It’s Nothing Personal Paula, But I Don’t Want You Playing Black
From bourgois to bourghetto, black folks just have a way of communicating that ranges from subtle to outlandish. To give you an idea of how liberal I’m being with my interpretations of what’s Black, every character on the Cosby show reflected Black folks despite their range of shades and their use of “proper talk.” Would anyone argue that Claire Huxtable was not a typical black woman? Sure,she had some unbelievable circumstances but her demeanor and character would never have her confused for a white lady.
If you haven’t watched Jumping The Broom or even another Patton film Just Wright, you won’t understand what I’m saying here, but Patton just comes off as a white girl in these two films. Can I even say it’s acting? I think it’s just plain lack of flavor, which makes me really wonder why producers are jocking her so bad for Black films?
Maybe you think I’m being hard on Patton but as I debated writing this editorial, all I had to do was consider how many Black women in Hollywood, who are much more relatable and reflective of Black folks, are passed over for being not “white enough.” Somehow, I’m sure the producers tried to find a way to appeal to the masses and that involved getting a black girl who can not only appear white from afar but also act white. It’s a very sad state of affairs when Tracey Edmonds, T.D Jakes and Salim Akil are buying into this B.S. Hollywood hype. Any number of the other Black actresses would’ve complemented this film much better – people like Taraji P. Henson, who always does a stellar and charming job, Naturi Naughton, Tia Mowry, Jurnee Smollett, Camille Winbush and the list goes on.
Patton has a red hot career. People tell me that she did a great job in Precious, which I haven’t seen, but for the sake of authenticity, I do hope that Patton becomes such a big star that she doesn’t have to play in niche Black films. And I hope that these Black producers stop being so scared of Black culture and embrace the beauty, soul, and flavors of Black people. It’s such a complicated paradox that in a time when Black people influence, mold, and shape popular culture throughout the world, our own directors and producers fear making a film that has the chance to celebrate our rich identities. Patton’s position in the power structure only reflects the misguided perceptions of the Hollywood engine, because so much of what works for Black cinema is not about the hue or whiteness of the lead character but how much of a leeway that film gives into a coveted Black culture.
