For as long as there has been a film industry, black actors have been a part of it. As one looks at the history of black cinema, however, not much has changed in over 125 years regarding behindthe-scenes ownership and the continued stereotypical casting of black actors or characters. The earliest-known black actor in Hollywood was born Lincoln Theodore Monroe Andrew Perry, better known as Stepin Fetchit. His career began with vaudeville, and he successfully parlayed the character dubbed “The Laziest Man in the World” from the stage to the screen. Perry is said to have been the first black actor to make $1 million, but he unfortunately squandered his talents by making a mockery of those who shared his skin color. He is also alleged to have been an abusive husband behind the scenes. Nevertheless, he has the distinction of being the first black actor to have a film credit. The roles offered Perry were not his fault. In the early days of film, black characters were often relegated to those of servants, slaves or ignoramuses with bug eyes and big teeth. Several productions backed by white studios didn’t even bother to hire actual black actors, opting instead to put whites in blackface. This practice was popularized by one of the biggest musicians of the early 20th century, Al Jolson. Depending upon whom you ask, Jolson is either the most successful pillager of black culture of the era—cultivating rhythms from the community for his own gain—or an advocate who strived to raise the image of black entertainers. Jolson debuted his signature blackface character Gus in The Whirl of Society on Broadway in 1912. After adding this character to his repertoire, he was able to command a $1,000-per-week salary. Gus appeared in future plays as well.
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Moving on to films, Jolson’s big breakout was in The Jazz Singer. Soon after, he made Mammy. Songwriter Noble Sissle said of Jolson’s performance, “With real tears streaming down his blackened face, he immortalized the Negro motherhood of America as no individual could.” Some believe his adoption of traditionally black music made it easier for white audiences to accept it. Opinions of Jolson’s use of blackface may vary, but the verdict today is unanimous that the use of the practice in 1915’s The Birth of a Nation is a complete disgrace. It’s a shame that the film, based on a book titled The Clansman, has extensive historical significance from a technological standpoint. It was the longest film ever made at the time and the first 12-reel film. It is also the first film ever
BAVUAL:
TOP: The offensive landmark film The Birth of a Nation (1915), with white actors in blackface, sparked nationwide protests and race riots. BOTTOM: The Birth of a Race (1918) was a positive rebuttal to the racist The Birth of a Nation (1915).
The African Heritage Magazine
| Winter 2022
