By Stephen Bourne
Butterfly McQueen will consistently be remembered for her first reveal role―as Scarlett O'Hara's hysterical servant lady, Prissy, in Gone With the Wind (1939)―and for her most renowned line within the Civil battle epic: "I have no idea nuthin' 'bout birthin' babies!" notwithstanding many criticized her for enjoying an offensive comic strip of black womanhood, movie student Donald Bogle claims her functionality is "a exact mixture of the comedian and the pathetic." bored with taking part in what she referred to as "stupid maids," in spite of the fact that, Butterfly grew to become her again on Hollywood within the Nineteen Forties and spent the following fifty years in obscurity. On numerous events she attempted to restore her theatrical occupation, yet her id with Prissy made it tricky for her to be taken heavily through manufacturers and casting brokers. quite often she supported herself by means of taking menial jobs.
In the Nineteen Seventies she used to be lively in social paintings tasks in Harlem, and used to be presented a level through town collage of recent York. In 1989, as one of many final surviving individuals of the solid of Gone With the Wind, Butterfly fortunately participated within the film's fiftieth anniversary celebrations. on the time of the celebrations she acknowledged: "Now i'm satisfied I did Gone With the Wind. I wasn't whilst i used to be 28, yet it is a part of black historical past. you haven't any notion how tough it really is for black actors, yet issues switch, issues blossom in time."
In Butterfly McQueen Remembered, writer Stephen Bourne, who corresponded with Butterfly for a few years, attracts upon twenty years of analysis to record her existence and profession. From her memorable function in a single of Hollywood's maximum motion pictures to her final mammoth monitor visual appeal contrary Harrison Ford in The Mosquito Coast, the main points of McQueen's lifestyles are captured during this intimate portrait. Bourne chronicles the ups and downs of this proficient and beneficiant woman's existence, either in entrance of the digital camera and much from its evident highlight.
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Extra info for Butterfly McQueen Remembered
Flamini, Scarlett, 185. 7. Leonard J. Leff and Jerold L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code from the 1920s to the 1960s (London: Weidenfeld and Nicholson, 1990), 95. 8. Flamini, Scarlett, 216. 9. Malcolm X, The Autobiography of Malcolm X (London: Hutchinson, 1966), 113. 10. ” in You Can’t Keep a Good Woman Down (London: Women’s Press, 1982), 118. Black Resistance to Gone With the Wind 29 11. Leff and Simmons, Dame in the Kimono, 95. 12. Nancy D. Warfield, “GWTW—1939,” The Little Film Gazette of N.
New York: Harper and Row, 1982), 11. 17. Gary M. Pomerantz, Where Peachtree Meets Sweet Auburn: A Saga of Race and Family (New York: Penguin, 1997), 113. 18. Jill Watts, Hattie McDaniel: Black Ambition, White Hollywood (New York: Amistad, 2005), 177–79. 19. : University of South Carolina Press, 1983), 170. 20. Lewis, “Scarlett Materializes,” quoted in Harwell, “Gone With the Wind” as Book and Film, 170. 21. Lewis, “Scarlett Materializes,” quoted in Harwell, “Gone With the Wind” as Book and Film, 172.
24. In Scarlett (London: Macmillan, 1991), Alexandra Ripley’s sequel to Gone With the Wind, Prissy is barely mentioned. In chapter 3, her father, Pork, tells Scarlett that, after working as Rhett Butler’s valet, he has retired with a “parting bonus” that will enable Prissy to marry. ” CHAPTER TWO Gone With the Wind Now I am happy I did Gone With the Wind. I wasn’t when I was 28, but it’s part of black history. You have no idea how hard it is for black actors, but things change, things blossom in time.