Mammies vs. Ingenues
Actress Hattie McDaniel was the first black person to win an Academy Award, winning a Best Supporting Actress Oscar for playing Mammy in “Gone With the Wind” in 1940. As we all know, Mammy was an asexual, large slave. In reality, the actress who played her was well-off, celebrated, and had attained a level of achievement that most would envy. But the fact remains that McDaniel attained this position playing a servant who existed totally to exalt the white heroine. Her semi-literate self-presentation was ironically McDaniel’s means to attaining tremendous power. And sadly, Mammy is very much alive today as a deeply-entrenched stereotype that can empower black women who assume her form.
The list of Modern Day Mammies might surprise you. Seventy years after being given a prominent spot in the pantheon of movie-making, a black woman (or man) who is able to utilize the Mammy archetype will be highly successful, because general audiences just can’t get enough of Mammy in all her recurring forms. Who is raking in the dough?
Oprah Winfrey
Yes, Oprah is the richest black person in the world. But how did she acquire her riches? Would it be a stretch to draw a parallel between her helping role as the comforter of millions of white women and the image of Mammy helping Scarlet O’Hara face her life challenges? Oprah has only seen her popularity decline when she began to express her personal identity by publicly supporting President Obama and having the nerve to display her wealth.
Queen Latifah
In her breakout film “Bringing Down the House” (2003), Queen Latifah donned a maid uniform and served food with a “yes massa” smile on her face to appease the white character played by Steve Martin, because he did not want to have to explain to his friends why he had a black woman in his house. Within the confines of the narrative, Latifah expressed dismay at being forced into this role, and explained that she was only doing it to get from Martin’s character what she wanted. There could not have been a better illustration of why black women keep enacting the resurrection of Mammy. It is often the best role black women are offered. And it is made lucrative.
Tyler Perry
Perry is the only successful filmmaker today crafting complex black female images, but even in his work, we see Mammy alive and well. I love Tyler Perry movies, but that she-male Madea is clearly a gun-toting Mammy. I’m not mad at him. Mammy is literally a cash cow. Perry is to be applauded for using Mammy’s money to support black actresses who can rarely find work any other way by showcasing stars like Sharon Leal, Janet Jackson, and Kimberly Elise in his films. Through his efforts, black ingénues get some shine. But sadly, these beauties are dependent on Mammy for their survival, like that destructive mother-monster that just won’t go away.
Gabourey “Gabby” Sidibe
This amazing actress is talented, pretty and truly has a beautiful spirit. When you contrast her sizzling aura to the illiterate, abused character of Precious, it is as though all the excellent qualities exhibited by her are intentionally distorted by Hollywood alchemy to transform her into that sad black female the mainstream loves to pity.
The issue is not whether these types of characters “really exist.” The concern is the extremely high percentage of characters that are promoted by the establishment that resemble Mammy despite the true diversity of the black female experience. Mammy thrives as a bearer of tragic circumstances who exalts those she serves – even if this service is an imaginary mechanism in the minds of theater goers who want a black woman they can look down on within the privacy of their own souls.
Why can’t Hollywood find resources to support our black ingénues?
We’ve always had our Lola Falanas, Lena Hornes, Fredi Washingtons, Nina Mae McKinneys and Dorothy Dandridges. Today we adore our Angela Bassetts, Nia Longs, Sanaa Lathans and Elise Neals. But today, like yesterday, these stars rarely make it to the screen. Some form of Mammy steals their thunder every time.
When they do find a role, an actress who defies the Mammy stereotype evokes the rage of general audiences. Take Zoe Saldana in the recent Star Trek remake. While it was a shock to see Saldana kiss Spock, there was a huge amount of outrage in the “Trekker” community over this. Uhura was seen as “attacking” Spock. Fans of the series refused to fathom that Spock could want Uhura – even as played by the stunner Saldana.
Will Mammy always be embraced, and the black ingénue spurned?
It’s hard to know how this battle between Mammy and ingénues will end. Mammy has been holding all the chips for almost a century. Black ingénues in Hollywood, while large in number, rarely get those breakout roles because they are not created. Halle Berry is one powerful black ingénue showing that Mammy is not in complete control. One can only hope that slowly but surely, things will continue to change so that more actresses will have greater space for personal expression.
