RAINER DISCUSSES PERFORMANCE ART OF RACE
In an essay for the Los Angeles Times this weekend, Peter Rainer asks, "What is going on in the zeitgeist when an African American is poised to become president and Robert Downey Jr. is in blackface?" Linking Downey's performance in the current Tropic Thunder to a more sophisticated version of free-form sketch comedy routines, Rainer proceeds to discuss a cultural history of blackface and whiteface minstrelsy where he suggests that the "Be Black, Baby" sequence in Brian De Palma's Hi, Mom! helped to set a vaudvillean racial template that would morph into blaxploitation and rap music. Discussing Downey's riffs on race in the film, Rainer states that they "have an even earlier pedigree"...
These underground movies, mostly forgotten now, nevertheless set the template for the scabrous racial vaudeville that morphed into the blaxploitation cycle right on up through rap. For white audiences, especially guilty liberals, the message in these movies was explicit: "We really are your worst nightmare."
HISTORICALLY, white actors in blackface incarnated the cruelest of racial caricatures. (Even when Fred Astaire in Swing Time wore blackface in tribute to Bill Robinson, it was implicit that Bojangles could never star in such a film.) But one cannot talk about blackfaced white performers without at the same time summoning up the camouflages worn by black actors -- worn, in many cases, to have any career at all. Throughout all too much of Hollywood's sorry history, particularly pre- Sidney Poitier, black performers, with no decent roles available to them, wore minstrel masks too. They acted out the demeaning images whites set for them (and still, like Robinson himself, they frequently managed to be more electric than their often starched-white counterparts). By the time the '60s counterculture came along, attitudes had shifted. Black minstrelsy became a put-on -- a weapon. Be black, baby.