Many Oscar-winning films are about interracial friendships and white characters’ journey to enlightenment.
Driving Miss Daisy is one of those movies that you know before you watch. Everything is fine on the poster. The white Jessica Tan glared at the black Morgan Freeman, who seemed surprised by her severity. They are framed in the rearview mirror taking up only about 20 percent of the space. The driver’s helmet is visible, it’s in the back seat. All that remains are the names of the three actors, the tagline, the title, a small credit, and a blank space.
This rearview mirror image is not a movie image, but a stunning image with Norman Rockwell’s little-known Americana. The warmth evokes a very special past. If you’ve ever seen a packet of Cream of Wheat or a certain brand of rice, you know if you’ve seen a few Shirley Temple movies .
As the movie poster says, it’s very neat. But whoever invented it knows that simplicity is possible because we know the shorthand for the eternal dynamics of the race. I got off the subway last month and saw a billboard with a black Kevin Hart in the back of a white Bryan Cranston wheelchair. Everyone was excited. Maybe he should. The movie is called The Upside. A few months ago, while drinking coffee, I saw a long and enticing billboard with a white Viggo Mortensen driving a black Mahershala Ali in a mint green car for a movie called Greenskins. Movie books.
Just because you don’t know what a movie is about doesn’t mean you don’t know what it’s about
This pay-to-play proposition is modern entertainment in contrast to the entire history of popular culture, which only required black actors to serve white stars without the illusion of camaraderie. . After Sidney Poitier facilitated black fame for white studios, after ethical and legal adjustments during the civil rights movement, after black power and political condemnation rights of black people, this may be the first time since Hollywood movies were invented. allow black mining to continue. This was only possible in the 80’s,
In this age of television, a wealthy family of white sitcoms attracted black kids in Webster’s Another Stroke. In “Diff’rent Strokes”, the adopted child is the Harlem orphan of Phillip Drummond’s servant. Money doesn’t just promote racial integration; perhaps to soften the narrative of black segregation and oppression.
This sitcom is not a full-fledged social experiment, but rather an amusing advert about the civilized (and alienating) benefits of white wealth on black lives. The plot of 1983’s “Place of Deals” was truly an experiment, an interesting and complicated experiment in which a cunning bag of white money led the unscrupulous and insane Eddie Murphy to a lousy job in business. bank. The plan to create an accidental friendship between the pair is betrayed, and both become rich.
But under the tutelage of Daddy Warbucks, Richard Pryor, owner of the country’s wildest comedic imagination, went from desperate janitor to crooked businessman (Jackie Gleeson) in 1982. ) the joy of life from an evil son. Honesty should be respected. The movie is called Toys and it’s silly, wild, and scary. When I saw it, I was younger than the little white character (Eric Bates, “the master”), but I still remember the awkward panic on Pryor’s face when he got stuck in what he was. It’s called the magic wheel expression. It’s a scene that can’t be lost because it’s designed to cross-dress, show off the Ku Klux Klan, and make Gleason feel good about racism and parenting.
The relationship continued according to the old rules, and Poitier was often hired to turn fanatics into friends. No need to confuse the rules
As whites get closer to saving blacks, the Academy screams, “You’re so good!” The year Miss Daisy’s Drive won an Oscar, Morgan Freeman also played a supporting role in the TV series that revolved around it. A Confederate colonel was white (“Glory”) and was heavily involved that night. (He won his first Academy Award for playing an enslaved Confederate soldier.) Spike Lee lost the original screenplay award for “Doing the Right Thing,” his masterpiece about an overflowing pool of racial hatred. flooded in Brooklyn. When I was 14 years old, the political importance of that night cannot be overlooked. Both “Driving Miss Daisy” and “Glory” were released on the moon, and those who liked them seem to have fallen for the trap. wake up. “Miss Daisy” reception dizzy, obviously serious.