MAY 2, 1997
GAY PEOPLE'S CHRONICLE 21
EVENINGS OUT
Director looks to the past to see black lesbians today
The Watermelon Woman Written and directed by Cheryl Dunye First Run Features
Reviewed by Bob Boone
If conservative Congressional backlash is a sure sign that a movie is thought-provoking and innovative, than Cheryl Dunye's The Watermelon Woman has been confirmed as cutting-edge.
The film's writer and director, Dunye also stars as Cheryl, a 25-year-old lesbian African-American budding filmmaker who is paying her bills by working in a video store. Her floundering search for a film topic leads her to the classic 1930s movies she brings home from work.
In one, Plantation Memories, she spots a beautiful young actress cast as a “mammy" and billed in the film credits only as "The Watermelon Woman." Cheryl decides to tell this woman's true story in her film.
The Watermelon Woman is a mock documentary so well-made that it seems just a hair's breadth from the truth. Cheryl's search is a whirl of interviews with movie aficionados, the actress's old friends and co-workers, and flashes of old publicity photos and faux archival footage. The sincerity of Cheryl's desperation in her search is so believable that there is a true sense of exhilaration when she learns the Watermelon Woman's real name, Fae Richards.
The search is, of course, more than just a delving into the history of a bygone movie era. There is a quest for community, identity, and love. When Cheryl learns that Richards was a lesbian who had an interracial affair with a lesbian film director, the intensity of her project grows and becomes more personalized.
Cheryl is herself involved in a rather sexy affair with a well-off white video store customer, Guin Turner (Go Fish). This leads to a steamy sex scene, that while not particularly more explicit than, say, The Hunger's Susan Sarandon-Catherine Deneuve sex
INSTANT
scene, has raised the ire of some conservative Congress members.
Rep. Peter Hoekstra, R-Mich., declared himself shocked by the scene. He attempted to have the 1997 budget for the National Endowment for the Arts shaved by $31,500, the exact amount the NEA had granted to Dunye for her film. The budget-tampering was nixed only because of a 1996 Republican leadership "agreement” that phases out all NEA funding within two years. Republican leaders feared any current changes to the NEA budget would complicate the matter of abolishing the agency in 1998.
Dunye herself has spoken out at every opportunity in favor of the NEA, whose grant was the basis of her film's funding.
No matter the source of its funding, The Watermelon Woman is a low-budget film and its production values are at times a bit rough. They never distract, though, from the powerful, smart dialogue.
Made up largely from Dunye's personal friends, the cast puts in some solid and enjoyable performances. Dunye herself, Turner, and Valarie Walker as Cheryl's friend Tamara enrich the film with their down-to-earth performances and natural comedic timing.
The Watermelon Woman is an immensely insightful, provocative, and funny film from a perspective that is more often than not ignored in movies and other media. It is a delight to hear and see this story in the clever capsule in which it is contained. It is difficult to imagine that NEA-bashers who have actually seen and pondered this film could continue to lobby their misguided assaults.
Cheryl Dunye has also created a number of experimental videos including The Potluck and Passion and the widely acclaimed short Greetings from Africa.
Producer Barry Swimar also co-produced another recent target of anti-NEA voices, Paris is Burning.
The Watermelon Woman plays at the Cleveland Cinematheque, 11141 East Blvd., on May 10 at 7 pm and May 11 at 9:20 pm.
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