Jackson Protest Renews Debate on Race’s Role

As the Rev. Jesse Jackson marshals support for an Oscar night protest aimed at highlighting what he called “institutional racism” in the film business, few industry higher-ups quarreled with his contention that minorities are underrepresented in front of and behind the camera.

“There’s clearly a problem in terms of the opportunities Hollywood gives minorities and in the way they’re depicted in movies,” Fox Filmed Entertainment Chairman Peter Chernin said Sunday. “When it comes to African American themes, we tend to make a limited kind of action film--inner-city violent ones--that are less likely to receive Academy Award nominations.”

Still, some quarreled with the notion that the Academy Awards are an appropriate target--despite the fact that only one African American (Dianne Houston, for her live action short film “Tuesday Morning Ride”) received a nomination among the 166 given out.

“While I appreciate its symbolic and publicity value, the event is about achievement, not race,” said Tom Pollock, former vice chairman of MCA. “By focusing on it, Jesse is demeaning the accomplishments of those who were nominated--as well as [producer] Quincy Jones and [host] Whoopi Goldberg. . . . By participating are they Uncle Toms?”

Added another highly placed studio executive: “Management doesn’t vote on the Oscars--people working in film do. To effect change, focus on the studios and work to get quotas, though that won’t be easy. I can’t help thinking that all of this is counter to the goal of ‘integration’ on which we were raised. The more people talk ‘black movies,’ the harder it is to find a middle ground.”

Though only a microcosm of the industry, others said, the academy itself has problems that need to be addressed. According to a cover story in the March 18 issue of People magazine, African Americans make up 12% of the American population and 25% of the moviegoing audience, but constitute only 3.9% of the organization’s membership. If the group were more reflective of social realities, critics contend, performances like Don Cheadle’s supporting actor turn in “Devil in a Blue Dress” and Kenny “Babyface” Edmonds’ “Waiting to Exhale” album may have had a better shot.

“The composition of the academy is a problem for all minorities--blacks, Latinos, women, gays,” said director Matty Rich (“Straight Out of Brooklyn”). “It’s the old boys network against the wave of the world. The only way to change things is to put pressure on the establishment by doing work so good it can’t be denied. That’s what happened with the nominations given to Angela Bassett and Laurence Fishburne in ‘What’s Love Got to Do With It?’ ”

The academy is about “longevity” since it takes so long to be inducted, Pollock said. But African Americans are not alone in having good work overlooked.

“[‘Sense and Sensibility’ director] Ang Lee wasn’t nominated--and not because he’s Asian. Neither was [‘Apollo 13’ director] Ron Howard, for that matter. There’s racism in Hollywood but strides have been made. Ten years ago, the industry was totally white--with a few tokens. Though minorities are still very underrepresented, it’s much more open.”

To highlight one quality film that got lost in the mix, however, L.A. Councilman Nate Holden is holding a press conference today to complain about the treatment and lack of Oscar nominations afforded Republic Pictures’ “Once Upon a Time . . . When We Were Colored”--a highly acclaimed period drama about blacks in the segregated South turned down by every major studio for being “too soft” and “too human,” its director Tim Reid said.

“We need more movies like this . . . and increased recognition for talented black filmmakers,” Holden said in a statement. “Their omission from award nominations and rejection by studios is terrible.”

Jackson’s strategizing, however, is drawing a mixed response among black actors, said Sonya Maddix, chair of the Screen Actors Guild’s African American subcommittee.

“From an industry point of view, African American actors don’t want to create controversy--we’d rather be working than fighting,” she said. “From a political point of view, however, it’s good to have a voice. Though some blacks are 100% behind Jackson, others see him as an opportunist. I doubt that anyone would follow him onto a picket line or boycott with him without consulting with the guild. Work opportunities are limited enough--no one wants to be additionally cursed.”

Several local and national organizations have indicated that they are prepared to join the protest, which, Jackson said, already has the backing of several community groups, including the Los Angeles Urban League.

“There is power in numbers,” said Sonny Skyhawk, president and founder of American Indians in Film. “We feel the same way that Latinos and Asian Pacifics do--that we need to try and re-educate Hollywood about the exclusion of people of color. The cultural myopia of Hollywood continues, and this protest will let them know that there is still something wrong with this picture.”

Guy Aoki of the Media Action Network for Asian Americans said, “This is good timing for this kind of protest. Everyone in Hollywood will be there. It’s nice to have this self-congratulatory event, but the industry also needs to see where they can improve things.”

Billie J. Greene, president of the Beverly Hills-Hollywood chapter of the National Assn. for the Advancement of Colored People, however, said she did not think an Oscar night protest would be enough.

“We need to do a lot more than just protest at the Oscars,” Green said. “We need to really sit down with the wheelers and dealers. There seems to be a backlash against African American actors right now--it’s harder than ever for black actors to get major roles.”

Filmmaker Spike Lee said he was “100%” behind the protest.

“Let’s use this moment while the spotlight is on Hollywood to look at the hiring practices of the studios,” he said. “Let’s look at the payrolls of these major studios and see how many African-Americans work on the lots. Let’s see how many African-Americans have the power to greenlight a movie. If Hollywood is so liberal, they should be willing to disclose that.”

Lee said, “Imagine the music industry. Can you imagine the Grammy Awards in a particular year and they’re being only one African-American nominated. What is the movie academy’s thinking? It’s not because we’re not talented. What would be their answer?”

Lee, however, noted that “we do not need the academy to validate our work, our artistic endeavors. We do not need their good housekeeping seal of approval.”

While action needs to be taken, one studio chief concluded, political correctness can be carried too far. “What I worry about is whether this will lead us toward a tacit quota system,” he said. “Will we feel compelled to reserve 12% of the nominations for blacks and a certain percent for Latinos and homosexuals? The Oscars aren’t supposed to be related to sub- categories . . . they’re supposed to reward excellence.”

Staff writer Greg Braxton contributed to this story.