Why is this important? People need to see beautiful, desirable black women as agents of their own destiny in films, not as helper-tools or victims. As heroes who enjoy happy endings. This is what white lead characters enjoy. People use films to develop their sense of what is possible in life, and how to understand another person’s humanity. If black women continue to be left outside the realm of positive, lead portrayals, we will be continually left out of society’s conception of what it means to be a valuable human being.
That is a conception that we have been left outside of for far too long. It is time for Mammy to die and be replaced with better images of black women. Will the public let these inspiring images take shape?
37 Comments – Add Yours
Latest Articles
Most Popular This Week
Recent Comments
-
African Mami on
On Plate Fixing and Other Wifely Duties
Tonton, Gladly!!! Some women like to live in a bubble! Plate fixing ain't serious. It doesn't diminish your essence.
-
Tonton Michel on
On Plate Fixing and Other Wifely Duties
Want to know why people say things like this Boo Boo? Cause it's true.
-
cee on
Meagan Good Tells Life & Style She & Her Fiancée Are Waiting For Their Wedding Night
Lol.
-
JC on
Bravo! 3 African-Americans Earn Doctorates In Chemistry, Set Univ. of Mississippi Record
Keep it up
Keeping in mind those that control major media are either white or jewish. Most audiences don’t want to see strong, intelligent, happy, positive, multi dimensional examples of Black women. That would contradict what most are lead to believe about us. Many ppl don’t like to be challenged, enlightened, or have their world rocked. The media helps maintain the status quo. They( the public) want to be entertained and studios, producers,etc want $$. They appeal to the lowest common denominator. So as long as ppl flock to see movies with these types of themes, characters and messages, what’s going to stop them from getting so much air time, support and money? Hollywood isn’t exactly a place for experimenting or even real life portrayal of ppl in general. People of color especially.
Tell the truth Alex.
Great article, dead on with the images of black women in the media, the mammy role is seen as “safe” in line with the “magical negro” roles men get put in.
Two things I liked to point out, with Oprah and Tyler they have made a career out of playing up to that image but I wouldnt put Queen Latifah or Gabby Sebide in the mammy box as far as their careers go, QL only played that one role as I recall and has chopped it up since.
This is Sebide’s first time out the box so we dont know what she is going to do next and the role she played of an abused illiterate is far from the character of the beloved mammy. I am not going to fault her for looking like the stereotypical image of mammy.
Second as for Star Trek people were upset at the liberties the writers took with the characters, Nichelle Nichols the original Uhura was a sex symbol to Trekkies and her was credited for having the first interracial kiss on TV with Captain Kirk.
So her tounging down Spock who has always been portrayed as asexual was off putting, race had nothing to do with it.
But in the end women will have to take more control of there inages from behind the scenes to get the images they want.
It’s like the old saying goes “if you want anything done right you got to do it your self”.
i can see where this article is coming from but i dont think i agree. first and foremost an actresses job is to play the role well and be believable whether you like the character or not. howewver, i do not agree with the inclusion of queen latifah because although you say her role in bringing down the house, reminded you of mammy, i think the scene was to make light of the mammy stereotype and that is not the only role she has played. i.e her role in chicago. im a bit worried that the writer of this article seems parnoid. i mean does that mean that if a blck person plays a servant in a film that she will be undoubtedly seens as mammy? what about the context of the film? im still not quite sure how i feel about this article. or perhaps my perceptions are different because i live in england and im a second generation african. who knows.
here we go again, why are we still asking hollywood to do anything for us..when WE start making more “diverse” films then MAYBE everyone will be happy. I do not agree with the list but i guess it’s how one perceives what they are looking at. Seems like EVERYTHING that a nubian person makes gets criticized to no end…i’m SO tired of that! Mammie will die when no one needs an acting job..lol. it’s not all hollywood making the decisions!
@Ericka…Thank you so much for your post! I was thinking the same thing and more, but didn’t feel like typing my thoughts out. These types of articles annoy me to no end as their only purpose seems to incite incendiary conversation based on biased views. What ppl don’t seem to understand is that Jewish ppl created “Hollywood” when white folks wouldn’t let them play in their film playground, and many of those early Jewish acts were vaudvillian in nature, ripe full of Jewish stereotypes.
