Tag Archives: Hattie McDaniel

Song of the South-1946

Song of the South-1946

Director Harve Foster, Wilfred Jackson

Starring James Baskett, Billy Driscoll

Scott’s Review #893

Reviewed May 4, 2019

Grade: B+

Song of the South (1946) is a Walt Disney film buried in the chambers of cinema history, reportedly an embarrassment never too soon forgotten by the legendary producer and his company.

The reason for the ruckus is the numerous overtones of racism that emerge throughout an otherwise darling film. Admittedly the film contains a racial cheeriness that cannot be interpreted as anything other than condescension to black folk and numerous stereotypes abound.

The mysterious appeal of the film during modern times is undoubted because of the surrounding controversies that hopefully can be put aside in favor of a resoundingly positive message and glimmering childlike innocence that resonates throughout the film.

The hybrid choice of live-action and animation is superlative, eliciting a progressive never before seen, an experience that would be shameful to be spoiled amid the surrounding controversies.

Taking place during the Reformation Era in Georgia, the United States of America, a period of American history shortly after the end of the Civil War and the abolition of slavery, the film has quite the Southern flavor and feel.

Seven-year-old Johnny (Bobby Driscoll) is excited to visit his grandmother’s (Lucile Watson) lavish plantation outside of Atlanta along with his mother, Sally (Ruth Warrick), and father (Erik Rolf). He is soon devastated to learn that his father is to return to Atlanta for business, leaving Johnny behind.

Johnny plots to run away from the plantation and return to Atlanta but develops a special friendship with kindly Uncle Remus (James Baskett) who enchants the young boy with sentimental lesson stories about Br’er Rabbit and his foils Br’er Fox and Br’er Bear.

Drama ensues when Johnny feuds with two poor neighbor boys and develops a friendship with their sister, Ginny. He also forms a bond with Toby, a young black boy who lives on the plantation.

Thunderous applause must go to the creative minds who thought of mixing the animations with the live-action drama resulting in positive and compelling effects.

As Uncle Remus repeatedly embarks on a new story for Johnny to listen to the audience knows they will be transported into a magical land of make-believe as a clear lesson results from these stories.

Uncle Remus is an inspiring character- rare to find a black character written this way in 1946. Often black characters were reduced to maids, butlers, farmhands, or other servant roles.

While the film does not stray from the course by casting these roles aplenty, including Uncle Remus himself, his character is different because he is beloved by little Johnny respected by the grandmother, and treated as part of the family. His opinion counts for something and is not merely dismissed as rubbish.

The musical soundtrack to Song of the South is particularly cheery and easy to hum along to. The most recognizable song is “Zip-a-Dee-Doo-Dah” which reoccurs several times throughout the feature. The best rendition is at the end when the mix of live-action and animation culminates with the sing-along.

My favorite appearance is when the “bluebird” referenced in the lyric comes into play resting on one character’s shoulder, true to the lyrical content.

The accusations of racism are justified as keen viewers will understand the condescension towards blacks in several scenes.

More than once a parade of black people is seen traipsing through the plantation, singing songs, not exactly cheerfully but not despondent either.

The scenes have eerie slavery overtones- despite the black character’s all presumably being free to come and go, the reality is they all work for white folk. The black plight and struggle are completely sugar-coated and dismissed.

The animated characters are voiced by strong ethnic voices and are presumed to be ridiculous. The usage of a Tar-Baby character, completely enshrined in black tar seems offensive almost teetering on the implication of promoting a blackface, minstrel show moment as the character, once white, is then turned black because of the tar.

Song of the South is not the only film of its time to face racist accusations- the enormous Gone with the Wind (1939) and Jezebel (1938) faced similar heat.

Song of the South (1946) is recommended for those who can recognize the racism that exists and appreciate the film’s artistic merits. Wise and resounding friendships between white and black characters are evident as is a lovely story about determination, fairness, and respect.

The film should be treasured for its nice moments and scolded for its racist overtones.

Oscar Nominations: 1 win-Best Original Song-“Zip-a-Dee-Doo-Dah” (won)

The Great Lie-1941

The Great Lie-1941

Director Edmund Goulding

Starring Bette Davis, Mary Astor

Scott’s Review #891

Reviewed April 28, 2019

Grade: B+

Breezing into her heyday of films at this point, Hollywood starlet Bette Davis had become an expert at portraying tarts and bitches in most of her films. Desiring to turn left of center and play a more sympathetic character the actress jumped at the chance to play an ingenue.

