“whitewashing”

Song Ethics: Isn’t “Whitewashing” Just Covering A Song For A Different Audience?

/ Jack Marshall / 15 Comments

I usually don’t expect “Great Stupid”-style race-baiting from The History Channel, but today for some reason it alerted me that on this date in 1955 “Black music got whiter” with the release of Georgia Gibbs’ “Dance With Me Henry (Wallflower)” “setting off a dubious trend known as ‘whitewashing.'” This recording was a cleaned up version of Etta James risque song you can hear above. “Roll with me, Henry,” as the lyrics of that song went, essentially meant “Fuck me, Henry,” and they weren’t going to play that on mainstream AM radio stations in 1955. So producers bowdlerized the lyrics for pop singer Gibbs, who was, ugh!, white, and she had a hit:

Apparently there’s supposed to be something sinister about this, as if Gibbs was “stealing’ record sales from Etta James. Nonsense. Artists aiming at different audiences with covers of songs taking a different turn is called “commerce.”

Here’s a 1936 song by Rodgers and Hart that was favored by old fogies at the time..

…but only after the lyrics were changed…

Old Blue Eyes, before he was old, covered it later by jazzing it up…

But “Blue Moon” only became a mega-smash when it a lot of 50’s era gibberish was added and it came out like this:

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Ethics Warm-Up, Memorial Day, 5/28/18: Things That Don’t Mix

/ Jack Marshall / 33 Comments

1. Let’s start with some non-traditional casting hypocrisy.

  • Example A: In “The Gentleman Caller,” an Off-Broadway drama by Phillip Dawkins, an imagined romantic interlude between famously gay Fifties playwrights Tennessee Williams and William Inge has been cast with a Hispanic, and Hispanic-looking, actor as the very un-Hispanic Williams, and an Asian-American actor as the quite Caucasian Inge. This is self-indulgent grandstanding by the director that doesn’t serve the play—that’s the director’s duty, to serve the play—and the playwright was a fool to allow it. If the drama was just about two gay playwrights, it wouldn’t matter who was cast to portray them, or what the actors looked like. The identity of the writers is important to this  drama, however. You don’t cast a short, bald man as Abraham Lincoln, and you don’t cast a fat, flat-chested woman as Marilyn Monroe unless you are actively trying to sabotage the play. The New York Times critic didn’t have the integrity to point out the reverse-whitewashing casting-–mustn’t criticize fellow social justice warriors, you know!—but the stunt is both incompetent and discriminatory.

If a director cast an Irish-American and an Italian-American as James Baldwin and Richard Wright in a similar play, he would be excoriated, and rightly so.

  • Example B. Jim Parsons, best known as aging nerd Sheldon in “Big Bang Theory” and now starring on Broadway in the ensemble revival of “The Boys in the Band,” told the New York Times in an interview that the producer insisted that everyone in the cast be gay. Nice. Gay actors have been insisting forever that their sexuality was no bar to their playing straight characters—this is true, if they are any good as actors—but apparently reverse discrimination is fine.  It’s not fine. It’s bigotry.

When my late, lamented theater company revived that play almost 20 years ago, the director, John Moran, himself gay, insisted that the sexual orientation of the actors who auditioned would play no part in his casting decisions, and it did not. I think most of the all-male cast was not gay, but all of them were (and are) excellent.

One of my favorite Clarence Darrow quotes is, “I’m for the underdog. He needs friends a damn sight more than the other fellow. The best fun in life is to fight for the underdog…If the underdog got on top he would probably be just as rotten as the upper dog, but in the meantime I am for him.”

Things that don’t mix: Anti-discrimination rhetoric and discrimination

2. Another “good illegal immigrant” story. Guatemalan woman Gomez Gonzalez was shot to death in a border incident as she tried to enter the U.S. illegally. The episode is under investigation, and the facts are murky: the border patrol claims that she was in a crowd of people trying to cross the border illegally that became threatening and violent.  Here is how CNN begins its account of the controversy:

“Claudia Patricia Gomez Gonzalez traveled 1,500 miles to the United States, hoping to find a job and a better future. Shortly after she set foot in Texas, a Border Patrol agent shot and killed her.”

