Pioneering Black Actors of Hollywood By Susan King
Clarence Muse and Rex Ingram by Susan King Thirty years ago, the legendary Oscar-winning actor Sidney Poitier reflected on the Black performers who paved the way for him in the Los Angeles Times: “The guys who were forerunners to me, like Canada Lee, Rex Ingram, Clarence Muse and women like Hattie McDaniel, Louise Beavers and Juanita Moore, they were terribly boxed in. They were maids and stable people and butlers, principally. But they, in some way, prepared the ground for me.”
Poitier prepared the ground for such contemporary Black actors and directors currently in competition during the 2021 awards season such as Regina King and Leslie Odom Jr. (One Night in Miami), Delroy Lindo (Da 5 Bloods), the late Chadwick Boseman and Viola Davis (Ma Rainey’s Black Bottom), Andra Day (The United States vs. Billie Holiday) and Daniel Kaluuya (Judas and the Black Messiah).
But it is imperative to remember the veterans from the 1930s-1960s who tried to break out of stereotypes and maintain dignity at a time when Hollywood wanted to “box” them in.
Muse appeared in countless Hollywood films often uncredited. And as Donald Bogle points out in his book Hollywood Black, Muse spoke his mind to directors if he felt he was being pushed around or when his characters were stereotypes. Bogle stated, “At another time when Muse questioned the actions of his character in director King Vidor’s 1935 Old South feature SO RED THE ROSE, Vidor recalled that Muse was quite vocal in expressing his concerns. A change was made. Vidor could not recall exactly what the issue was, but he never forgot Muse’s objection.”
The 1932 pre-Code crime drama Night World screened at the 2019 TCM Classic Film Festival to a standing-room only crowd. The film stars Lew Ayres, Boris Karloff and Muse as the doorman at a club owned by Karloff. The audience was surprised that such a stereotypical role was anything but thanks to Muse’s poignant performance. Instead of being forced to be the comic relief, Muse’s Washington is a man worried about his wife’s surgery at a local hospital. Though his boss doesn’t treat him as an equal—after all it is 1932—Karloff’s Happy shows general concern toward Washington.
Muse, said Bogle, “also worked in race movies, where he realized there was still a real chance for significant roles and narratives.” One such was BROKEN STRINGS (’40), which he also co-wrote. It’s certainly not a great film, but Muse gives a solid turn as a famed Black violinist who wants his young son to follow in his footsteps. But the son wants to play swing with his violin.
Muse, who was a graduate of Dickinson College in Pennsylvania, also co-wrote the Louis Armstrong standard “Sleepy Time Down South.” In the 1920s, he worked at two Harlem theater companies, Lincoln Players and Lafayette Players, and 23 years later he became the first African American Broadway director with Run Little Chillun. He continued to act, appearing in Poitier’s directorial debut BUCK AND THE PREACHER (’72), CAR WASH (’76) and THE BLACK STALLION (’79) and was elected to the Black Filmmakers Hall of Fame in 1973. He died one day before his 90th birthday in 1979.
Tall and imposing, Ingram had a great presence on the big screen and a rich melliferous voice. No wonder his best-known role was as the gigantic Genie in the bottle in Alexander Korda’s lavish production of THE THIEF OF BAGDAD (’40). Born in 1895, he began his film career in movies such as Cecil B. DeMille’s THE TEN COMMANDMENTS (’23). Ingram also has the distinction of playing God in THE GREEN PASTURES (’36) and Lucifer Jr. both on Broadway in 1940 and in the 1943 film adaptation of the musical CABIN IN THE SKY.
Ingram also brought a real humanity to his role as the slave Jim in MGM’s disappointing THE ADVENTURES OF HUCKLEBERRY FINN (’39), starring a miscast Mickey Rooney, who was way too old at 19 to play the part. Ingram, though, breaks your heart when he talks to Huck about how his dream is to earn enough money to buy his freedom so he could join his wife and child living in a free state. And when he runs away, Ingram explains to Huck why he had to flee the widow Douglas: “If one of them slave traders got me, I never would get to that free state. I would never see my wife, or little Joey.”
He also is superb in Frank Borzage’s noir MOONRISE (’48) as Mose Johnson, the friend of the murderer’s son Danny (Dane Clark), who lives in a shack in the wilderness with his coonhounds. Noble and thoughtful, Mose is the film’s conscience and helps guide Danny to do the right thing after he kills a bully (Lloyd Bridges) in self-defense.
Ingram was one of the busiest Black actors at the time and at one point even served on the Board of the Screen Actors Guild. But the same year MOONRISE was released, he was arrested and pleaded guilty for transporting an underage girl from Kansas to New York. He served a prison sentence and for a long time his career was derailed. He even lost his home. Though his film career was never the same upon his release, he worked in TV and on the Broadway stage, appearing in Beckett’s Waiting for Godot, and died in 1969 at 73 shortly after doing a guest shot on NBC’s The Bill Cosby Show.
Anderson never achieved the notoriety of Muse and Ingram, but the actor gave an extraordinary performance in the Bette Davis-Olivia de Havilland melodrama IN THIS OUR LIFE (’42) directed by John Huston. Born in 1915, Anderson earned his BA at Northwestern University in drama and speech. He was recommended for his role in the movie by Davis, who saw the young man working at the commissary on the Warner Bros.’ lot.
Anderson plays Parry, the son of the Davis-de Havilland family’s maid who aspires to be a lawyer. Davis’ spoiled rotten Stanley Timberlake gets drunk, and while driving she kills someone in a hit-and-run accident. Stanley throws Parry under the bus telling authorities he was the one driving the car.
Initially, the script depicted Parry in much more stereotypical terms, but Anderson went to Huston and discussed why he wanted to play the character with dignity and intelligence. Huston agreed. And for 1942, it’s rather shocking to see a studio film look at racism as in the scene where Parry tells de Havilland’s Roy why he wants to be an attorney:
“Well, you see, it’s like this, Miss Roy: a white boy, he can take most any kind of job and improve himself. Well, like in this store! Maybe he can get to be a clerk or a manager. But a colored boy, he can’t do that. He can keep a job, or he can lose a job. But he can’t get any higher up. So, he’s got a figure out something he can do that no one can take away. And that’s why I want to be a lawyer.”
Needless to say, such monologues were cut when the movie was shown in the South. Despite strong reviews for his performance, Anderson never got another role with so much substance. But he continued working through the 1970s and died in 2011 at the age of 95.
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