The Great Lie (1941) is the perfect showcase for her talents in a gripping, dramatic film that is purely predictable soap opera, but lovely escapism did well.

Maggie Patterson (Davis) is a demure and sensitive southern socialite vying for the affections of former beau, aviator Peter Van Allen (George Brent). Peter has impulsively married sophisticated concert pianist Sandra Kovak (Mary Astor) and both are startled to learn their marriage is invalid.

Confused, Peter decides to marry Maggie and is quickly sent off to Brazil on business when his airplane crashes into the jungle leaving him presumed dead.

When Sandra realizes she is pregnant, Maggie proposes she is allowed to raise the child as her own in exchange for taking care of Sandra financially. The two women go to Arizona to await the birth, and Sandra delivers a boy named after his father.

The women face a quandary when Peter shows up alive and well and Sandra bitterly announces to Maggie that she intends to ride off into the sunset with Peter and her son. The women scratch and claw at each other metaphorically speaking, for the remainder of the picture.

The storyline, despite being perfectly melodramatic and stellar for an afternoon daytime drama, is rather engaging throughout, never suffering from too much contrivance.

Both Maggie and Sandra have appeal and both women are likable- or at least the film does its best not to make one woman the clear villain. Sandra, dripping with gorgeous fashion and a sturdy poise is confident, pairing well with Maggie’s southern charm and sensibilities- to say nothing of her wealth. Peter would do well with either woman and I found my allegiances shifting throughout the film.

Nearly upstaging Davis is Mary Astor giving a terrific performance as Sandra. The women are the reason for The Great Lie’s grit and gusto. They play the hell out of their roles and according to legend, both hated the script and vowed together to turn the project into gold.

They nearly succeed as the best sequence is when the women travel to deserted Arizona to spend the remainder of Sandra’s pregnancy. Cooped up together, how delicious to see Davis’s Maggie play caretaker to a whiny and spoiled Sandra- typically Davis would play the Sandra character, so the scenes are a treat.

Suspension of disbelief must be achieved as the major plot of the film is jarring in incomprehension. Maggie offers to provide Sandra with a large sum of money to ensure her security. I did not buy this point as Sandra appears to be well-off, touring the world with incredible success and living a lavish lifestyle including a staff of servants and a gorgeous apartment in New York City.

The character hardly appears to need a handout despite the incorporated dialogue of Sandra’s success predicted to wane as she ages.

Another oddity is the location of Maggie’s estate. Set in Maryland, hardly a southern mecca, the location has all the trimmings of the deep south, perhaps Mississippi. With an all-black staff, magnolia trees, and southern-style cuisine, the Maryland backdrop is quite perplexing and a misfire.

More relevant would have been if the location were Mississippi, Louisiana, or Alabama. Finally, remiss would it be not to mention appearances by Hattie McDaniel and brother Sam as Violet and Jefferson, employed by Maggie, always a treat.

With high drama and terrific acting, The Great Lie (1941) offers tremendous chemistry between the female leads resulting in a deserved Best Supporting Actress Oscar for Astor.

The dialogue may be silly and superfluous with plot gimmicks and obvious setups, but the film does work. Viewers can let loose and enjoy a sudsy drama with enjoyable trimmings.

Oscar Nominations: 1 win-Best Supporting Actress-Mary Astor (won)

Gone With The Wind-1939

Gone With The Wind-1939

Director Victor Fleming/George Cukor

Starring Clark Gable, Vivien Leigh, Olivia de Havilland

Top 100 Films #15

Scott’s Review #201

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Reviewed December 4, 2014

Grade: A

Gone with the Wind is the grand masterpiece of the sweeping epic drama.

The film is based on Margaret Mitchell’s best-selling novel. Set in the South (Georgia) during the Civil War era, it centers on the life of Scarlett O’Hara, a southern belle of cotton plantation Tara, and how she must struggle to keep her plantation alive after the South loses the war.

Initially, Scarlett cares little about the war, instead enjoying her spoiled, narcissistic lifestyle, and romances with many men in the town, all vying for her attention. She revels in one sunny picnic and ball after another with all eyes on her.

As war decimates the South, however, Scarlett must take over the plantation and survive the ravages of war.

