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Marcellas Reynolds - Supreme Actresses: Iconic Black Women Who Revolutionized Hollywood

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Supreme Actresses: Iconic Black Women Who Revolutionized Hollywood
Author:
Marcellas Reynolds
Publisher:
Harry N. Abrams
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Books / Non-fiction
Year:
2021
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A comprehensive collection of photographs, interviews, and profiles of the most influential Black actresses who have worked in film, television, and theater From the author of Supreme Models comes the first-ever art book dedicated to celebrating Black actresses and exploring their experiences in acting. Through stunning photographs, personal interviews, short biographies, and career milestones, Supreme Actresses chronicles the most influential Black actresses who have worked in film, television, and theater. From Hattie McDaniel, the first actress of color to win an Academy Award for Best Supporting Actress in 1939, to Dorothy Dandridge, the first actress of color to be nominated for Best Actress at the Academy Awards in 1954. And from Ethel Waters, the first African American actress to be featured on an American sitcom in 1950, to Cicely Tyson, the first African American star of a TV drama in 1963. The performances by these talented actresses are ingrained into our memories. We experienced laughter, love, and loss with these women. But how did they begin their acting careers? Who were the first Black actresses who paved the way? What are their defining moments? What effects did racial prejudice have on their careers? Supreme Actresses remembers and celebrates the groundbreaking women who have been influencing culture for decades, reshaping the very standards of beauty in modern society.

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Table of Contents

Guide

Marcellas Reynolds Foreword by - photo 1

Marcellas Reynolds Foreword by Gabrielle Union Abrams New York Iconic Black - photo 2

Marcellas Reynolds

Foreword by

Gabrielle Union

Abrams, New York

Iconic Black Women

Who Revolutionized Hollywood

CONTENTS

When I was eight years old, my family and I moved to Pleas-

anton, California, which is exactly how it sounds. Most people

think of the Bay Area as very liberal and diverse, but my

parents chose a Republican hotbed that was 99 percent white.

It seemed we were the other 1 percent. Soon after we arrived,

the idea of otherness kicked in. I became aware that we no

longer had our extended family to offset what I would experi-

ence at school. Before our move from Omaha, Nebraska,

where I was born, to Pleasanton, I never thought about my

race because I come from the largest Black family in Omaha.

My grandparents babysat me, and most of my extended family

lived close to us. So other than at school, I spent most of my

life surrounded by my family members. Theres a lot of them

on the North Side of Omaha.

Within days of arriving in Pleasanton, I became popular and

stayed that way throughout school. The problem with being

popular when youre the only Black girl in your grammar school

and then your high school is that you have a birds-eye view

of all the things popular kids have access to, but not all of

those things are for you. Its one thing if youre on the outside

looking in. You never have any idea what the popular kids have

access to, but its another when youre popular, yet youre

othered. Its like theyre passing around all the goodies, and

then theyre like, Oh, none for you. Youre very aware, and it

hurts differently because its your social circle reaping all the

benefitswhether its when your friends start having crushes

on each other and begin dating and no one ever wants to date

you or no one has a crush on you, or when all of your crushes

go unrequited. Its stuff like that, or peoples parents being

weird about sleepovers at your house, preferring you sleep over

at their homes.

Growing up as a popular kid who was also the other in

a town like Pleasanton is similar to being a successful Black

actress in Hollywood. Supposedly you have all this access, and

youre reaping the same rewards, but truthfully youre not on

many levels, especially when it comes to roles and certainly

not pay. Perhaps because Ive been dealing with it most of my

life, it seemed more of the same. Its when Hollywood starts

putting you on listsThe Up-and-Comer or The Whos

Whothat you start believing the hype. You think, Now Im

in a different space from back then. But really, this is just

what Ive been dealing with my whole life, on a different play-

ing field where I must be bigger and better only to maybe be

considered equal, but probably not even that.

Once you are in Hollywood, you begin to believe that if you

work hard enough, if your movies make a certain amount, if

your television show is a hit, if you do all these things, fairness

and success are assured. But then the bar keeps moving, and

your expectations are so high because youve worked your ass

off and youve overachieved more times than you can count.

So when it doesnt pan out how they tell you it will based upon

good old-fashioned American meritocracy, it hurts a thousand

FOREWORD

When people think

of me, I want them

to know that I did

everything I could to

change the world.

I want to figure out

a way to center

all of our humanity.

times worse than if you had no expectations. When you drink

the Kool-Aid, its that poison that hits a little different.

But its Hollywood and the allure of fame, and you cant

help but drink the Kool-Aid because you have to believe that

there is another level if you work hard enough. You believe if

you achieve enough success, or if enough people know you,

that this couldnt all have been for naught. There must be an-

other level, and were all trying to get to this mysterious other

level, this A-list. Then you discover, This cant be the A-list,

because nothing has changed. Im just making more money for

other people while reaping none of the benefits.

Historically, for all the triumphs of women of color in Hol-

lywood, there are as many setbacks. There are moments when

there is enough work for each of us, and moments when it

feels like there is none. When I first came on the scene, there

were all these white teen shows and Black teen shows, and

there were many opportunities for new and up-and-coming

people to work consistently. There were just a ton of opportu-

nities for younger Black talent. Then there was a drought until

Halle Berry won the Oscar for

Monsters Ball.

That created

more work, but not as many starring roles for anyone who

wasnt Halle. I go from starring in

Bad Boys II,

which opens at

$55 millionOh my God, youre the It girlto my next role

as the fifth or sixth lead on

City of Angels,

a CBS medical

procedural. Taraji P. Henson gets an Oscar nomination for

The Curious Case of Benjamin Button,

and she gets cast as

the third lead on a CBS crime procedural. Octavia Spencer

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