Denzel
Disses Hollywood
by
Laurence A. Elder
Denzel Washington
is again disgruntled. Racism, he claims, hurts his career.
Remember Florida
Marlins' outfielder Gary Sheffield? He complained about the rampant
racism in baseball. This, after the inked dried on his then record
contract, making him the highest paid player in the history of the
game
What does Denzel
pull down per flick? Oh, about $10 million per. Not bad for a guy
oppressed by the white racist power structure. (Between acting gigs,
sometimes, Washington weighs in on temporary issues. His take on Latrell
Sprewell, the basketball player who tried to kill his coach? "I think
a lot of critics in the media don't like the fact that all these young,
black men are making all that money." (Bless you, Denzel.)
In an interview
with "USA Weekend," Washington said, "I understand what country I
live in, and economics. If the tables were turned and there were 200
million black people and 25 million whites, they'd be saying the same
thing about Tom Cruise they're saying about me. I know I'm swimming
upstream against the numbers. A whole lot of people in the country
won't go to a movie I'm in because I'm black. Period. So the fact
that I can operate and do well--I know they're not continuing to give
me jobs and all this money because they're nice--I must be bringing
home something."
Now what exactly
does this mean? Washington argues that Hollywood is anti-black. No,
Hollywood is anti-losing money. If the Louis Farrakhan Comedy Hour
could guarantee a five share with advertiser support, ladies and gentlemen...
heeeeeere's Louis!
If, however, Washington
is saying that non-black decision makers are less likely to understand
and appreciate the stories that blacks want told, then Washington
is undoubtedly on to something. But he should find another word to
describe the phenomenon. A comfort level with certain themes and concepts
is one thing. Racism quite another. Whites certainly outnumber blacks;
most stories involve non-black characters giving white actors an advantage.
So, Washington's right about that. To a point.
Screen Actors
Guild shows work for blacks in movies, television, and commercials.
The percentage of parts for blacks in commercials, television, and
movies was approximately 9%, as against a U.S.A. population of 12%
black. Screen Actors Guild also reports that for 1996, blacks accounted
for 14% of all roles in television.
The Directors
Guild of America reports that from 1995 to 1996, the percentage of
"days worked" rose from 3.9% in 1995 to 5.2% in 1996. Not exactly
a shut-out. And a study by Minority Markers Alert reports that in
the New York area, blacks appeared either on screen, through music,
or voiceovers, in nearly 40% of the commercials. (By the way, the
current issue of the black weekly "Jet" magazine, features a cover
story: "Hollywood's Hottest Hunks." L. L. Cool J, Malik Yoba, Djimon
Hounsou, and Denzel. What, Hollywood's "hottest hunks" are... black!)
Furthermore, surveys
show that black TV viewing habits differed dramatically from that
of whites. While the Fox TV cop show, "New York Undercover," barely
made the top 100 list of white reviewers, the show rated No. 1 in
black viewership.
Similarly, blacks
watch "Moesha," "Living Single," and other fare on WP and UPN far
more so than whites. "Moesha," the hit show with Brandy, first failed
as a network show. So, when blacks have different viewing habits than
whites, do we call that racism?
Furthermore, Denzel
really described a tendency, a presumption. But many films involve
interracial couples, where blacks and whites kiss, have sex, and have
relationships. Oprah Winfrey just produced a television movie about
an interracial couple. In the movie, "The Bodyguard," Whitney Houston
and Kevin Costner fell in love. The film "crossed over," a hit among
both black and white audiences. Here is the key. For a black star
to have "crossover" appeal, he/she needs the following traits--openness,
affability, and a character seemingly devoid of anger or attitude,
the same characteristics that create a white "crossover" star.
An aspiring white
actor recently told me that a talented black actor can read a "white
part," and prompt a change in casting. Rarely, my actor friend said,
does it work the other way around--a part written for a black getting
casted by a white actor.
Washington's "Hollywood-shuts-me-out-because-of-racism"
statements expose himself as one who possesses precisely the opposite
of the characteristics just described. Anger, petulance, self-pity,
and refusal to celebrate his own success in a highly competitive field.
Off-putting characteristics, these. What made black actor Cuba Gooding,
Jr., such a delight in the film "Jerry McGuire" and at the Oscars
was his appearance of sheer joy. People found his "look what I have
accomplished" approach to life both endearing and uplifting. He's
going to work a long time.
As for Denzel,
his words and attitude do more damage to attaining his stated goals
than the "obstacles" he complains about. A test? Drive to any upscale
restaurant in West Hollywood. There you'll find an actor (whatever
race) waiting tables. Ask him would he trade for Denzel's "suppressed"
career.