As part of my preparation for my Gone With the Wind
seminar at the Library next month, I’ve been doing a lot of reading and
thinking about Scarlett O’Hara and her “crew,” and that of course also brings fond
memories of the great Selznick film of 1939, starring Vivien Leigh, Clark
Gable, and of course the great Hattie McDaniel, the first of her race to win an
Academy Award for her supporting performance. I say “supporting” in name only, for absolutely no one
could have given a more definitive interpretation of the character that
Margaret Mitchell created—she was truly MAMMY, not only the person, but the
symbol, of a type of individual who once existed in the South, now denigrated
more than recognized, as an integral, yet separate, part of many Southern
families of the past.
Hattie was the youngest child in a family of six, her
mother having borne thirteen children, seven of whom died in infancy. Her
father, Henry, an ex-slave, settled in his native state of Tennessee after
serving on the Union side during the Civil War, but finding survival there
practically impossible during Reconstruction, he moved to Wichita, Kansas,
where Hattie was born. Ultimately the family settled in Denver in an up and
coming (relatively speaking) Black Community. The center of that community was
the African Methodist Episcopal Church (AME), which formed the foundation of
many Black families’ lives during those extremely difficult times. All of her
life McDaniel remained a devout member and Christian, giving much of her time,
talent, and later money to the Church and charitable causes.
Also born of a talented family, she made a stage debut by
the age of five and became a seasoned vaudevillian by the age of eighteen,
often performing with one or more of her siblings, singing, dancing, and later
even writing for the stage, before she went to Hollywood, ultimately appearing
in dozens of roles between 1932 and 1949, usually as a domestic—more often than
not, the only type of role open then to Black women. She was forty-five, screen
testing with Vivien Leigh herself, when she was picked to play Mammy, one of
the roles of a lifetime, and she played it to the hilt, even though some of her
own people protested what they interpreted as a Black stereo-type presentation.
Jill Watts has written a carefully researched biography
not only of McDaniel herself, but of the difficult times in which she grew up,
chronicling as she goes the complicated and often terribly unfair life of the
African American in show business during the first half of the 20th century.
Tenacity, faith, extreme perseverance, and an enormous work ethic were required
to succeed against the heaviest of odds. Hattie McDaniel had them all, in
spades!