representation of race, gender and class in Mo Better Blues (1990), Round Midnight (1986), and Bird(1988)

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Representation of Race, Gender and Class in Mo Better Blues (1990), Round Midnight (1986), and Bird (1988)
Ever since the 20th century; race, gender and class are prevalent themes in most films. While Bird is a biography, Round Midnight and Mo’ Better Blues are classified under the bracket of musicals or musical films. The three films also address these contemporary issues that often affect societies. In addition to creating awareness about diverse races, genders and classes, these films are useful in enlightening the audience about their inevitabilities.
In exploring issues of races in Mo’ Better Blues, there is a focus on the filmmakers and producers. It delves deep into the ideas elicited in black films, created by blacks. Often, white filmmakers are unable to capture the challenges faced by black folk to precision. As black filmmakers relate with the daily complications experienced as a person of color, they manage to incorporate these ideas accordingly, in films such as Mo’ Better Blues (Guerrero 2). Understanding the film from a person of color’s perspective, intensifies the effect of a given message and idea. It may be related directly to the effects noted apropos of autobiographies, testimonies and person narratives. When the audience receives first-hand information, they are bound to comprehend it at a deeper level. Spike Lee, director, producer and writer of Mo’ Better Blues, is a black man and it is clear that his racial affiliation affected his film’s popularity.

Such approaches, therefore, improve the delivery of themes and ideas intended for the audience. Instead of touching lives of black folk only, the contextual portrayal of Mo’ Better Blues also offers insight to people of other races. White people understand the lamentations of blacks when the latter delivers them to his audience (Guerrero 2-3).
Bertrand Tavernier’s Round Midnight showcases an African-American protagonist that struggles with racial challenges in a foreign land. Just like Lee, Tavernier utilizes his film as a channel of addressing the plight of black people. The commencement of Round Midnight delineates Dale Turner, the protagonist that relocates to Paris, France; so as to acquire motivation apropos of his Jazz music talent and skills. Turner understands that his racial affiliation as a black man interferes with his ability to succeed by pursuing a career in music. In Mo’ Better Blues, Lee explores indistinguishable themes while striving to create an admirable name for black people, despite their skin color. Delving deeper into racial relations in Round Midnight, the audience is familiarized with the real-life story behind Tavernier’s film. The original biography, drafted by an expatriate, indicates prevalence of racial relations in the film (Nelson & Charmaine 347). Just like Turner, there were many individuals that relocated to France in an attempt to succeed in their life endeavors. Even if Round Midnight is a musical film, there were other individuals that portrayed their prowess in other artsy careers and fields.
During the late 20th century, it is evident that Paris witnessed the rampant existence of immigrants into the city. They were more accepting of racial diversities in comparison to countries such as the U.S. Turner’s experience in Paris and developing his Jazz musical career proved positive (Nelson & Charmaine 347). Regardless of his battles with drugs and depression accrued from the character’s irresponsible drinking behavior, he managed to grow in his musical career. There is also a subtle instance of class consciousness noted in Round Midnight. The film separates musicians and their fans, classifying them under different socio-economic classes. Even if Turner connects with one of his supporters, there is a disparity between their societal classes as a result of Turner’s celebrity status. Being a celebrity is often considered a privilege as these individuals are classified under the bracket of wealthy and well-to-do folk in various societies. For this reason, Turner fails to quit his drug addiction often affiliated with people of a specific class. Hard drugs such as cocaine, for instance, are produced for wealthy individuals as a result of their monetary value. As a result of its extraction from factual happenings in Paris during the 1950s, it is essential to realize the prevalence of class-consciousness in the region. Jazz musicians were considered important thus, such beliefs influenced their status quo within these French communities.
