Sixty years ago, in the heart of Hollywood, a brilliant star lost her battle with cancer, but not her luminous legacy. Hattie McDaniel, an indomitable trailblazer, left an indelible mark on the entertainment industry. Her story is one of unwavering determination, resilience, and the pursuit of dreams against all odds. Join us as we journey through the life of a woman who, in an era of division and discrimination, shattered barriers, paved the way for African Americans, and forever changed the face of Hollywood. By the mid-1920s, Hattie McDaniel became one of the first African American women to perform on radio. She then became the first African American to win an Oscar for Best Supporting Actress in 1940, for her role as Mammy in Gone with the Wind (Victor Fleming, 1939).
Born in 1893 in Wichita, Kansas, Hattie McDaniel was the 13th child of an injured Civil War veteran and a domestic worker. In 1901, her family relocated to Denver, Colorado, where she found herself among the few Black students in her class. From an early age, she displayed her love for music by singing in church, at school, and at home.
During her high school years, McDaniel embarked on a professional journey, showcasing her talents in singing, dancing, and performing skits as part of The Mighty Minstrels. In 1909, her commitment to her career led her to drop out of school, joining her older brother's troupe. In 1911, she took the bold step of organizing an all-women's minstrel show, an American theatrical form that had its roots in the early 19th century. It was predominantly performed by white actors in blackface makeup, intended to comically portray racial stereotypes of African Americans.
The 1920s witnessed McDaniel's collaboration with Professor George Morrison's orchestra, touring with his group and other vaudeville troops for several years. By the mid-1920s, she received an invitation to perform on Denver's KOA radio station. After her radio debut, McDaniel continued to navigate the vaudeville circuit, ultimately establishing herself as a blues artist, where she wrote her own material. In 1929, her career took a significant turn when she secured a steady position as a vocalist at Sam Pick's Suburban Inn in Milwaukee.
A year or so later, McDaniel's brother, Sam, and sister, Etta, persuaded her to relocate to Los Angeles, where they had successfully secured minor roles in the film industry. In 1931, McDaniel achieved her first breakthrough in Hollywood, landing a small part as an extra in a musical. The following year, in 1932, she played a housekeeper in 'The Golden West.' McDaniel's persistence led to her securing sporadic roles, but given the scarcity of opportunities for Black actors during that era, she often found herself compelled to take odd jobs to make ends meet.
In 1934, McDaniel achieved a major breakthrough by securing an on-screen role. She sang a duet with Will Rogers in John Ford's 'Judge Priest.' The following year marked another milestone as she was cast as Mom Beck, starring alongside Shirley Temple and Lionel Barrymore in 'The Little Colonel.' This role not only garnered attention from Hollywood directors but also paved the way for a steady stream of offers. Among her notable roles was the part of Queenie in the 1936 film adaptation of 'Showboat,' where she appeared alongside Irene Dunne. However, her most renowned achievement came in her award-winning role as the house servant of Scarlett O’Hara in 'Gone with the Wind.’
During World War II, McDaniel played a vital role in boosting the morale of American troops and supporting the sale of war bonds. However, she noticed that film offers were becoming scarce. In response, she made a strategic move back to radio, taking over the starring role on CBS radio's 'The Beulah Show' in 1947.
In 1951, McDaniel embarked on filming for the television adaptation of 'The Beulah Show.' Unexpectedly, she experienced a heart attack around the same time, which led to the diagnosis of breast cancer. Regrettably, this health setback forced her to bring her illustrious career to an end.
It is undeniable to acknowledge her immense importance to Hollywood during the era of segregation. Her legacy serves as a reminder to ensure that we do not forget the traumatic past in order to prevent its repetition. After years of exploration and slavery that left deep wounds in Africa, leading to its economic underdevelopment, the United States grappled with segregation. Segregation involved the separation of people into racial or ethnic groups in daily life. This deeply affected McDaniel, who faced limitations in the roles available to her and made history. These limitations continue to be a subject of controversy in Black media, as she often portrayed characters that perpetuated negative racial stereotypes, such as servants and slaves who appeared content with their roles.
Moreover, during her memorable Oscar win, she experienced a unique form of recognition. Instead of a traditional Oscar statue, she received a plaque, a custom for supporting performance winners between 1936 and 1942. Her commitment to her craft and her contribution to the motion picture industry were unwavering. In a humble and heartfelt acceptance speech, McDaniel expressed "It has made me feel very, very humble and I shall always hold it as a beacon for anything I may be able to do in the future [...] I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel. And may I say thank you and God bless you." She left a lasting legacy by bequeathing her Oscar to Howard University, where it was displayed in the school's drama department until the late 1960s.
Notably, her journey was marred by the racial segregation of the time, exemplified by her exclusion from the film's premiere in 1939 at the Loew's Grand Theatre on Peachtree Street in Atlanta, Georgia, which was a white-only venue.
Her recognition continues to be a subject of discussion. She was posthumously awarded two stars on the Hollywood Walk of Fame, inducted into the Black Filmmakers Hall of Fame in 1975, and honoured with a commemorative U.S. postage stamp in 2006. A well-received biography on her life, 'Hattie McDaniel: Black Ambition, White Hollywood' by Jill Watts, was published in 2005. In early 2018, it was revealed that producer Alysia Allen had acquired the film rights to the book and was exploring the development of a biopic.
In her Oscar acceptance speech, she likened her achievement to a beacon, symbolizing her accomplishment to the Black community. This topic remains a subject of constant discussion, especially concerning representation in the contemporary age. While there has been progress with diverse roles and rights, debates persist, notably exemplified by movements like #WhiteOscars. It is a reminder that opportunities for the Black community remain a pressing issue, especially in the face of ongoing challenges such as racial discrimination and violence, which underscore the importance of preserving the history and achievements of Black individuals instead of shutting their voices with the hate and omitting their stories and contributions, memories and achievements are being forgotten.
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