{"id":3466,"date":"2022-06-12T12:21:10","date_gmt":"2022-06-12T20:21:10","guid":{"rendered":"https:\/\/geneseymour.com\/?p=3466"},"modified":"2022-06-20T11:07:46","modified_gmt":"2022-06-20T19:07:46","slug":"watching-cabin-in-the-sky-for-lent-2009","status":"publish","type":"post","link":"https:\/\/geneseymour.com\/?p=3466","title":{"rendered":"Seymour Movies Retrospective: Watching &#8220;Cabin in the Sky&#8221; for Lent (2009)"},"content":{"rendered":"\r\n<p class=\"wp-block-paragraph\"><i>Reposting this essay I wrote twelve years ago about Vincente Minnelli&#8217;s 1943 classic all-Black musical because a.) people\u00a0besides me like it a whole lot and b.) because of its more-timely-than-ever admonitions against too-easy dismissals of what is believed to be Anachronistic and (thus) Patronizing. Also if you&#8217;ve never seen it before and it happens to come your way again, jump on it. You\u00a0won&#8217;t be sorry.<\/i><\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3470\" rel=\"attachment wp-att-3470\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-3470\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-200x300.jpeg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-200x300.jpeg 200w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-683x1024.jpeg 683w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-768x1152.jpeg 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-1024x1536.jpeg 1024w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-1365x2048.jpeg 1365w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Cabin-in-the-Sky-scaled.jpeg 1707w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><br \/><br \/><br \/><br \/>At the hinge of the 1960s and 1970s, <em>Cabin in the Sky<\/em> embodied everything we young, gifted, and solemn black college students thought we were fighting against. All we blinkered baby cultural-nationalists could see back then in those idyllic depictions of small-town African American folk life were unhealthy levels of honeysuckle and hambone. Eighty-six those rolling dice and eyeballs, all that cornball piety and undignified shucking! Is that really what we wanted our collective profile to look like after King and Malcolm and countless others had died for our advancement?<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3471\" rel=\"attachment wp-att-3471\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3471\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena-300x226.jpg\" alt=\"\" width=\"300\" height=\"226\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena-300x226.jpg 300w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena-1024x772.jpg 1024w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena-768x579.jpg 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena-1536x1158.jpg 1536w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Eddie-Lena.jpg 2048w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\r\n<p><br \/>It\u2019s a measure of how much time has passed that I can\u2019t even LOOK at that previous sentence, much less write it, without wincing; the same kind of wincing we aforementioned Children of the Movement were doing whenever <em>Cabin\u00a0<\/em>\u00a0poked out from TV\u2019s wee-hour wilds or was screened at collegiate film societies. Exaggerated nose-turning-in-a-vertical-direction is at least as embarrassing as pronounced eye-rolling \u2013 and not nearly as funny. Given the choice between retroactive scoldings from what some new-jack pundits have come to label the \u201csoul patrol\u201d and the to-be-or-not-to-be anxieties displayed by Eddie \u201cRochester\u201d Anderson, I know whose party I\u2019d rather go to.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><iframe loading=\"lazy\" title=\"Cabin in the Sky (1943) Official Trailer - Ethel Waters, Eddie &#039;Rochester&#039; Anderson Movie HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-F7MTp6Jdo8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\r\n<p>&nbsp;<\/p>\r\n<p><br \/>The distinction no longer needs raising. A few days ago, I\u2019d hosted a screening of <em>Cabin\u00a0<\/em>\u00a0for a Wednesday-night Lenten supper at our predominantly black Episcopal church in lower Manhattan. It was a small audience, mostly older and just about all of its members had seen the movie before and loved it without predisposition or qualifiers (even though the DVD released three years ago opens with Warner Home Video\u2019s contemporary disclaimer apologizing about \u201cstereotypes\u201d that were \u201cwrong then and wrong now.\u201d) The tiny audience appeared to appreciate the concern, though it didn\u2019t need to be told what was or wasn\u2019t appropriate. They just wanted a warm black-and-white memory bath. Even the sole 20-something in the room, recruited to help with projection, was caught up in a movie old enough to be his (grand) mother.