People criticize the hell out of Tyler Perry, but guess what? He is the ONLY Black American who owns his own movie studio. And if “mammie” can do that, then you need to take your shoes off in her house and honor her name. All hail mammie!
I’d rather see mammie on the big screen then all these nasty looking video hoes with their panties riding up their crotches ala Rihanna.
Thank you everyone for your thoughtful comments. I really appreciate them and the discussion.
I think that Gabby and Queen Latifah are great and amazing. It is not so much about what both have done and will do with their careers. I am commenting more on the fact that the breakout roles that had audiences drooling over them, thus giving them the power to move into greater realms of expression was in fact the Mammy role. The Queen has parlayed her “urban” take on Mammy into an incredibly diverse career, and I am sure Gabby will as well. But it is a version of Mammy that got mainstream audiences to notice these stars, and love them. In the case of Precious, she is yet another sexually undesirable (for various reasons), down-trodden black female. While not a literal servant, Precious is a more modern take on the black woman as “the lowest of the low.” For instance, despite her triumphs, she is sure to die early at the films end — thus placing her firmly in the tragic role as a larger black poor female who the public loves. It’s really more about the morbid fascination of the public with this type of image, than the desire of the stars to perpetuate it. In a way the stars are smart to use it to get what they want, which I also praise Hattie McDaniel for doing.
In terms of the Spock/Uhura issue, it is well documented that the original creators of “Star Trek” had intended to put them together, but this idea was killed by TV executives at the time. The creators of the remake were actually enacting a plot line that was written into the subtext of the original show. Usually Trekkers love this kind of detail, and support anything Gene Roddenberry is known to have signed off on. But despite this, there was massive outrage over the kiss, and Uhura was seen at “attacking” Spock. This goes beyond just being mad at a perceived plot change. People were disgusted and repulsed by the contact between them, way beyond the anger over other plot issues. There is an excellent discussion of this whole phenomenon here:
http://ankhesen-mie.livejournal.com/24009.html
I hear EVERYONE in terms of the “why do we keep asking Hollywood to help us issue.” I really don’t know why. I am not sure if it is laziness, or perhaps even a difficulty in our own minds to conceive of such powerful images. I can’t think of another film as positive as “Mahogany” in terms of showing an idealized black woman positively achieve her dreams. Diana Ross was just the type of Diva to dream that big about herself. But what about the stars of today? I think that there may be a failure of imagination on our parts to realize these types of images in film and television. It’s something to think about.
I see your point, I wasnt unaware of the origal intentions of the Star Trek characters but I am still hesitant to base the reaction of audiences on race as opposed to going against the original portrayal of the characters which was what rubbed me the wrong way, but who can tell whats running through the audiences head, they wont out right admit they have a problem with it.
As for QL I think her break out role, (to white audiences), was as Matron Mama Morton, (black audiences would probably point to Set it Off as her break out role), in Chicago which led to her role in bringing down the house.
She had a lot of roles prior to and after Bringing Down the House on the TV and big screen that were more dignified and I didnt see her revisting it again.
Gabby the verdict is still out till her next role.
For me the ones who are guilty are the ones who continually go back to that character.
The poster child for women being Whoopi Goldberg who has repeatedly played some form of mammy or magical negro when she was still sought after.
But I see your point when you say that many black actresses have to “pay their dues” by playing this type of role in order to “make it”.
Angela Bassett is the only one I can think of off hand who escaped that price but she seems to be the least liked by white audiences.
I guess she isnt safe enough.
As much as this is true, we need the Black writers and the Black directors wanting to take charge. I remember reading an article a while back where someone was interviewing the writer of the film “Milk”, Lance Black. Out of nowhere the interviewer started asking these questions as to why he didn’t write about other iconic GLBT activists. It was quite shocking especially considering the interviewer was a writer himself, he was a playwright. Why question what this writer didn’t do when he could have been doing it himself?
It’s not to say this article was bad because of the critique. Things like this are necessary to notice what is happening in Hollywood. However, it’s hard to get on actresses who decide to choose these roles. These are the roles that are available and until we have more Black screenwriters wanting to write about strong Black women, these are the choices they have to make.
