined to a bra and she was consistently jiggling and bending about in flouncy, low cut dresses. There was also a bit more heat between she and Gable as he went, in a flash, from high levels of irritation to presumptuous and forward. But what made it fun was Harlow’s character; rather than being sad and forlorn she was also gutsy, playful and wild. In a cute scene she is bathing in an outdoor shower when Gable asks her to use the curtain so as not to offend Astor. Harlow then jumps in a barrel and finishes bathing there just as Astor comes out and sees them.

Though Red Dust has the same colonialist racism, with plenty of unflattering depictions of Asians, what made it better was that it had none of the bad discrepancies of Mogambo which struggled to combine clear set footage of the actors with raw documentary footage of African wildlife. Some of it so blatant as to appear cartoonish.

Both stories could have benefited from a better ending. Gable, after feeling some guilt over breaking up a marriage, decides to make his lover believe that he does not want her and wants her to go back to her husband. After sending off husband and wife, he then turns to his discards, now wanting them back. That disappointed a bit, particularly for Harlow who would seem far too brassy to accept second best. Even Gardner would not seem the kind to take him back, simply for the long suffering she was made to endure.

Neither movie tops any lists, but Magambo was particularly dry and slow where Red Dust offered levity and more sparks. If you must watch one, we enjoy Mary Astor and Jean Harlow’s breasts do entertain. A young, oft shouting Clark Gable works well, and frankly, difficult as it already is to watch classic films, the disrespect heaped upon the Southeast Asians hurt a bit less. Sorry…

Images Via Wooden boat, Doctormacro

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