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3473\" rel=\"attachment wp-att-3473\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3473\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin-232x300.jpg\" alt=\"\" width=\"232\" height=\"300\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin-232x300.jpg 232w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin-791x1024.jpg 791w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin-768x994.jpg 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin-1187x1536.jpg 1187w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Lena-in-Cabin.jpg 1582w\" sizes=\"auto, (max-width: 232px) 100vw, 232px\" \/><\/a><\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><br \/>Each time I see the movie, I\u2019m more galvanized by the sheer magnetism of its performers. Even in the reproachful seventies, it was hard not to be waylaid by the glory that was Lena Horne in her twenties. What she was then and what she remained throughout the sixties and beyond was so legitimate &amp; enduring to young black fogies like us that we gave her quick dispensation for <em>Cabin<\/em>; the kind of pass that that didn\u2019t easily go to, say, Ethel Waters (about whom, more later),\u201cRochester\u201d Anderson or John \u201cBubbles\u201d Sublett, whose song-and-dance recital of \u201cShine\u201d is at once the movie\u2019s most glaring anachronism and its most flamboyant affirmation of poise and skill.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3475\" rel=\"attachment wp-att-3475\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-3475\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/ethel-waters-duke-ellington-vincente-minnelli-cabin-sky-300x188.jpeg\" alt=\"\" width=\"300\" height=\"188\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/ethel-waters-duke-ellington-vincente-minnelli-cabin-sky-300x188.jpeg 300w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/ethel-waters-duke-ellington-vincente-minnelli-cabin-sky-768x480.jpeg 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/ethel-waters-duke-ellington-vincente-minnelli-cabin-sky.jpeg 991w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\r\n<p>&nbsp;<\/p>\r\n<p><br \/>Which in no way slights everyone else in the movie, though you wish Louis Armstrong got to do even a little bit more than set off a few elegant licks while wearing those ridiculous devil\u2019s horns. You also wish you could see more of Duke Ellington\u2019s orchestra at work beyond flashes of its suave, imperturbable leader. (That IS Johnny Hodges in the front with the alto, right?) But first-time director Vincente Minnelli was too caught up in the dancing and singing \u2013 and rightfully so. His own eye is so greedy and avid for movement and energy that you can almost feel him sitting next to you as you\u2019re looking for the next big moment.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3480\" rel=\"attachment wp-att-3480\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-3480\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Bubbles-Waters-Anderson-Horne-300x144.png\" alt=\"\" width=\"300\" height=\"144\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Bubbles-Waters-Anderson-Horne-300x144.png 300w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Bubbles-Waters-Anderson-Horne-1024x492.png 1024w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Bubbles-Waters-Anderson-Horne-768x369.png 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Bubbles-Waters-Anderson-Horne.png 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\r\n<p>&nbsp;<\/p>\r\n<p><br \/>Almost all of which moments are owned by Waters. Donald Bogle has elsewhere noted how often contemporary audiences are drawn to screenings of <em>Cabin\u00a0<\/em>by the promise of seeing the young, cat-like Horne, yet leave those screenings dazzled by Waters\u2019 charisma. If younger moviegoers had easy access to Waters\u2019 recordings from the 1920s and 1930s, they\u2019d be better prepared for her vocal agility. (Critics and historians, not that anyone pays them any mind, argue with conviction that Waters\u2019 chops as a singer were the equal of Armstrong\u2019s \u2013 and that her influence on jazz singing was just as emphatic &amp; far-reaching.)