I also want to note that I think we harp on too much of what is happening in mainstream film and with mainstream actors. When people can’t find a story they can relate to from the movies that are shoved down our throats, they turn to indie films. And that’s with any race. I have friends who are white who are tired of seeing the same white-girl-in-distress in a romantic comedy. It bores them and they move elsewhere for their ingenues. I think it’s time we do the same within our community. Strong roles are being made for Black ingenues we just have to look a little harder and then praise them with the hopes that it’ll catch on.
Hear, hear!
I remember when I asked my father what he thought about the movie “Traffic.” Everyone I know either loved it or thought it was OK. My father gave me an unexpected answer: it was ok BUT he didn’t like that they seemed to tell the story of everyone who was involved except for the (black) drug dealer who was pimping out the politician’s daughter. And there, I think, lies the difference. Just because a black is in a movie does not mean their story is being told. But just because they are in a so-called stereorypical role doesn’t mean their story shouldn’t.
It’s not so much whether the character is a mammy or diva, king or peasant. What matters is no matter what role is chosen, that a complete and accurate picture of that character is given, including the shucking and jiving they might have had to do to survive their situation and the quiet (or not so quiet) reflections and discussions when they weren’t under the thubms of the people they served (or, in a less politically correct way, captilism-induced indentured servants).
What maybe more impressive than just getting rid of these characters all together is when mainstream media covers blacks in a way that appeals to a general audience but shows more of a multidimensional character in that particular role. That takes more than trying to gloss over the more dramatic, controversial, or elitest fringes of the black experience (I’d rather see the story of a three-dimensional mammy than a one-dimensional lawyer). It takes identifying what in the person’s life and character reflects onto the human spirit in general, to the point where it suspends belief, makes them feel like they are in that character’s shoes, and begs the question: what would I do if that was me?
HBO, for example. built their stories character and substance first. It’s not like race or even stereotypes were ignored (The Wire was still the shit), but they were second to the person, which is the way things should be. It goes beyond the point of being important just because their is a black cast member depicited in a position of power or prestige has some lines in every episode.
In the aim for hitting the lowest common denominator, media outlets increasingly miss the entire boat. And that doesn’t have to happen. You don’t gain that trust through one shot or person, but much in the way you develop any brand, overtime, in a way that speaks to the audience at large. In as much, no one character or theme will speak to all black people. Just as no one show will speak to everyone in America. Not everyone is going to relate or care in the same way. This is why you have hundreds of channels and thousands of shows to choose from to being with.
Let me stop, lest I say too much too soon. Taking on the task is a heavy burden. If I were commissioned to do so, I literally might have a problem eating my own words. But for all the coonery of shows like Hot Ghetto Mess, there are comedians who started their careers doing the most shucking (Jamie Foxx, Monique, Anthony Anderson) and are now being taken seriously as actors in real meaty roles (Oscars, Academy Awards, Ray, Precious, Law & Order). And just so the advertisers know, The Game, Girlfriends, The Wire, and Everybody Hates Chris are shows that I watch, because they specifically tell my story without depending on overt assumptions. So if you want my time and wallet, that’s where you’ll find me.
nicely put. i definitely agree with you. though i cannot co-sign on The game.
I agree with Michelle. This article is just spitting age old grievances that will always exist in the Black community. No matter what character is played it’s a stereotype and we’ll complain. Look around you and stop watching movies besides Tyler Perry. Zoe Saldana has been around how long? And you just now caring about her? Halle Berry, Taraji P. Henson, Ruby Dee, Viola Davis all women that represents the complexity of Black women – have also been nominated for oscars.
I can’t even put into words how this site’s articles fall way short of anything comprehensive and researched, but just bitter paranoid sistas spitting bitterness and a very “Atlanta” perspective.
Whoa. That’s quite a retarded statement. And she is not even from Atlanta. From what I know most of the people who write for this site are from all over the world. To me you sound like the bitter one. I have read too many good articles on this site that have been researched and very well done. If you don’t like it here you shouldn’t come back. (really don’t)
I for one enjoyed the article! as I do with most of the articles this site drops.
Yes, it’s true. I am not from Atlanta. And I am not sure that I am bitter, but even Lena Horne was documented as having been enraged at the lack of opportunities for black women in Hollywood, and all arenas in life. It would be a strange dissociation to deny that this pattern exists today.