Mixed in with the war theme is a romance between Scarlett and Rhett, one of cinema’s most recognized and enduring couples. Having gone through three directors (Victor Fleming, George Cukor, and Sam Wood), the film is as extravagant and precise in its style, attention to detail, and set design as films come.

At close to four hours in length, Gone with the Wind is a lavish production that can take an entire afternoon or evening to watch and is divided into two halves- interestingly the first half directed by Cukor, and the second primarily directed by Fleming.

It is a film that can be viewed and analyzed over and over again and the set pieces and flawless perfectionism alone marveled at. The first half is superior to the second, but that is like comparing prime rib to filet mignon- it’s a preference for goodies.

The first half is brighter, cheery, and fantastic. The wonderful Tara and neighboring plantation Twin Oaks host southern balls and parties and are filled with romance, gossip, and beautiful costumes. War is coming, but it is a delightful time of merriment.

The Southerners embrace going to war they assume will last for two weeks and they will be victorious. They party and they celebrate.

The second half has a much darker tone.

By the beginning of the second half, Atlanta has burned, thousands of men have died, Tara is decimated, Scarlett’s mother died, and her father went batty.

The rebuilding of the south is explored, the troubled Rhett and Scarlett marriage commences, their daughter dies, and the world-famous line uttered by Rhett to Scarlett, “Frankly my dear…. I don’t give a damn”.

Having been now directed by a different person (Fleming), the first and second halves almost seem like two separate films.

Vivien Leigh plays a wonderful role. In 1939 women were rarely strong characters in the film, so for that reason Gone with the Wind is groundbreaking for female characters.

Scarlett is selfish, yes, but she rises above, is strong, saves her plantation, and succeeds as a successful businesswoman- almost unheard of in cinema for 1939. Her undying love for Ashley Wilkes, but unable to obtain him (he is married to his cousin Melanie) gives her a sympathetic vulnerability.

Clark Gable, already a huge star and the people’s choice to play Rhett, is charismatic and handsome. The fact that he and Leigh did not get along makes their fights and sexual tension electric. They love each other but also hate each other and this is transmitted on screen.

Rhett is his own man- he defines himself as not a Northerner, but not a Southerner either. He is a vagabond and spends many nights at the local brothel in the company of Belle Watling. The character of Rhett is independent and strong.

The supporting characters are colorful, lively, and humorous. Aunt Pittypat with her dramatic worrying and smelling salts and Prissy with her insistence on expert child-birthing when in reality she knows nothing, are moments meant to lighten the mood.

Mammie, a mother figure to Scarlett, is a moral, kind, yet tough character. Melanie (Olivia de Havilland) is an even sweeter character in her caring and selflessness.

Lesser characters such as Dr. Meade, Suellen, Carreen, India, and Frank Kennedy all serve their purpose and are no throwaway characters.

Bothersome is that over the years Gone with the Wind has been unfairly “feminized” once it began airing as an alternative to the annual Super Bowl, the assumption being that only women would enjoy it, which is silly.

I do not find this film to be a female film and frankly, some of the battle scenes are quite masculine, with epic fires and guns galore. Is Gone with the Wind now considered a racist film?

Perhaps so, and time has made the political incorrectness much more glaring- this point can be debated endlessly. Ashley participates in a hooded Klan organization and is a hero of the film!

Certainly, the slaves are portrayed as happy, kindly, and comfortable with their place in life throughout the film, vastly different from what surely transpired. However, Hattie McDaniel (Mammie) won the first-ever Oscar for a black actress so that was monumental progress and influence.

Using seemingly thousands of extras, the war-torn Atlanta scene where the camera rises up and up and up panning down on hundreds of wounded and dead Union soldiers as Scarlett defeatedly walks among them is still heartbreaking to watch and is a reminder of the power and destruction that war is.

Gone with the Wind is an epic masterpiece from long ago that still holds up amazingly well. The sets, the rich characters, and the costumes can be admired and still inspire today.

Oscar Nominations: 8 wins-Outstanding Production (won), Best Director-Victor Fleming (won), Best Actor-Clark Cable, Best Actress-Vivien Leigh (won), Best Supporting Actress-Hattie McDaniel (won), Olivia de Havilland, Best Screenplay (won), Best Original Score, Best Sound Recording, Best Art Direction (won), Best Cinematography, Color (won), Best Film Editing (won), Best Special Effects