<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><a href=\"https:\/\/geneseymour.com\/?attachment_id=3477\" rel=\"attachment wp-att-3477\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-3477\" src=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Bubbles-300x254.jpeg\" alt=\"\" width=\"300\" height=\"254\" srcset=\"https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Bubbles-300x254.jpeg 300w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Bubbles-1024x866.jpeg 1024w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Bubbles-768x649.jpeg 768w, https:\/\/www.geneseymour.com\/wp-content\/uploads\/2022\/06\/Ethel-Bubbles.jpeg 1300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>But hardly anyone at any age is prepared for the moment when Waters\u2019 Petunia, backsliding into \u201csin\u201d to \u201csave\u201d Anderson\u2019s Joe from the Devil\u2019s clutches, sashays into a startlingly graceful jitterbug with Sublett\u2019s Domino. One has read in books about both women of tension between Horne and Waters throughout <em>Cabin<\/em>\u2019s shooting. (In her own memoir, <em>His Eye is On the Sparrow<\/em>, Waters doesn\u2019t go into detail about the friction except to say that she \u201cwon every battle\u201d and that her scrapes kept her away from the movies for another six years.) Whether Waters ended up dominating<em>\u00a0Cabin<\/em>\u00a0by fair or foul means, her triumph endures just as Dilsey, the character she played in her last film, 1959\u2019s <em>The Sound and the Fury,<\/em> endured.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><iframe loading=\"lazy\" title=\"CABIN IN THE SKY (&#039;43): &quot;Happiness Is a Thing Called Joe&quot;\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/lFe-blnr4wI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\r\n<p>&nbsp;<\/p>\r\n<p><br \/>After the church screening was over, I asked the audience if there were still aspects of the movie that offended or seemed out-of-date. No one could think of any \u2013 and I honestly couldn\u2019t come up with any that mattered. I do wish, in retrospect, that I\u2019d asked them if it seemed as though the folks who were either in hell or engaging in \u201csinful\u201d partying had a better time \u2013 and heard better music \u2013 than those who stayed close to Petunia\u2019s righteous path. I decided against bringing that dilemma up in a Lenten discussion, though it now strikes me that there were folks willing to talk it over.<\/p>\r\n<p>&nbsp;<\/p>\r\n<p>I did, however, bring up the closest present-day corollary to <em>Cabin in the Sky<\/em>\u2019s blend of low comedy and Manichean melodrama: the films of Tyler Perry, especially those featuring Madea, Perry\u2019s pious, pistol-packing alter-ego. Since I knew that all those assembled had seen more than one Perry movie more than once, I asked if there was any real difference between the depictions of black life in <em>Cabin<\/em> and those in, say, the recently released\u00a0<em>Madea Goes to Jail.<\/em> They said there were none; a surprise to me since I expected them to mention the relative rawness of Perry\u2019s depictions of single motherhood, class animus and teen pregnancy. <em>Cabin\u2019s<\/em>\u00a0dichotomy between Petunia\u2019s milk-and-honey world view and the temptations of the flesh embodied by Horne\u2019s duplicitous Georgia Brown seem like old school Disney by comparison. But in both cases, a simplistic (as opposed to simple) solution to mortal weakness and moral sloth is submitted to audiences for whom broad laughs and big emotions are the only justifications for entertainment.<\/p>\r\n<p><br \/>Perry continues to astound the mainstream (white) world with the bushels of money he reaps for his movies. And his entrepreneurial moxie serves as a reminder that, unlike the 1940s (or the two decades subsequent to or preceding them), it\u2019s possible for African American artists to have some control over how they\u2019re depicted on screen, for better or worse. I still wonder whether future generations of black people will someday accuse his work of, at best, being too over-the-top or (so to speak) too black-and-white in their moralistic aims. I doubt it somehow. But of one thing I have no doubt: Madea, whatever her own martial skills or swaggering mojo, is no Ethel Waters.<\/p>\r\n","protected":false},"excerpt":{"rendered":"<p>Reposting this essay I wrote twelve years ago about Vincente Minnelli&#8217;s 1943 classic all-Black musical because a.) people\u00a0besides me like it a whole lot and b.) because of its more-timely-than-ever admonitions against too-easy dismissals of what is believed to be Anachronistic and (thus) Patronizing. Also if you&#8217;ve never seen it before and it happens to [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[124],"tags":[385,384,390,389,1175,1176,388,391,19,392],"class_list":["post-3466","post","type-post","status-publish","format-standard","hentry","category-movie-reviews","tag-ethel-waters","tag-cabin-in-the-sky","tag-duke-ellington","tag-eddie-rochester-anderson","tag-john-sublett","tag-johnny-hodges","tag-lena-horne","tag-louis-armstrong","tag-tyler-perry","tag-vincente-minnelli"],"_links":{"self":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/3466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3466"}],"version-history":[{"count":11,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/3466\/revisions"}],"predecessor-version":[{"id":3496,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/3466\/revisions\/3496"}],"wp:attachment":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}