In terms of research, this article contains many facts that you can Google for verification, of course mixed with interpretation, but that is why this is an opinion piece. I actually made a point of providing examples that illustrate my points, showing that this pattern in media history has a long history. Particularly interesting are the stories of Fredi Washington and Nina Mae McKinney. They were both so stunning, appeared in Hollywood films in the 30s and 40s, but could never really make it because of the pattern I am trying to describe.
Am I bitter and paranoid for pointing out that the public wants to see black women as servile, asexual and sad?
I think the very best critique of this piece is the indictment of the black community for not taking more responsibility for creating our own stories. And the need to be sensitive to telling the stories of people who might not otherwise be given depth. I love that.
You see, black people like you are the problem. You are pulling out the standard names that we hear all the time as “examples” of what “good ole massa has done for us nigras.”
Whenever someone brings up this topic regarding black roles in movies, some cooning complacent black person starts pulling names out of a hat. “Well look at Halle Berry. Look at Zoe Saldana….look at…..umm….” As if we black women should look to Halle and Zoe to represent us all in the movies? Well it’s not enough. If we stay complacent about these issues and keep our mouths shut, things won’t get better– they will only get worse. If we don’t say and do something about it now, one day you won’t even have Halle and Zoe to call on.
See Wait. Before we make this a “I hate clutch” article let’s remember this is a site with different voices and opinions of writers that hail from all over the world. And be respectful and appreciate that we have a great outlet such as this site even if we don’t agree with all of their content. That’s how all sites and forms of media are. Alexis I really appreciated this piece.
I think that Oprah has declined in popularity NOT because of Obama but because of her new found cult-like beliefs and the fact that she is almost turning into a cult herself. She has brought up numerous religious topics and has bashed a lot of beliefs including Christianity, which is still the major religion in the U.S. so despite what you believe it’s going to make a lot of people mad.
Everyone knows that if you want people to like you, you need to stay neutral especially in the media. She has decided to voice her very strong opinions and THAT is why people are losing interest.
Co-sign on Oprah, Gabby, and Madea making the list.
However, like Michelle said, I don’t know if Queen Latifah deserves to be on the Modern Day Mammy list simply because she’s fat and played in a few suspicious scenes in one movie. This is honestly the first time I’ve ever even heard of QL’s character in “Bringing Down the House” being equated with the mammy stereotype. The only negativity I can recall being associated with the film was based on the QL character’s vernacular and prison record. And why are you so certain that BDTH made bank of the mammy stereotype, rather than because it was a Steve Martin comedy? Truth be told, the only vaguely Mammy-esque role (based on the author’s definition of a mammy) I remember QL playing was in “The Secret Life of Bees,” where she was an asexual, overweight mother hen keeping watch over Dakota Fanning. I liken QL to a Tyne Daily or a Kathy Bates. I just think it’s disingenuous to overlook her body of work prior to and after BDTH for the sake of singling out one role to prove a point. QL certainly wasn’t a mammy for five seasons on “Living Single,” or a mammy in “Last Holiday,” or “Beauty Shop” or “Set it Off.”
Why are you women always using comments as an outlet to bash each other as well as the writer. Does anyone in this “town” have respect for the writers voice?
oh my Alexis G. Stodghill I absolutely love your article, I agree with you, what you just said is exactly what I think here! thank you I’m looking for more articles from you!
about our laziness: who’s going to make a movie that no one is going to see at the theather and then claim bankruptcy? haha don’t forget we’re in a capitalist world… some prefer to put their dignity and pride on the side or on the background to pay their bills…
Some people feel totally comfortable, actually it’s a necessity for the sake of their mind and life, to see others suffering or degraded!
even in real life, when you’re not the mammy type they’re shocked and start to ask you tons of questions and to hate on you. just live your life and show them the opposite, and let them have their heart attacks…
my people don’t worry some people writting on this site are actually not who you think they are, they will tell you they’re afro or whatever but don’t trust! comments stupid like this cannot come from us, it’s either a self hate person but most likely, I emphasize, most likely coming from you know… curious, hating on their miserable lives…
I just read an article that reminded me that in addition to the mammy and magical negro and girlfriend, character the other break out role is to play the love interest of a leading white male star. The difference between black men and women in these roles as the article pointed out was that black women are expected to be sexually explict in that role as compared to men.
