Astaire often playedmaster-servant relationships in his films, exaggerated in scenes where...
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Astaire often played
master-servant relationships in his films, exaggerated in scenes where he's tapping
in front of a bunch of Black actors. As the studios continued to hammer out
a crude mythology about African Americans, director Alice Guy-Blaché
decided to do something else entirely. In 1912,
she directed A Fool and His Money, what's said to be the first film
with an all-African-American cast. Her artistry showed a playful clarity
and did not diminish those actors
master-servant relationships in his films, exaggerated in scenes where he's tapping
in front of a bunch of Black actors. As the studios continued to hammer out
a crude mythology about African Americans, director Alice Guy-Blaché
decided to do something else entirely. In 1912,
she directed A Fool and His Money, what's said to be the first film
with an all-African-American cast. Her artistry showed a playful clarity
and did not diminish those actors
Full Transcript
00:00:01.000 --> 00:00:04.921
Astaire often played
master-servant relationships in his films,
00:00:05.996 --> 00:00:09.055
exaggerated in scenes where he's tapping
in front of a bunch of Black actors.
00:00:11.677 --> 00:00:16.891
As the studios continued to hammer out
a crude mythology about African Americans,
00:00:16.974 --> 00:00:21.052
director Alice Guy-Blaché
decided to do something else entirely.
00:00:21.604 --> 00:00:24.982
In 1912,
she directed A Fool and His Money,
00:00:25.999 --> 00:00:29.445
what's said to be the first film
with an all-African-American cast.
00:00:29.528 --> 00:00:34.045
Her artistry showed a playful clarity
and did not diminish those actors.
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Movie Summary
Tracks the history of Black cinema, focused mainly on the '70s, with archival and new interviews with many of the key players from the era.
