Dorothy Dandridge photographed by Philippe Halsman (1954).
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Princess Diahann | Vintage Black Glamour & Grace
Diahann Carroll (born Carol Diann Johnson; July 17, 1935 – October 4, 2019) was an American actress, singer, model, and activist. She rose to prominence in some of the earliest major studio films to feature black casts, including Carmen Jones (1954) and Porgy and Bess (1959). In 1962, Carroll won a Tony Award for Best Actress in a Musical, a first for an African-American woman, for her role in the Broadway musical No Strings. In 1974 she starred in Claudine alongside James Earl Jones for which she was nominated for an Academy Award for Best Actress.
Her title role in Julia, for which she received the 1968 Golden Globe Award for Best TV Star – Female, was the first series on American television to star a black woman in a non-stereotypical role, and was a milestone both in her career and the medium. In the 1980s, she played the role of Dominique Deveraux, a mixed-race diva, in the prime time soap opera Dynasty. Carroll was the recipient of numerous stage and screen nominations and awards, including her Tony Award in 1962, Golden Globe Award in 1968, and five Emmy Award nominations. She died on October 4, 2019, from breast cancer.
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The Blood Of Jesus (1941)- Dir. Spencer Williams
In the rich history of low budget Black cinema, there are a few rare gems that I feel every Black person should see in their lifetime. Among them is "The Blood of Jesus" (1941), a groundbreaking film directed by the multi-talented Spencer Williams. This film lays the groundwork for Black indie films with its ghastly folk aesthetic, non linear storytelling and angelic imagery. "The Blood of Jesus" remains an essential cinematic experience even after more than eight decades.
Now why THIS film?
"The Blood of Jesus" holds a special place in the annals of Black cinema as one of the first feature-length films to be produced and directed by a Black filmmaker. This milestone not only paved the way for future filmmakers but also provided a platform for authentic representation and storytelling.
The storyline is the classic “in between heaven and hell” trope and it is executed in such a stylistically sound way that it kept me glued to the screen. It reminded me surrealism and Dadaism which was huge in white cinema and literature at the time. This is early Afrosurrealism, dare I say. We see masterful interaction with atmospheric lighting, symbolic dream sequences, and breathtaking slow dissolves. It has lots of non-linear storytelling which is seen in many different Black indie films, especially from the 90s and it was fun making this connection.
Here’s a brief synopsis:
The film tells the story of a young woman named Martha, played by Cathryn Caviness, who is accidentally shot by her husband, Razz Jackson, portrayed by Spencer Williams himself. As Martha lies between life and death, her soul is caught in a cosmic struggle between the forces of good and evil. The narrative takes the viewers on a spiritual journey, as Martha's soul encounters various characters, symbolizing the temptations and choices she must confront. The film skillfully weaves together elements of Christianity and African American spirituality, highlighting the interconnectedness of faith and culture.
Written by your favorite Black film head, welcome to Nigga Mag.
-M
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