{"id":46784,"date":"2015-06-26T06:00:43","date_gmt":"2015-06-26T10:00:43","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=46784"},"modified":"2015-06-26T02:49:00","modified_gmt":"2015-06-26T06:49:00","slug":"how-to-get-through-stormy-weather","status":"publish","type":"post","link":"http:\/\/www.moviefanfare.com\/?p=46784","title":{"rendered":"How to Get Through Stormy Weather"},"content":{"rendered":"

\"Stormy-Weather-1943-lena-horne-title-song\"<\/a><\/p>\n

To quote the musical number that brings down the curtain on Stormy Weather<\/em><\/a>:<\/p>\n

My, my, ain\u2019t that somethin\u2019<\/em>.<\/p>\n

Ever since becoming an avid fan of Cabin in the Sky<\/em> when I first saw it in college, <\/em>I have long nursed the urge to finally catch up with the other \u201call-black\u201d musical featuring Lena Horne that was released in 1943. I had constantly been on the watch for that elusive right-time-right-place to put another notch on the belt of viewing classic movies I\u2019d never seen<\/a>, but year after year would pass by without that perfect moment presenting itself; the film was either not readily available to me when I was thinking about it, or when it was, there was always something else to watch first. Any movie lover worth their salt knows exactly<\/em> how this is. For the thousands upon thousands of movies we see, there are so many other movies past and present (including the \u201cimportant\u201d ones) that continuously slip through the cracks.<\/p>\n

Because I\u00a0like tying in appraisals of classic movies to matters of contemporary interest<\/a>,\u00a0however,\u00a0that \u201cperfect moment\u201d to watch Stormy Weather<\/em> for the first time\u00a0suddenly seemed to announce itself to me, by way of\u00a0some truly attention-getting current affairs.<\/p>\n

The topic of race relations had just exploded in America once more with the tragic shooting of nine African-Americans by a white supremacist in Charleston, South Carolina; subsequent conversations about disposing of the Confederate flag from government property, which are all too reasonable in my opinion, morphed\u00a0lightning-fast into considerations<\/a> of expunging the symbol of the Southern \u201cbattle flag\u201d from merchandising related to the television show The Dukes of Hazzard\u2014<\/em>which I believe to be not only approaching the unsavory and ridiculous, but also easily linked to the never-ending (at least here<\/a> on this site) interest in the re-issue of Disney\u2019s Song of the South<\/em>.<\/p>\n

We\u2019d just suffered through a lot of awkward public discourse about \u201cblack\u201d NAACP leader Rachel Dolezal and her rumored Mystic Tan makeover<\/a>\u2014which easily brought to mind the copper-toned skin of Lena Horne, rendered acceptably dark to studio heads with the help of makeup artist Max Factor and the \u201cLight Egyptian\u201d shade he invented for her; and, to top things off, actual<\/em> stormy weather had just swept through the Philadelphia area even as I was jotting down my rough notes about the film.<\/p>\n

In the movie,\u00a0Lena Horne<\/a> sings:\u00a0When fate appears on the scene\/there’s no betwixt\u00a0and between\/There’s no doubt, you’re in or out…<\/em><\/p>\n

Once\u00a0the rain and wind whipping through my neighborhood brought\u00a0a\u00a0massive tree branch down on my fence, there was no betwixt and between for me, either; I knew absolute kismet<\/em> was taking shape.<\/p>\n

\"Stormy-Weather-1943-lena-horne-bill-bojangles-robinson\"<\/a><\/p>\n

Then, as I re-watched the movie in preparation for writing about it, I became overwhelmed by a total agitation over all <\/em>of that; it occurred to me that I might be having a problem saying something \u201cnew\u201d or worthwhile about Stormy Weather<\/em> because the approach that usually feels the most natural to me with most movies suddenly felt repellent and stale. I think I just became more acutely aware of the fact that the approach I was about to take is probably how most all of us approach thinking about \u201cblack\u201d movies in general, every time, no matter the vintage, quality, or subject matter of the movie.<\/p>\n

Whether we want to admit it or not, the first, primary, and lasting consideration about a movie made to whatever degree by black artists always, always, always <\/em>seems to be race.<\/p>\n

