Cast:
Brock Peters (Earl), Claudia McNeil (Mu'Dear), Leslie Uggams (Netta), Louise Stubbs (Mama Rosie), Peggy Pettitt (Billie Jean), Gloria Edwards (Norma Faye), Loretta Greene (Ruth Ann), Ruby Dee (Netta's Mother), and Kent Martin (Herbert) Directed by Ossie Davis (#1635 - Cotton Comes to Harlem)
Review:
Admittedly, it might be surprising that not only are there two films called Black Girl (1966, 1972), it is the non-American feature that is the well-known film (one that would likely be suitable for another time among its world cinema counterparts). But the 1972 film shouldn't be forgotten in the discussion of black family dramas, one that features a fairly solid group cast in a film wrapped in complications. This was the second feature film directed by Ossie Davis, who ended up doing five features all in the decade of the 1970s (this one, unlike Cotton Comes to Harlem, was made independently with distribution by Cinerama Releasing Corporation). The film is an adaptation of the television production/play of the same name by J. E. Franklin. It was made on television first by WGBH Boston '(for On Being Black, a PBS television show) in 1969 before it premiered Off-Broadway in New York City theater in 1971 (Uggams, Stubbs, Edwards, and Greene reprise their roles from the production); Franklin wrote the screenplay for the film, shot in Venice in Los Angeles County. Incidentally, one of the stars of this film in McNeil was featured prominently in the famous stage/film production A Raisin in the Sun (1959/1961).
One has to consider the consortium of castmates involved with varying levels of film experience. Peters had the most film role experience among the main group of actors, since he had acted in a handful of films since 1954 while also dabbling into singing. McNeil acted primarily in television, with this being the last of her four film roles in a career that spanned a few decades (in a strange coincidence that seems to tie the month together, she was inspired to get into acting by Ethel Waters). This was the first major film role for Uggams, a Harlem native who had been involved in show business since she was a child that had resulted in starring roles on Broadway (with a Tony Award in 1967) and television. Stubbs & Edwards appeared in just three films while Greene had two roles (obviously there is Dee, but her role is silent). The result for the film is a fairly effective experience of seeing all the emotions spill out of a family wrapped by self-hatred (or if you want to put it bluntly, losers). Black, white, whatever color one is, the experience of a family wrapped in turmoil is not something limited to just one view when it comes to cinema (television too, but there are differences), because the suffering of life is universal. It is a bit shaky, but the actors are fairly adept at keeping it just above theater-level in useful tension despite a foundation that is sometimes uneven (in getting to the point, mostly). I guess if you prefer movies with feminine leads in a non-action/comedic genre, this might be just up your alley (I'm fine with most stuff, but I can understand the preference for something like Coffy when it comes to black female-lead 70s films).
As it stands, this is the first and only film for Pettitt. She graduated from Antioch College with a bachelor's degree the year after this film and soon moved to London under a fellowship grant. She has continued to work on the stage and as a playwright. It is a tough role for any actress to consider, since it is comprised of reacting to the three-woman front of doubt and indignity and dance, and she makes the best of it. Peters may be billed first, but in reality, he is only in the film for twenty minutes, for which the scene with Stubbs in the park is probably the highlight scene when it comes to the power of showing the fractured family dynamic within memories. Stubbs is a quality foil to Pettitt when it comes to strong parental presences. McNeil is the underlying tie full of crisp charm, while Edwards & Greene serve as tools of spite that work to a point while Uggams has a wedge-size of time that goes okay in serving as the contrast between the others without becoming a high-and-mighty snob. As a whole, the film presents its drama with cloying accuracy when it comes to seeing sniping on screen between people mired in the muck of broken families without finding easy resolutions. It makes for a decent movie (complete with an appropriately ambiguous ending) that deserves a curious look for those in the mindset for that kind of movie with a serviceable director at the helm.
Overall, I give it 7 out of 10 stars.
Next Time: Ganja & Hess.
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