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Monday 15 April 2013

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Big Black Actress Biography

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Hattie McDaniel (June 10, 1895 – October 26, 1952) was an American actress. She was the first African American to win an Academy Award. She won the award for Best Supporting Actress for her role of Mammy in Gone with the Wind (1939).

In addition to acting in many films, McDaniel was a professional singer-songwriter, comedian, stage actress, radio performer, and television star; she was the first black woman to sing on the radio in America.[1][2] During her career, McDaniel appeared in over 300 films, although she received screen credits for only 80 or so.[3]

McDaniel has two stars on the Hollywood Walk of Fame in Hollywood: one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for acting in motion pictures. In 1975, she was inducted into the Black Filmmakers Hall of Fame and in 2006 became the first black Oscar winner honored with a US postage stamp.[4]

Contents [hide]

1 Background and early acting career

1.1 Gone with the Wind

1.2 1940 Academy Awards

2 Later career

3 Legal case: Victory on "Sugar Hill"

4 Controversy over roles

5 Community service

6 Marriages

7 Death

8 Whereabouts of the McDaniel Oscar

9 Legacy and recognition

10 Filmography

10.1 Features

10.2 Short subjects

11 Radio

12 See also

13 Footnotes

14 References

15 External links

[edit]Background and early acting career

Hattie McDaniel was born June 10, 1895, in Wichita, Kansas, to former slaves. She was the youngest of 13 children. Her father, Henry McDaniel, fought in the Civil War with the 122nd USCT and her mother, Susan Holbert, was a singer of religious music.[5] In 1900, the family moved to Colorado, living first in Fort Collins and then in Denver, where Hattie graduated from Denver East High School. Her brother, Sam McDaniel (1886–1962), played the butler in the 1948 Three Stooges’ short film Heavenly Daze. Another acting sibling of Hattie and Sam was actress Etta McDaniel.

In addition to performing, Hattie was also a songwriter, a skill she honed while working with her brother's minstrel show. After the death of her brother Otis in 1916, the troupe began to lose money, and it wasn't until 1920 that Hattie got her next big break. During 1920–25, she appeared with Professor George Morrison's Melody Hounds, a touring black ensemble, and in the mid-1920s she embarked on a radio career, singing with the Melody Hounds on station KOA in Denver.[6] In 1926–1929 she also recorded many of her songs on Okeh Records[7] and Paramount Records[8] in Chicago. In all McDaniel recorded seven sessions; one in the summer of 1926 on the rare Kansas City label, Meritt; four sessions in Chicago for Okeh (late 1926-late 1927) – of the ten sides, only four were issued, and two sessions in Chicago for Paramount (both in March 1929).

In McDaniel's time, America was racially segregated in virtually every respect.[9] In the South, blacks were barred by law from attending school with whites and subjected to segregation in all other public places.[10] Even outside the South, many restaurants and hotels refused to accept black customers. Job opportunities were limited. Custom or restrictive covenants kept blacks from living in "white" neighborhoods.[11] Marriage between blacks and whites was illegal in most states of the United States.[12] The United States military required blacks to serve in all-black regiments.[13] Black Americans also faced the terrorism of lynch mobs without the assurance of federal or state protection. Indeed, in 2005, the U.S. Congress issued an apology for the federal government's failure to enact lynching legislation to protect blacks in that era.[14]

The field of entertainment emerged as one profession in which blacks could appeal to both white and black customers. Still, however, the success of black entertainers and their ability to rise into ownership and management was limited by racial restrictions. Often many places that allowed blacks to be on stage did not allow them to sit in the audience as patrons.[15] State laws allowing discrimination and requiring segregation assured that black entertainers were not allowed the same benefits and opportunities as white ones.[16] Black actors were cast repeatedly in menial roles and were consistently required to speak in contrived, stereotypical "Negro dialects." If black actors did not know how to speak that way, they had to learn to in order to succeed in Hollywood. Movie houses often hired white "dialect coaches" to teach the so-called "Negro dialect." [17]

When the stock market crashed in 1929, the only work McDaniel could find was as a wash-room attendant and waitress at Club Madrid in Milwaukee. Despite the owner's reluctance to let her perform, McDaniel was eventually allowed to take the stage and she soon became a regular.

In 1931, McDaniel made her way to Los Angeles to join her brother Sam[18] and sisters Etta[19] and Orlena. When she could not get film work, she took jobs as a maid or cook. Sam was working on KNX radio program called The Optimistic Do-Nut Hour, and he was able to get his sister a spot. She appeared on radio as "Hi-Hat Hattie", a bossy maid that often "forgets her place". Her show became extremely popular, but her salary was so low that she had to continue working as a maid.

Her first film appearance was in The Golden West (1932) as a maid; her second was in the highly successful Mae West film I'm No Angel (1933), as one of the black maids West camped it up with backstage. She received several other uncredited film roles in the early 1930s, often singing in choruses.

In 1934, McDaniel joined the Screen Actors Guild (SAG). She began to attract attention and finally landed larger film roles that began to win her screen credits. Fox Film Corporation put her under contract to appear in The Little Colonel (1935), with Shirley Temple, Bill "Bojangles" Robinson and Lionel Barrymore.

Judge Priest (1934), directed by John Ford and starring Will Rogers, was the first film in which she played a major role. She had a leading part in the film and demonstrated her singing talent, including a duet with Rogers. McDaniel and Rogers became friends during filming.

In 1935 McDaniel had prominent roles with her performances as a slovenly maid in RKO Pictures' Alice Adams, a comic part as Jean Harlow's maid/traveling companion in MGM's China Seas, the latter her first film with Clark Gable, and as Isabella the maid in Murder by Television with Béla Lugosi. She also appeared in the 1938 film, Vivacious Lady, starring James Stewart and Ginger Rogers.

McDaniel had a featured role as Queenie in Universal Pictures's 1936 version of Show Boat, starring Irene Dunne, and sang a verse of Can't Help Lovin' Dat Man with Dunne, Helen Morgan, Paul Robeson, and the African-American chorus. Later in the film she and Robeson sang I Still Suits Me, a song written especially by Kern and Hammerstein for the film.

After Show Boat she had major roles in MGM's Saratoga (1937), starring Jean Harlow and Clark Gable, The Shopworn Angel (1938) with Margaret Sullavan, and The Mad Miss Manton (1938), starring Barbara Stanwyck and Henry Fonda. She had a very minor role in the Carole Lombard/Frederic March vehicle, Nothing Sacred (1937), in which she appeared as the wife of a shoeshine man (Troy Brown), masquerading as a sultan.

McDaniel was befriended by many of Hollywood's most popular stars, including Joan Crawford, Tallulah Bankhead, Bette Davis, Shirley Temple, Henry Fonda, Ronald Reagan, Olivia de Havilland, and Clark Gable. She would star with de Havilland and Gable in Gone with the Wind (1939).

It was around this time that she began to be criticized by members of the black community for the roles she chose to accept and for her decision to pursue roles aggressively rather than rock the Hollywood boat. For example, in The Little Colonel (1935) she played one of the black servants longing to return to the Old South. But McDaniel's portrayal of Malena in RKO Pictures's Alice Adams angered white Southern audiences; she had stolen several scenes away from the film's white star, Katharine Hepburn. McDaniel would ultimately become best known for playing a sassy and opinionated maid.

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