SOURCE: NYT (1-16-09)
BARACK OBAMA’S victory in November demonstrated, to the surprise of many Americans and much of the world, that we were ready to see a black man as president. Of course, we had seen several black presidents already, not in the real White House but in the virtual America of movies and television. The presidencies of James Earl Jones in “The Man,” Morgan Freeman in “Deep Impact,” Chris Rock in “Head of State” and Dennis Haysbert in “24” helped us imagine Mr. Obama’s transformative breakthrough before it occurred. In a modest way, they also hastened its arrival.
Make no mistake: Hollywood’s historic refusal to embrace black artists and its insistence on racist caricatures and stereotypes linger to this day. Yet in the past 50 years — or, to be precise, in the 47 years since Mr. Obama was born — black men in the movies have traveled from the ghetto to the boardroom, from supporting roles in kitchens, liveries and social-problem movies to the rarefied summit of the Hollywood A-list. In those years the movies have helped images of black popular life emerge from behind what W. E. B. Du Bois called “a vast veil,” creating public spaces in which we could glimpse who we are and what we might become.
Filmmakers as diverse as Charles Burnett, Spike Lee and John Singleton have helped tear away that veil, as have performers who have fought and transcended stereotypes of savagery and servility to create new, richer, truer images of black life. Along the way an archetype has emerged, that of the black male hero, who, like Will Smith in “Independence Day,” rises from the ashes — in the case of that movie, the smoldering ashes of the White House — to save the day or just the family vacation. The movies of the past half-century hardly prophesy the present moment, but they offer intriguing premonitions, quick-sketch pictures and sometimes richly realized portraits of black men grappling with issues of identity and the possibilities of power. They have helped write the prehistory of the Obama presidency.