Mixed Race Studies

Octavia Spencer, Queen Latifah To Bring Racially Charged ‘The Rhinelander Affair’ To Screen With Zero Gravity

Deadline Hollywood
2018-07-23

Anita Busch

REX/Shutterstock

EXCLUSIVE: It’s a great story that delves into the caste system, racism and sexism. The Rhinelander Affair, written by William Kinsolving, follows the controversial 1925 divorce trial in New York involving a man from an upper-class New Rochelle family who married a bi-racial, working-class woman. It is a ripped from the headlines story from the 1920s with many meaty roles in what was a roller coaster ride about money, love, racism and betrayal.

The project is now being produced for the big screen by Mark and Christine Holder (who found the story), Octavia Spencer, Queen Latifah and Shakim Compere’s Flavor Unit Entertainment and Dave Broome (The Day I Met El Chapo). The Kingsolving manuscript, repped by Trident, is going out to publishers this summer.

Alice Jones and Leonard (Kip) Rhinelander

The story revolves around Leonard Rhinelander and Alice Jones, who fell in love (she was 22 and he 18), and then were kept apart by Rhinelander’s family. However, they married in secret before it spilled into the papers and stayed that way for three years. At issue was whether Jones duped Leonard into marrying her by hiding the fact that she was bi-racial (she was the daughter of an English woman and an English-West Indian taxi driver). Leonard stood by Alice under intense media scrutiny until pressures — both internally with the family and externally — caused them to divorce…

Read the entire article here.

Taraji P. Henson Is a Math Genius in ‘Hidden Figures’ First Trailer

Variety
2016-08-15

Dave McNary, Film Reporter

Taraji P. Henson, Octavia Spencer, and Janelle Monae break the glass ceiling — among other barriers — in the first trailer for the NASA drama “Hidden Figures,” which debuted Sunday night during the Rio Olympics.

The teaser opens with Henson’s Katherine Johnson character as a young girl, filling up a classroom blackboard with mathematical formulas, prompting her teacher to tell her parents, “I’ve never seen a mind like your daughter has.”…

In addition to Henson, Spencer portrays Dorothy Vaughan and Monae plays Mary Jackson as a trio of brilliant African-American women working at NASA, who served as the brains behind the 1962 launch of astronaut John Glenn into orbit — a stunning achievement that turned around the Space Race…

Read the entire article here.

Uncovering a Tale of Rocket Science, Race and the ’60s

The New York Times
2016-05-22

Cara Buckley, Culture Reporter

Janelle Monáe, left, Taraji P. Henson and Octavia Spencer in “Hidden Figures,” which is slated for release in January. Credit Hopper Stone/20th Century Fox

ATLANTA — Taraji P. Henson hates math, and Octavia Spencer has a paralyzing fear of calculus, but that didn’t stop either actress from playing two of the most important mathematicians the world hasn’t ever known.

Both women are starring in “Hidden Figures,” a forthcoming film that tells the astonishing true story of female African-American mathematicians who were invaluable to NASA’s space program in the Jim Crow South in the early 1960s.

Ms. Henson plays Katherine Johnson, a math savant who calculated rocket trajectories for, among other spaceflights, the Apollo trips to the moon. Ms. Spencer plays her supervisor, Dorothy Vaughan, and the R&B star Janelle Monáe plays Mary Jackson, a trailblazing engineer who worked at the agency, too.

Slated for wide release in January, the film is based on the book of the same title, to be published this fall, by Margot Lee Shetterly. The author grew up knowing Ms. Johnson in Hampton, Va., but only recently learned about her outsize impact on America’s space race…

Read the entire article here.

The Lazy Storytelling of ‘Black or White’: Love and Justice Are Not Colorblind

Christ and Pop Culture (CAPC)
2015-02-11

D. L. Mayfield

I was at a writing retreat once where a bunch of us gathered together to talk about how to write well about social justice issues in our world. A young singer-songwriter with a folksy vibe came and played a set for us. He introduced a song as inspired by how sad he was at the racial divide of the city, and how it seemed that white folks and blacks folks didn’t get along. He launched into a song, the chorus going something like this: we used to sing so beautifully together/perhaps one day we’ll sing together again.

After he was done singing, one of my fellow writers—the only black man in our cohort, who also happened to live in North Carolina—asked the singer-songwriter to elaborate on the interactions that inspired the song. The singer stumbled over his words and told a few stories of interacting with African-American folks who to his perception seemed less-than-friendly to white folks. We all sat quietly as he shared his perspective, and later debriefed about that particular song. Why did it make us all feel so uncomfortable? Jonathan Wilson-Hartgrove, the leader of our group (a man who has been involved in racial reconciliation work for decades now) leaned forward and in his southern drawl poignantly identified the trouble. What I want to know is this: and just when, exactly, did we ever all sing together?…