Thank you for this article. I am amazed sometimes at how some black people defend movies like “Precious” as if it is some type of uplifting, positive story for the black community. All it does is further push the stereotypes of black women as asexual “victims” in movies and in life. They choose to simply ignore the stark contrast of black/bad, light&white/good in this movie.
Yes, we (mature blacks) can understand and appreciate the Precious story as an isolated incident, but young silly impressionable whites, blacks and others look at movies like Precious and use it to form stereotypes about an entire race of people. They grow up with these images and it does translate into real life prejudices and stereotyping.
I can’t remember the last high profile movie I saw with a real black woman in the lead role as a beautiful smart together woman who was trying to find herself — love, family, or other — besides a tyler perry movie.
Which is why I’ve personally chosen not to support anything that white hollywood puts out that does not put a black “ingenue” as you called it in a leading role. how many more “white girl finds love romantic comedies” can they force down our throats until we’ve had enough as a race of women?
This isn’t directed towards anyone in particular but sometimes (myself included) we can be woefully unaware of the politics behind getting things done. Especially when it involves long dough.
Do we really understand the gusto/hustle/cajones/vision it takes to get a film canned and distributed? Do we wanna understand backdrop or do we want to just grumble and moan about what we’re seeing/not seeing?
People like to diss and hiss at Precious and any other film that doesn’t display African Americans in shiny middle class perfection but I read the back story to how Lee Daniels (with his The Black Long Ranger looking self) had to grriiiiiiiind to make connections to get funding from private investors cause Hollywood slammed doors aplenty in his face. And that’s after making two successful independent films; one that gave Halle her only Oscar.
Ask any film maker and he’ll tell you that the art of politicking is a talent. The art of getting things done is a talent. Screen Writers and Actors are a dime a dozen. You can’t turn around 360 degrees without bumping into someone who has a writing/acting dream. But can they get funding? A sponsor? Build the right relationships? And can they get audiences to spend their dollars? A safe story is a boring story and very few will pay/be interested to see it. Especially not enough to recoup the costs of paying tech dudes, film editor, actors, location scouts and all the other stuff we forget costs money. Now you’re talking reality check. Few people like working Pro Bono.
Oprah and Tyler didn’t jump on Precious until it was cut, canned and got rave reviews in Film Festivals. Then and only then did they throw their star and wallet power behind “Precious.” Before that it was like “Lee Who?”
More than 80 percent of the time an investor will invest/produce a film because there will dividends. If I put in 1 million I expect to get 3 million in return. Not lose a million. Not because they want to give away money to make black people feel good about themselves as they look at the screen. That’s how it works.
So by the time we even talk actresses and the roles they choose…she just wants to work. If you’ve ever been unemployed you’ll understand the feeling. She just wants to get paid to do what she loves.
And Hattie said it best: I could either play a maid or be a maid in real life. Or something like that…
THIS
however i disagree to whoever stated that black women are expected to be sexualised in films because from whta i’ve watched i think this applies to women in hollywood in general.it does not necessarily mean they are being exploited either.
Exactly. Hollywood is one big hustle. And for minority writers, producers, actors, and directors, the hustle is even more difficult because the major players must be convinced that whatever script is set before them will make a profit. Also, as in the case of 2009′s Renee Zellweger rom-com, “New in Town,” a black screenwriter has no guarantee that the black characters s/he wrote will remain black. And then, there’s the whole conundrum of wanting to make a living at what you do and not wanting to be pigeon-holed as a “black writer/producer/director” (which doesn’t describe your ethnicity, but the only subject matter Hollywood which feels you are capable of producing).
And there are indie films with black casts and crew, but I feel the primary concern behind these movies is to gain the attention of Hollywood investors and distributors as opposed to marketing, airing, and distributing the movies directly to its core group of consumers.
You are so right. And your comment about Hattie stopped me dead.
Fabulous article!
Thank you!
Anything that is made to serve the “mainstream” or “middle of the road” it’s never going to vary much. The population in that group is so wide & diverse that the most “common” (even is it’s not reality) perception has to be displayed. It sickens me because in my opinion most people are so stuck in their own comfort zone and their own world that they fail to even WANT to realize diversity exists beyond their wildest dreams. So until the main/middle expands their horizons minorities will always be overlooked & their stories told unrealistically.