Showing posts with label Louise Beavers. Show all posts
Showing posts with label Louise Beavers. Show all posts

Thursday, November 26, 2015

FORGOTTEN ONES: LOUISE BEAVERS

Classic movies are filled with talented African-American actors and actresses that unfortunately were only in minor roles such as butlers, servants, and porters. However an actress like Louise Beavers rose above the roles. Even though she is largely forgotten now, the appearances she made in moves are lasting reminders of the talented African-Americans whom were a part of classic Hollywood.

Louise Ellen Beavers was born in Cincinnati, Ohio on March 8, 1902, to school teacher Ernestine Monroe Beavers and William M. Beavers, who was originally from Georgia. Due to her mother's illness, Louise and her parents moved to Pasadena, California. In Pasadena, she attended school and engaged in several after school activities, such as basketball and church choir. Her mother also worked as a voice teacher and taught Louise how to sing for concerts. In June 1920, she graduated from Pasadena High School and “worked as a dressing room attendant for a photographer and served as a personal maid to white film star Leatrice Joy”.

There is some controversy as to how Beavers began her acting career. She was in a group called the Lady Minstrels who were "a group of young women who staged amateur productions and appeared on stage at the Loews State Theatre". It was either her performance in this group or in a contest at the Philharmonic Auditorium, which occurred later. Charles Butler from the Central Casting Bureau, who was known for being an agent for African American actors, saw the performance and recommended that Louise try out for a role for a movie.” At first she was hesitant to try out for movies because of how African Americans were portrayed in movies and how Hollywood encouraged these roles. She once said, “In all the pictures I had seen… they never used colored people for anything except savages.” Despite this, she tried out for a role in the film Uncle Tom’s Cabin in 1927 and landed the part.


In 1934, Beavers played Delilah in Imitation of Life, a leading role that was not overshadowed by a white lead actor or actress. Her character again plays a black maid, but instead of the usual stereotype of subservience, Delilah's role in the story line is equivalent to the white lead. The public reacted positively to Beavers' performance. It was not only a breakthrough for Beavers, but was also “the first time in American cinema history that a black woman's problems were given major emotional weight in a major Hollywood motion picture”. Some in the media recognized the unfairness of Hollywood's double standard regarding race. For example, California Graphic Magazine wrote, “the Academy could not recognize Miss Beavers. She is black!”

Beavers, who was raised in the North and in California, had to learn to speak the southern “Negro” dialect. As Beavers' career grew, some criticized her for the roles she accepted, alleging that such roles institutionalized the view that blacks were subservient to whites. Beavers dismissed the criticism. She acknowledged the limited opportunities available, but said: "I am only playing the parts. I don't live them.” As she became more famous, Beavers began to speak out against Hollywood's portrayal and treatment of black Americans, both during production and after promoting the films.


Beavers was one of four actresses (including Hattie McDaniel, Ethel Waters, and Amanda Randolph) to portray housekeeper Beulah on the Beulah television show. That show was the first television sitcom to star a black person. She also played a maid, Louise, for the first two seasons of The Danny Thomas Show (1953–1955).

Later in her career, Beavers became active in public life, seeking to help support African Americans. She endorsed Robert S. Abbott, the editor of the Chicago Defender, who fought for black Americans' civil rights. She supported Richard Nixon, whom she believed would help black Americans in the United States in the civil rights battle.

In later life, the actress was plagued by health issues, including diabetes. She died on October 26, 1962, at the age of 60, following a heart attack, at Cedars of Lebanon Hospital in Los Angeles; it was the 10th anniversary of the death of Hattie McDaniel, the first black actress to win an Academy Award...


Thursday, February 3, 2011

REMEMBERING: PIONEERING AFRICAN-AMERICAN ACTORS

In an interview with the L.A. Times 20 years ago, Sidney Poitier, the first African American superstar and the first to win the lead actor Oscar (for 1963's "Lilies of the Field") discussed the extreme prejudice and hardships faced by African American performers in the 1920s, '30s and '40s.