No bias there! It is absolutely irrelevant to the legal and ethical issues here why Gonzalez was entering the country illegally. She did not deserve to be shot under any circumstances, and she was no more justified in violating our immigration laws whether her objective was to find a “better future” or to open a meth lab. The news media insists on sentimentalizing what is a black and white issue of sovereignty, law-breaking and enforcement, with the intent of confusing the public and demonizing opponents of illegal immigration.

Things that don’t mix: Lawbreaking and status as a virtuous martyr

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The New “Ben-Hur” And The Casting Ethics Double Standard

/ Jack Marshall / 80 Comments

Thank-you, O producers of the new “Ben-Hur,” for so quickly after my post ridiculing the new politically correct casting ethics in Hollywood—according to Turner Movie Classics, it’s just soooo wrong to cast an Anglo Saxon like Charlton Heston as a Mexican, for example—-coming out with the official trailer proving that the new, enlightened casting ethics really only applies when it means it takes jobs away from white actors. Okay, just American white actors. Or something….actually, this casting ethics rules are  kind of made up as things shake out.

Which was what I thought all along.

In the 1959 Ben-Hur (starring, ironically, White Guy Charlton Heston as Judah Ben-Hur ), the plum part of Shiek Iderim was played by brilliant Welsh character actor Hugh Griffith, whose performance rightly won him an Academy Award. Yes, he wore dark make-up, because actors wear make-up. Ah, but these are enlightened days, and now we know, because it has been decreed by Ben Mankiewicz and the rest of the heralds of politically correct casting, that the casting of a master comic actor of unique gifts who was an audience favorite to play the sheik was insensitive and essentially racist, not to mention unfair to all of those unemployed but equally adept Arab actors qualified to play the part. So who plays the sheik in the new, improved, enlightened “Ben-Hur’?

Morgan Freeman.

Who looks as much like an Arab as Bruce Lee. Continue reading →

Ethics Quote Of The Month: Washington Post Film Critic Ann Hornaday on “Selma”

/ Jack Marshall / 14 Comments

selma-movie

“How to reconcile facts and feelings, art and fealty to the truth? When filmmakers recall with pride about the deep reporting and research they’ve done for their projects, then they deserve to be held accountable for their projects. For fact-based films, accuracy becomes a formal element, along with acting, design and cinematography. It’s up to each viewer to identify the threshold where artistic license compromises the integrity of the entire endeavor. Cinema has more responsibility in this regard precisely because of its heightened realism, its ability to burrow into our collective consciousness and memory, where the myth has a tendency to overpower settled fact. But viewers have responsibilities, too. If accuracy has become a formal element of historical dramas, then the ensuing fact-checks have become just as integral a part of how we view them. That means it’s incumbent on audiences to engage in a mode of spectatorship that, rather than decide who’s right, can listen to and respect expert critiques, and still open themselves up to a piece of filmed entertainment that speaks to less literal, more universal truths.”

—–Ann Hornaday, Washington Post film critic, on the controversy regarding the counter-factual treatment of President Lydon Johnson in the new film, “Selma.”

The question of whether film makers have an ethical obligation to fairly represent history, and particularly individual historical figures, in their movies has been a topic visited frequently at Ethics Alarms, and I’m not going to re-hash conclusions that have been thoroughly discussed before, such as

…here, regarding the casting of “The Impossible” with a gleamingly light-skinned central family and the changing of the real life heroine from Spanish to British

…here,  discussing complaints that a fictional event was not portrayed accurately in “Noah”

…here, exploring the many falsehoods, some quite despicable, in James Cameron’s “Titanic”

…here, regarding unfair criticism of “Argo”

and here, discussing “Lincoln” screenwriter, playwright Tony Kushner’s inexcusable choice to represent a real life former Congressman voting against the Thirteenth Amendment abolishing slavery when in fact he voted for it.