To be fair (to me and to the movie), the subject isn\u2019t entirely<\/em> absent from Stormy Weather<\/em>, though you couldn\u2019t be blamed if you miss where it seems to come into play. The lighthearted musical employs a fictionalized version of star Bill \u201cBojangles\u201d Robinson\u2019s biography as the spine of its story; in the film\u2019s opening scene, Robinson has gathered the neighborhood children around him on his front porch, trying to teach them some dancing steps, when one little girl retrieves a Theatre World<\/em> tribute to him from the mailbox. The kids see \u201cUncle\u201d Bill\u2019s picture on the cover and plead for him to read the publication aloud: What does it say, Uncle Bill? What does it say?<\/em><\/p>\n

This is what it says on the cover:<\/p>\n

\"Stormy-Weather-1943-Theatre-World\"<\/a><\/p>\n

Robinson looks at those words, and we see that he scrunches himself up with discomfort for a fleeting moment. He conspicuously decides against reading the cover headline about \u201cthe magnificent contributions of the colored race\u201d aloud\u2014as the children had asked him to\u2014and instead flips the magazine open to start reading less racially-charged words from the article inside. In these first few seconds of Stormy Weather<\/em>, I take note that Robinson\u2019s character seems to feel exactly the way I do when it comes to discussing the movie about him.<\/p>\n

As mightily as I try to refocus my attention on details of the movie that could be freed from the race conversation, those concerns keep stubbornly returning. I note how often Robinson\u2019s smile seems forced into satisfying the requirements of minstrel-style performance; the golliwog<\/em> faces adorning the headpieces worn by chorus girls during the \u201ccakewalk\u201d number are striking for how, being placed on the back of their heads, we are made to think about the comparison of real faces to cruelty-based caricatures.<\/p>\n

\"Stormy-Weather-1943-cakewalk-golliwog\"<\/a><\/p>\n

Later, when Robinson\u2019s feet begin involuntarily twitching upon hearing the music of minstrel performers, we\u2019re reminded of how some aspects of black life were\/are thought to be \u201cnatural\u201d; when he joins The Tramp Band to demonstrate his hoofing skill and is complimented for having \u201ceducated feet,\u201d those of us who had seen Spike Lee\u2019s Bamboozled<\/em> before we saw Stormy Weather<\/em> recognize that phrase instantly and inevitably drift into thinking about just what we should or shouldn\u2019t think about the number; one scene in the film actually showcases black actors performing a comedy routine wearing blackface makeup\u2014the Abbott-and-Costello-style banter is witty for sure, but also represents the notorious \u201ccoon\u201d character stereotype Lee would parody so well in Bamboozled<\/em> as his \u201cdusky duo\u201d took to a watermelon patch.<\/p>\n

We\u2019re told to admire the fact that the romantic relationship depicted between Robinson and Lena Horne was rare for its day, but at the same time we\u2019re struck by how neutered that passion seems to be for the lack of a single kiss between them. For all the praise rightly heaped upon Horne as one of the First Ladies of black cinema, contemporary viewers cannot help but wince at how the authority of her character is none-too-subtly mocked by the very first words of the first song she sings in the film: I may not be so very smart as far as books are concerned; where I leave off, most people start\u2026<\/em><\/p>\n

I\u2019m able to distract myself from controversial matters here and there, noting with pleasure how Dooley Wilson\u2019s character makes an offhanded comment about having enjoyed the finest champagne in Paris, a line that seems deliberately calculated for fans to think of Sam and Casablanca<\/em>; for a lengthy stretch during the climax of Stormy Weather<\/em>, I\u2019m unable to think rationally at all while the Nicholas Brothers perform what might be the most astonishing dance number ever filmed.<\/p>\n

\"Stormy-Weather-1943-Nicholas-Brothers\"<\/a><\/p>\n

I\u2019m unable to think rationally, that is, until it creeps into my awareness that all this time, I\u2019d maybe been complacent enough to think that the kinds of\u00a0jaw-droppingly athletic moves I\u2019d first seen in Singin\u2019 in the Rain<\/em> were somehow originated by Gene Kelly and Donald O’Connor. That classic kind of white guilt really siezes me upon reflecting that nope, the Nicholas Brothers were all over that first, and then some; the title song that would go on to become Lena\u2019s signature tune also melds reality and fantasy in ways that\u00a0completely predict the Cyd Charisse segment of the\u00a0\u201cGotta Dance\u201d number in the Donen movie almost a decade later.<\/p>\n