"The guys who were forerunners to me, like Canada Lee, Rex Ingram, Clarence Muse and women like Hattie McDaniel, Louise Beavers and Juanita Moore, they were terribly boxed in," Poitier said then. "They were maids and stable people and butlers, principally. But they, in some way, prepared ground for me."

Here are three pioneering African American actors who strove to break cinematic stereotypes, sometimes successfully, sometimes not. (In an irony, no minorities were nominated for major awards for this year's Oscars, which will be presented on Feb. 27during Black History Month):


Nina Mae McKinney (1912-1967):
The exquisite singer-actress left her South Carolina home at 13 and moved to New York where she got a role in the popular Broadway revue, "Blackbirds of 1928." Director King Vidor saw her in the chorus and cast her in his 1929 film, "Hallelujah," the first all-black sound musical made by a major studio. McKinney stole the film as the seductress Chick, causing a sensation with her "Swanee Shuffle" dance.

MGM signed her to a five-year contract but didn't know what to do with the beautiful young black actress since most African American actresses were relegated to servant or "Mammy" parts. She appeared in only two films, 1931's "Safe in Hell" and 1935's "Reckless," though her scenes were cut and all that is left of her "performance" is supplying Jean Harlow's singing voice.

Like Paul Robeson and Josephine Baker before her, she left for Europe where she was dubbed the "Black Garbo." When World War II broke out, she returned to the U.S., married jazz musician Jimmy Monroe, sang in clubs and made a few more films, most notably 1949's "Pinky. In the 1950s she moved to Athens, Ga., where she performed as the "Queen of the Night." She returned to New York in the late 1960s but didn't perform again. Her death of a heart attack in 1967 mostly went unnoticed.

Louise Beavers (1902-1962):
Just like most black actresses, Beavers found herself relegated to playing maids, servants and even slaves (in real life she had been a maid to actress Leatrice Joy). But she did get a chance to shine in a serious role in 1934's "Imitation of Life" with Claudette Colbert. In the melodrama, Beavers played Delilah Johnson, a housekeeper-cook whose employer (Colbert) transforms her into an Aunt Jemima-esque celebrity. But Delilah has problems with her light-skinned daughter who wants to pass for white. It was the first time in mainstream Hollywood cinema that the problems of an African American character were given as much heft as her white counterparts.

Sadly, "Imitation of Life," however, didn't improve the quality of her roles. Beavers may not have liked the parts she was given, but she remained one of the busiest black actresses in Hollywood, appearing in such films as 1942's "Holiday Inn" and 1948's "Mr. Blandings Builds His Dream House." In the 1950 biopic "The Jackie Robinson Story," she gave a lovely performance as the baseball player's mother. She starred on TV in the 1950s sitcom "Beulah." She died of a heart attack in 1962.

Canada Lee (1907-1952):
When his boxing career ended in 1933 after a blow to his eye caused a detached retina, Lee turned to acting in 1934. His first major stage role was Orson Welles' 1936 "Voodoo Macbeth"; they reunited for Welles' 1941 stage production of Richard Wright's "Native Son."

Lee was cast in Alfred Hitchcock's 1944 thriller, "Lifeboat" as Joe, a torpedoed ship's steward. Lee gave a warm, passionate performance — he refused to speak in the "dialect" forced upon African American actors. He was even better in 1947's boxing classic "Body and Soul," as a boxer with a brain injury who is hired by the fighter who ended his career to be his trainer.

A vocal civil rights activist, he was a member of several left-wing groups and was labeled as a Communist during the Hollywood blacklist. Though he wouldn't name names in front of the House Committee on Un-American Activities, he did call a news conference to say he wasn't a party member. Lee went to South Africa with Poitier to make the 1951 film, "Cry, the Beloved Country," but Hollywood still wouldn't hire him. In a letter to Walter White of the NAACP, Lee wrote "I can't take it anymore. I am going to get a shoeshine box and sit outside the Astor Theatre. My picture is playing to capacity audiences, and my God, I can't get a day's work."

The stress became too much for Lee, who suffered from high blood pressure. He died of a heart attack at the age of 45.



SOURCE