As Department Chair at Tougaloo, I did a lot of needless paperwork, dealt with massive administrative incompetence, and taught a full course load among other things. But then, I was able to do something blissfully amazing. I hired some good people and developed programs. One of the most important acts in my tenure was hiring Rebecca Hardin-Thrift and developing a quality creative writing/drama program. And wow! The first production was 'Night Mother. Not only is the play an excellent one, but it only required two actors and a minimal set which in Tougaloo College terms means, "minimal costs." In the film version, Anne Bancroft plays the overbearing, oblivious mother, and Sissy Spacek, the determined suicidal daughter. Though I had never seen the play's theatrical production, I greatly respected the work of the film. I was so glad Rebecca had picked a good play, and I hope you, dear reader, understand my meaning here, and not one that was "black" simply because Tougaloo is a predominately black school and she, a white teacher. That said and to clarify things even further, the drama program also did the real For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, Our Town, A Streetcar Named Desire, The Dutchman, and Vital Signs...you get the point.
But I digress... Japonica Brown was cast as the mother, and without seeing the film (you know I asked), was the very image of Bancroft. Played it damn near identically. I knew then what I can tell you now... Japonica Brown is a damn fine actor. Her comedic and dramatic timing was impeccable, but most importantly, she seemed transformed. The role is a good one, but not transformative by nature. What I mean is that Japonica had changed into someone else and wasn't Japonica playing a character. She was her; for that period of time, she was Thelma Cates.
I remember the first time I saw all three perform for the first time at Tougaloo. Jasmine, who had transferred to Tougaloo from Kent State (yeah, that one) in the second semester was an exceptional student who had plans bigger than Tougaloo. Some days, though, as she will attest, it was a struggle to get her to embrace the Tougaloo moment to get to the Hollywood moment. The first time I saw her perform was at a pageant, probably the Miss Tougaloo, as entertainment. Jasmine performed Sojourner Truth's "Ain't I a Woman." Entering from the back of the room, she command attention much like Truth must have from beginning to end. While most play it as a downtrodden former slave, Jasmine played it sassy, giving Truth a different perspective and voice. Most people tremble when they perform "Ain't I a Woman." Not Jasmine. Big floppy black hat and fan in hand, Jasmine's Truth wasn't bent by her life as a black woman, she was inspired by it.
Now, Mia, is quite the different story. You notice her spirit before you notice her, and because she is so incredibly sweet, she was overlooked for student-run productions. She takes rejection better than anyone I know. Mia doesn't curse--even when she should. Mia doesn't drink--even when she should. She tells her family she loves them as a matter of daily record, and you could trust her to hold a million dollars for years and she won't spend a dime simply because you asked her not to do so. But she got a break when Clinnesha Dillon, Tougaloo's playwright, was directing her senior project, Hand Me Down Blues. Cast as a wise-cracking maid and queen of the malaprop, Mia stole the show right from under the lead! No one had ever seen Mia outside her usual self, and it made a huge difference. From there, she played the twisted Lula (in whiteface) for The Dutchman. She cursed. She cajoled. She seduced. Mia, like Japonica, transforms, and when the play is over, she was Mia again. Beautifully serene and grateful for the experience. When she auditioned for the MFA program in Acting at Brown, the Department Chair remarked that she had a "good soul" (I hope I got that right, but the essence, I'm sure.). She has one of the best--period.
So, in the spirit of these young thespians and Rebecca Hardin-Thrift's work with the drama program, I offer a short list of early films by big name, often one-name, actors.
Ironically, this first one is an adaptation of a play: A Soldier's Story. (Take note, Tyler. No, I'm not over it yet.) Imagine a young Denzel, David Allan Grier, Robert Townsend, and Howard Rollins. Don't forget William Allen Young (Moesha's dad), Larry Riley, and Patti LaBelle!
Badlands: Based on a true story, this is Sissy Spacek's first film. Also, check out Raggedy Man and Carrie.
For early cameos of Samuel L. Jackson in his pre-Shaft days, check out Sea of Love (Al Pacino and Ellen Barkin). Great movie and he's in one of the earliest scenes and has two lines, so don't blink. Also, watch Spike Lee's School Daze. His big film break is as Gator in Spike's Jungle Fever, which is also Halle Berry's debut as his crack-smoking girlfriend. Jackson's performance is even more chilling since he plays an addict not too long after leaving rehab himself. Now, Sam's really big break was in Quentin Tarantino's Pulp Fiction, which is one of those movies who MUST see at least three times and definitely before you die.
Laurence Fishburne fans should check him out when he was Larry: Cornbread, Earl, and Me and Apocalypse Now. And lest we forget his role as Swain in The Color Purple. Clearly Oprah has forgotten since he wasn't on the television reunion special but Shug turns to Swain for support just before she takes off for the church, not Celie, Sophia, or Harpo. Just Swain.
I love Sean Penn, but before he won two Oscars, he was the resident bad boy of Hollywood and former Mr. Madonna who never quite fit into the Brat Pack. Good thing. He's still working. Many of them aren't. See his comedic side in Fast Times at Ridgemont High (as well as Anthony Edwards before E.R. and Forest Whitaker before Last King of Scotland). But the film that made him a star was Bad Boys, and no, Will and Martin aren't in it.
Have a good film week, folks! I saw Denzel in Unstoppable. Great action film! Worth the price of the ticket.
Magnolias,
CLJ