After the film ends, I start looking at secondary sources to enrich my appreciation of the movie, and am flabbergasted to discover that Robinson was over 60 at the time of filming, while Lena Horne was in her mid-\u201820s (Robinson looked to me to be about in his mid-\u201940s). It\u2019s obvious that \u201cBojangles\u2019\u201d real<\/em> life story is far richer and more surprising than the surface gloss of the film; he was falsely arrested for armed robbery? He was the highest-paid black performer of his time, but died penniless, having given a great deal of his money to charity? He co-founded the \u201cBlack Yankees\u201d<\/a>? Holy cow.<\/p>\n

There is more than enough, certainly, for an entirely other film here\u2014maybe a remake of Stormy Weather<\/em> (Oh yes, I know, God forbid) that gives us a more full-blooded look at his life? If there\u2019s one \u201ccraft\u201d element of the film that could use some more juice, I\u2019d say it\u2019s the direction; there\u2019s nothing terribly wrong with how director Andrew L. Stone handles his duties, but it could have perhaps used the touch of someone who was willing to be more daring with the camera. Ava DuVernay, if you\u2019re not doing anything after filming that Marvel Comics movie (Black Panther<\/em>? Or Captain Marvel<\/em>?<\/a> She fits either identity-based hire), how about bringing back the all-black musical in style? Halle Berry\u2019s already played Dorothy Dandridge, but maybe she wouldn\u2019t mind a go at the Selina Rogers character.<\/p>\n

My consideration of Stormy Weather<\/em> proved to be complicated and messy for me; I present all of the above as ample evidence to back up my claim. Despite frequent urges to abandon writing about it entirely, I\u2019m here at the end glad for having\u00a0soldiered my way through, no matter how imperfectly. And that, come to think of it, entirely <\/em>relates to what I\u2019d now like to say about the \u201cmatters of contemporary interest\u201d that spurred me to watching it in the first place.<\/p>\n

You can absolutely coast through Stormy Weather<\/em> and easily sit back and enjoy all of its wonderful surface pleasures\u2014the once-in-a-lifetime cast includes delightful work by not just Robinson, Horne, and Dooley Wilson, but also such iconic figures as Fats Waller, Ada Brown, Cab Calloway and the Cotton Club Orchestra, and, as mentioned earlier, the incomparable Nicholas Brothers in a number you need to see to believe\u2026and you still won\u2019t believe it.\u00a0Those\u00a0reasons to watch the movie are all terrific, and they all fall into that much-vaunted refrain of “just turn off your brain and enjoy the entertainment.” Dyed-in-the-wool movie lovers, however,\u00a0know that is one of the more pointless and bothersome clich\u00e9s they encounter<\/a> in the course of movie-related conversations.<\/p>\n

There are more difficult reasons to recommend a viewing of the film, including the fact that you, movie lover, almost certainly do not make the time to appreciate the work of black artists on the screen as much as you could. Don\u2019t even pretend it\u2019s not a problem that most of us spend the lion\u2019s share of our time seeking out entertainment only populated by people that look just like us.<\/p>\n

In this country, there is yet again the renewed call to start a substantial conversation about race; there are easy ways to have that conversation, and difficult ways to have it as well\u2014and both are worth pursuing. That is how you get through stormy weather. That is how I got through Stormy Weather<\/em>.<\/p>\n

\"Stormy-Weather-1943-Bill-Bojangles-Robinson-children\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

How do we watch a great movie like “Stormy Weather” (1943) today? Can we enjoy the film without thinking about “race”? Should we? Read on, and then tell us what you think about this classic musical starring Lena Horne and Bill “Bojangles” Robinson.<\/p>\n","protected":false},"author":20,"featured_media":46794,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[34],"tags":[1442,1460],"coauthors":[5441],"class_list":["post-46784","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-notes","tag-1940s-movies","tag-movie-musicals"],"yoast_head":"\nHow to Get Through Stormy Weather - MovieFanFare<\/title>\n<meta name=\"description\" content=\"How do we watch a great movie like "Stormy Weather" (1943) today? Can we enjoy the film without thinking about "race"? Should we? Tell us what you think.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.moviefanfare.com\/?p=46784\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Get Through Stormy Weather - MovieFanFare\" \/>\n<meta property=\"og:description\" content=\"How do we watch a great movie like "Stormy Weather" (1943) today? Can we enjoy the film without thinking about "race"? Should we? 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