…The recent release starring Kevin Costner, Black or White, is uncomfortable in the exact same way. Ostensibly this is a movie which dares to look at race issues: Costner is a white grandfather parenting his bi-racial granddaughter who becomes entangled in a custody battle by the black father and his extended family. By turns a tragedy, a comedy, a courtroom drama, with a dash of heart-warming family film. Costner plays Elliot Anderson, a wealthy alcoholic lawyer reeling from the sudden death of his wife. Octavia Spencer plays Rowena, the paternal grandmother of Eloise, the girl in Elliot’s sole care. Rowena (Grandma “Wee Wee”) and the extended family she takes care of live in Compton; Elliot lives somewhere else—a better part of LA, we shall say. Rowena and the family want to see more of Eloise but Elliot resists. In exasperation, they retain Rowena’s younger brother, a lawyer, to sue Elliot for full custody of the child. Reggie, the birth dad, shows up halfway through the movie, adding emotional intrigue. The audience is left wondering at the motivations of Reggie, who is introduced as a crack-addict and absentee father (“you’re a stereotype, Reggie—you ruin it for all of us”—his uncle tells him).

The themes explored are certainly worthy of a full-length movie. Eloise and her biracial identity, the way economics affects both parenting and legal procedures, the stereotypes we put onto one another, how certain addictions are more culturally acceptable—these are all fascinating and could prove to be invaluable insights into the pulse of a nation that is currently struggling with racial injustice and unrest. But Black or White addresses all of these issues in both a superficial and strangely maudlin way—so much emotion, but so little truth behind it…

Read the entire article here.

Review: Nuance-Deprived “Race” Movie ‘Black or White’ is Actually About White Frustration (Opens Friday)

Shadow and Act: On Cinema Of The African Diaspora
2015-01-27

Zeba Blay

“Black or White” opens nationwide this Friday, January 30, via Relativity…

Is it any wonder that a movie as lazily titled as “Black or White” fails to actually tackle issues of race and class in any meaningful way? Is it any wonder, when its writer and director is Mike Binder, a (white) filmmaker whose approach to storytelling has often lacked any semblance of nuance and subtlety? The movie, apparently “based on true events,” is about a custody battle over a 7-year-old biracial Eloise (charming child actress Jillian Estell), between her wealthy and recently widowed white grandfather Elliot (Kevin Costner), and black grandmother Rowena (Octavia Spencer).

When the movie begins, the little girl has been living with her white grandparents since the death of her teen mother at birth. However, after Elliott’s wife dies in a freak car accident, Rowena, a self-made woman who lives in Compton with a tight knit and sprawling extended family, thinks it’s time that Eloise grows up around other black people, fearing that she may lose a sense of her identity.

It’s a fairly intriguing premise, but one that must be handled delicately in order to work. Here, it doesn’t. Very much in the style of past Costner-collaboration, “The Upside of Anger,” Binder’s brand of comedy drama is far too broad. While Costner, whose swaggering charisma has always been his saving grace, turns in a decent performance, hinging on great chemistry with his child co-star, all the swagger in the world couldn’t save this film.

It’s a movie about race that doesn’t actually want to talk about race. Here, the focal point is the wealthy white man who we’re encouraged to root for, from the very beginning, simply by virtue of the fact that he’s in 90% of every scene. Octavia Spencer, once again, is called on to play a variation of the sassy black woman – her acting, as usual, is great, but she’s given little else to do than suck her teeth and roll her eyes, and provide both comic relief and obstacle for Elliot to overcome…

Read the entire review here.

Kevin Costner Hopes His New Movie Redefines How People Think About Race

The Huffington Post
2015-01-22

Sasha Bronner, Los Angeles Editor

Kevin Costner, who just turned 60 earlier this week, can do a lot of things.

“I can make a love story. I can make the American baseball movie. I can make the political thriller, the Western, the romantic comedy. And sometimes you get to make a movie about the moments that you’re living,” he told The Huffington Post Wednesday in Los Angeles.

Costner’s newest film, “Black or White,” is a family drama centered around a custody battle, but the complexities of race are examined at every turn.

“We are living in this moment,” he continued, referring to heightened discussions and displays of racial tension in the country. “[The film] wasn’t timed for any of these things, it was made before some of these seminal moments that have seemed have caught our attention. But I have been very aware of race for a long time. And I never saw a movie that dealt with it the way that this did. That’s the hope. That it gets under your fingernails.”

Costner stars in the film as a grandfather who has raised his granddaughter along with his wife after their daughter died in childbirth. But the film begins with an additional loss. When Costner’s wife dies in a car accident, he is left to raise his granddaughter alone. A family custody battle soon erupts when the granddaughter’s black family, who live in South Los Angeles, petition to adopt her.

Academy Award-winner Octavia Spencer plays opposite Costner as the paternal grandmother, and you would think that pairing these two on screen would open any door. But in fact, Costner ended up financing the film himself when all major studios turned it down…

…The film illuminates tensions that many mixed-race families struggle with today. Is the granddaughter black or white? Does she belong with one side of her family when the father is not in the picture? Or should she stay in the only home she has ever known, but with her grandfather who loves her but is now on his own and has shown more than a proclivity to crack into a cocktail at any hour of the day…

Read the entire article here.