Black actress dating white actor
But being a black actor in the 1950s meant playing savages, slaves, and mamies — debasing roles that Dandridge refused on principle.
In the films where she did get to play a a non-servant, non-exotic, non-savage, she was not allowed to do more than kiss, as the idea of a black woman in love was altogether too dangerous for the screen.
“If I were white,” Dandridge explained, “I would capture the world.”Dandridge was born in 1922 to Ruby Dandridge, a performer and aspiring actress.
Ruby had left Dorothy’s father five months before, taking her other daughter, Vivian, with her.
Both girls showed some sort of aptitude for performance — or maybe that aptitude was drilled into them — and one of Ruby’s friends, a woman named Geneva, moved in to help refine their singing and dancing skills.
Years later, Dorothy and Vivian would figure out that Geneva was much more than her mother’s friend, but at the moment, she simply made them practice until they collapsed. The girls became an act — “The Wonder Children” — and earned a spot with the National Baptist Convention touring churches throughout the South.
Since the first Academy Awards ceremony in 1929, bodies and images clothed in racist ideas have found it much easier than non-stereotypical Black bodies and images to reach the White halls of the Oscars.
#Oscars So White is about the glaring lack of antiracist bodies and images and the glaring abundance of racist bodies and images honored in the White halls of the Oscars.
Here are the fifteen most racist films ever honored by #Oscars So White.15.
Growing up in The Depression and making her way through Hollywood in the ’40s, she encountered resistance — to her skin color, to her refusal to play demeaning roles — at every turn.
She was assailed in the press for dating white men, and blamed herself for her husband’s philandering and her daughter’s brain damage. And yet she managed to make a handful of gorgeous, invigorating films — films that offer a glimpse at the superstar she would have become if the studios knew what to do with with a beautiful black woman. She was called “the black Marilyn Monroe” and had flawless, radiant skin the black press referred to as “honey” and “cafe au lait.” And there was the certain way she took ownership of a room, with a reverberating, confident laugh and fierce, dazzling eyes.