The conclusion of that last one sums up the lessons of the rest, I think. Kushner’s defense against criticism of the collateral damage his invented facts wreaked was to argue that they were legitimate tactics in the pursuit of drama and “greater truths.” He then compared smearing the reputation of a Congressman, to the detriment of his descendants, to misrepresenting the kinds of socks Lincoln wore. (Kushner can be a brilliant writer, but his ideological utilitarianism is repellant.) I wrote:
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In England, Art Designed To Show The Ugliness Of Racism Exposes The Ugliness Of Political Correctness And Censorship Instead

/ Jack Marshall / 41 Comments

Human zoo

Then the question is: would this happen here?

The performance art piece “Exhibit B” evokes the spectacle of “human zoo,”in which Africans were put on show for the entertainment and gawking curiosity the 19th and early 20th Century Americans and Europeans. Visitors tour a room in which black actors portray the human exhibits as well as portrayals of what modern-day equivalents would might be like. Created by white South African theatre-maker Brett Bailey,  “Exhibit B” has recieved rave reviews in several venues.  In Edinburgh, The Guardian’s theatre critic Lyn Gardner saw the results as “both unbearable and essential”:

“Creator Brett Bailey has been fearlessly uncompromising in his approach. The experience in the exhibition hall is entirely without comfort. Confronting us with the appalling realities of Europe’s colonial past – the stuff I definitely wasn’t taught at school – isn’t just some kind of guilt trip. It reminds us that most history is hidden from view; it reminds that Britain’s 21st-century ways of seeing are still strongly skewed by 18th-, 19th- and 20th-century colonial attitudes. The masterstroke comes at the end: the pictures and the biographies of the ordinary black Edinburgh men and women who are taking part. Tomorrow, history will look a little different.”

Never mind: Sara Myers, as well as others, don’t want to see it, so they have conspired to stop the work from being seen, at least in England, by anyone else. In her petition at Change.org, she writes: Continue reading →

Ethics Quiz (Movie Division): “The Impossible,” Whitewashing, and Betrayal

/ Jack Marshall / 43 Comments

"Bennett" and Belón

“Bennett” and Belón

I suppose some of you may have thought about this two years ago, when the Spanish film “The Impossible” was first released. I, however, take a while to catch up with my movie-viewing, and though the film was much praised by critics and got Naomi Watts an Academy Award nomination, I had not seen the film until recently. “The Impossible,” about as accurately as a motion picture can, tells the amazing story of how Spanish physician María Belón, her husband Enrique Álvarezs, and her three young sons miraculously  survived the 2004 Indian Ocean earthquake and tsunami when the family was on vacation in Thailand.

It is an engrossing, harrowing movie. I was surprised to find out, however that the family’s name wasn’t “Bennett,” and that they weren’t British, as the movie presented them. Apparently to maximize box office receipts, the film makers decided to take the heroic story of a real family and make the characters “more relatable” by recasting them as English-speaking Brits. There was a minor controversy about the film “whitewashing” the story*, but not much of that made it into the mainstream media. Belón, after all, is white. She was an active participant in the appropriation of story and that of her husband and sons, and they all profited from it, at least financially. Still, the movie’s point of view left a bad taste in the mouths of some international critics. Here is Australian critic Ruby Hamad:

“Based on the true story of a dark haired and darkish-skinned Spanish family, the filmmakers admitted to changing their nationality and casting lily-white actors in order to make the story ‘universal’. In other words, only white people can stand in for the human race as whole. For this reason, Thailand and its people are mere backdrops for the story of a Caucasian family who learn the hard way that even western privilege is no match for the brute force of mother nature.”

Your (two-year late) Ethics Alarms Ethics Quiz, therefore, is:

Is “The Impossible” unethical”?

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