For better or worse, Hollywood remains one of those longstanding institutive manufacturers of American culture. Perpetually held to cater to potential audience’s desires, fears, interests, and prejudices, the cinema is reflective of the masses’ perceptions, but not necessarily reality.

 

In a recent feature for Variety, Viola Davis (“How to Get Away with Murder,” “Fences”) offered some insight as to the acculturating pressures of the cinematic industry. As the lead actress in the upcoming Steve McQueen film, “Widows,” she was glad to hear that she could wear her hair as it was. Davis noted that “as a person of color… you’re always taught to not like your hair.” McQueen, unlike some directors in the past, made a point in reflecting reality, rather than implicitly enforce artificialized appearances. The film focuses on a middle-aged woman, played by Davis, dealing with the loss of her husband and son, and banding together with other widows to pull off a heist and pay the debts which took their spouses. The plot mirrors precedent, although it was traditionally a white father facing the loss of his family that drove the action.

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Although racial biases might be some of the most residual, in 2014 the Washington Post highlighted pay differences between genders as well. The example in question was “American Hustle,” where Jennifer Lawrence and Amy Adams were given 7 percent of back-end profits, while Bradley Cooper, Christian Bale, and Jeremy Renner were given 9 percent. Despite issues in pay, overall representation is improving according to UCLA’s 2018 Hollywood Diversity Report. More than that, there is a growing market for diversity. In other words, audiences are largely composed of people indifferent to or actively desirous of greater diversity in Hollywood.

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The New York Times film critic Manohla Davis notes an underlying issue of tokenism in recent media. Increased outward representation appeases audiences and proves commercially successful, but the efforts can be shallow, and generally evidence of Hollywood’s liberal façade. Minority actors often play minor roles. This can be noted in recent Star Wars films where the white protagonist (though female) – in both Episode VII and VIII, as well as Rogue One – is accompanied by a posse of non-white actors and actresses. Moreover, the female protagonists deviate from traditional presentations of compelling leads, behaving more passively than their precedents.

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Other films with even overtly progressive themes don’t always live up to their intention. “The Help,” in a self-celebratory manner, depicts a young writer intent on becoming successful, and achieves her dreams by giving a voice to black women who have spent their lives taking care of affluent Southern families. The issue however, is the implicit (and all too accurate) message: the voices of minority groups are often broadcast when it elevates the majority and gives them an air of nobility.

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Movies like “Moonlight” exemplify a far more encouraging, and increasingly common, venture – when a black director/writer can highlight the intersectional experience of a gay black youth and his journey into adulthood, and then receive mass media exposure and critical acclaim. It remains a matter of time for more films to follow in such footsteps. And according to Variety, the success of “Widows” would guarantee funding for several passion projects led by Viola Davis, including a biopic about Barbara Jordan (Texas congresswoman) and a dramatic portrayal of an all-female military unit from the Kingdom of Dahomey. People like Davis will help ensure that the future of cinema will continue to improve.