1/11/2013
Why is the mulatto a tragic figure?
To fully comprehend to what extent the mulatto is a tragic figure, we must first understand the historic implications which will help to contextualise the mulatto within a filmic narrative, as skin colour has been problematized since the introduction of Slavery which was practised in America during the 17th and 18th centuries, furthermore describing the captors as having a ‘fear of otherness’ according to Stuart Hall in his film ‘Race, The Floating Signifier’. Identity traditionally was polarised as you were deemed either white or black using the gradation of skin tone as a categorical tool used to disrupt the notion of a completely integrated black community, thus creating a racial hierarchy system which would be used to split into two separate groups. Firstly ‘Field Slaves’ who were dark skinned and did the manual labour in the fields, they were shackled together as they were considered untrustworthy, violent and sexually deviant. Secondly ‘House Slaves’ who were light skinned and trusted to partake in domestic jobs within the household like nanny, servant and cooking however the women were often victims of rape by their white masters. This hierarchal system seemed to translate into film as Hollywood gave heroic parts to lighter skin actors and linked deviancy/villain with the darker skinned actors.
To fully comprehend to what extent the mulatto is a tragic figure, we must first understand the historic implications which will help to contextualise the mulatto within a filmic narrative, as skin colour has been problematized since the introduction of Slavery which was practised in America during the 17th and 18th centuries, furthermore describing the captors as having a ‘fear of otherness’ according to Stuart Hall in his film ‘Race, The Floating Signifier’. Identity traditionally was polarised as you were deemed either white or black using the gradation of skin tone as a categorical tool used to disrupt the notion of a completely integrated black community, thus creating a racial hierarchy system which would be used to split into two separate groups. Firstly ‘Field Slaves’ who were dark skinned and did the manual labour in the fields, they were shackled together as they were considered untrustworthy, violent and sexually deviant. Secondly ‘House Slaves’ who were light skinned and trusted to partake in domestic jobs within the household like nanny, servant and cooking however the women were often victims of rape by their white masters. This hierarchal system seemed to translate into film as Hollywood gave heroic parts to lighter skin actors and linked deviancy/villain with the darker skinned actors.
The one drop rule meant that any non-white ancestry within your bloodline classified and relegated you as ‘coloured’ immediately. This rule also applied to Native Americans of the time using discriminatory terminology to describe ones genetics hence ‘Mulatto’ which in Spanish means interbreeding between a horse and a donkey, suggesting that in fact these humans were half pure, this rule applied up to 1/16th black, Quintroon (Quint) meaning fifth generation.
From this we can begin to consider the narrative and seriousness of passing, which invited certain pale skinned African Americans to try an attempt to pass as white American citizens, but it has to be questioned as to why this seemed such a tempting option? Primarily it would seem for improved economic opportunities otherwise recreational purposes which enlisted being able to receive first class facilities and services at the theatre, restaurants and travel these factors all contribute basically to a better standard of life. However it must be noted that some passers choose this way of life to trick the white community, almost as revenge. Passing was an extremely risky decision as if caught the punishment was severe also the amount of effort having to change your whole way of life seemed effort not to mention the betrayal of racial pride and disloyalty to family and friends, whilst carrying a false sense of identity as acting white isn’t the same as being white.
There was two version released of imitation of life firstly by John M. Stahl (1934) and followed by Douglas Sirk (1959) ‘Don't come for me. If you see me in the street, don't speak to me. From this moment on I'm White. I am not colored. You have to give me up.’ These are the last words said to Delilah (Mammy) by Peola Johnson in the first version of these films. It can be argued that Fredi Washington who is considered to be a real life tragic mulatto doesn’t play this role but actually lives it off screen, as despite containing all the characteristics of a white women like green eyes, straightened nose and long black hair remains from mixed heritage, it has been rumored in other productions she had been ‘blackened up’ to avoid confusion within the audience about her mulatto blood. In this scene she is rejecting her black heritage whilst asking her mother to understand.
The determining factor between mother and daughter at this stage is that Delilah accepts her place within the Jim Crow hierarchy whereas Peola still has the option to reject it in pursuit of a better quality of life, this should begin to put into perspective the burden of being black in the 1930’s and the extent of self hatred and depression created by white America towards racial minorities who have been victimized enough to make them want to escape their own lives. Delilah pleads for Peola to accept her bloodline ‘He god made you black, honey. Don't be telling Him his business. Accept it, honey." But unescapably Peola has her mind set for wanting to pass and abandons her mother’s wishes, and resumes to run away and begin her life as a white women, towards the end of the film we learn of Delilah’s passing but not as a white women but in death, followed by a regretful and hysteric Peola who returns to her mothers funeral.
The audience have little to none sympathy for Peola, both black and white as they would have been separate while watching the film, due to the trauma caused by Peola which was likely to have caused her mothers death. This can be interpreted by the audience as a selfish act, very much so that in the 1930’s -1970’s the very name Peola was used as a term for light-skinned women who identified themselves as white usually used in an insulting way. The remake narrative remains similar to the original and Peola’s name changes to Sara Jane, however there is still great emphasis on racial barriers not national ones. Both containing the same conclusion, that it is not possible to transcend boundaries otherwise resulting in violence, unhappiness and death. Again Both Peola and Sara-Jane can be viewed as cinematic tragic mulattoes as its evident that mixed heritage caused sorrow. From this it can be viewed that passing created deep self-disgust, as she commiserated the very thing she descended from which ultimately is inescapable, whilst trying to pretend to conform within a white society who she may have feared or felt misplaced in whilst always trying to gain their approval. American Society was manipulated by race, and ensured that the tragic mulatto was at rest with herself only in death. It’s a tragic story as our protagonist is caught between desires and reality and in the end is neither accepted by either whites or blacks.
word count: 1039
Filmography
Staurt Hall - Race: A floating signifier
John M. Stahl Imitations of life (1934)
Douglas Sirk - Imitations of life (1959)
Filmography
Staurt Hall - Race: A floating signifier
John M. Stahl Imitations of life (1934)
Douglas Sirk - Imitations of life (1959)