Like Tuner, Clint Eastwood’s film, Bird, addresses the life and career of Charlie Parker, a character given the name “Bird” as a pseudonym. Despite Eastwood’s affiliation with Europe, he utilizes a black protagonist in an attempt to depict issues of racial relations during the 20th century (Smith 279). There are instances of class-consciousness in Bird owing to Parker’s celebrity status. He was, in fact, one of the most prominent Jazz musicians whose influence was notable far and wide in the U.S. The intense similarities between Turner and Parker inform the audience about the tenets of class-consciousness. Distinct habits such as drug addiction, often associated with financially upright individuals, accentuate the theme of classism in both Round Midnight and Bird. Their ability to maintain successful careers even in the wake of drug addiction implies the prestigious lives of Turner and Parker, as Jazz musicians. Eastwood’s audience understands the role of Parker’s establishment in the industry as a way of perpetrating class relations in the film. Due to the existence of renowned artists such as Eastwood’s protagonist, people were oblivious about other Jazz musicians that did not uphold the requisite celebrity status. Through Bird, it is safe to infer that the public was impressed greatly by one’s socio-economic rather than professional status in various societies.
Taking a keen look at Eastwood’s Bird, the audience observes subtle instances of racial discrimination (Narayan 281). As Parker formed musical bands to improve his career, Eastwood’s viewers notice the denunciation of diverse bands. The black Jazz musicians in the U.S. often competed against white band leaders. Hence, integrating African-Americans and Europeans in their bands was considered eerie due to the difference in statuses of these two races. They were more inclined toward bettering themselves as separate races; instead of alleviating their productivity by encouraging team work through diversity. As a result of blatant racial prejudice, there were controversies when Parker band integrated a white individual as part of the members. Their goal as African-American Jazz musicians was to work toward producing music that could not be played by the white folk. They shied away from integrating white folk in the bands as a result of their assumptions concerning American profits accrued from Swing, a type of music affiliated with Americans.
In understanding racial relations in Bird, Eastwood introduces Chan Parker, a white woman with whom Parker develops a romantic relationship. He uses the female’s character to describe the importance of racial diversity in creating a balance in the society. Despite delineating it as uncouth apropos of forming bands, Eastwood utilizes the marriage institution to placate these beliefs. The woman assists Parker in acquiring solace from his addiction of drugs. As she also loves Jazz music, the director showcases Chan as a symbol of affirmation in Parker’s life. Even if he is a black man, the incorporation of Chan’s character in Bird reiterates the necessary interdependence between people of different races. They learn from one another and develop a different point of view toward leading their lives.
Both Round Midnight and Bird examine protagonists battling with an addiction of drugs and psychological disorders resulting from the same. The directors integrate women characters to act as symbols of solace and peace in salvaging Turner and Parker’s situation. Their roles are important in assisting these men in continuing with achieving success in their Jazz music careers. If the audience delves deeper into this perspective, they understand the significance of gender in both films. Through subtly, the women are associated with the submissive and vulnerable roles while their male counterparts exhibit dominating characteristics. Their duty as women is to motivate these men to focus on the brighter picture as it affects the former both directly and indirectly. In addressing gender in both films, therefore, the audience understands Eastwood and Tavernier’s extensive belief in gender roles. Their descriptions matched the traditional ones of marriage institution based before and during the 20th century. While men worked and fended for their families, females were required to cater to them.
Lee’s Mo’ Better Blues also depicts a male protagonist that describes women as a tool for satisfaction. The director shares similar sentiments with Turner and Parker in their portrayal of gender and gender roles in the three films. Bleek Gilliam, the protagonist, exhibits polygamous behavior due to his lack of seriousness with relationship commitments. He is only interested in engaging in coitus with different women and does not regard their opinions. These instances clear show male dominance and female submission. According to Lee, women are not supposed to question the decisions made by their male counterparts. It is apparently their responsibility to follow the man’s lead to precision. The chauvinistic ideologies described by Eastwood, Tavernier and Lee, however, may not augur well with a female audience. In exploring gender roles in these three films, the directors may bring about controversies based on diverse arguments. Marriage, as it involves two people, should also involve the male gender in domestic and household duties. Stereotypical and cliché notions should be denounced so as to develop a solution regarding similar issues.
Moreover, the commencement of the Lee’s Mo’ Better Blues also shows a scene that concerns itself greatly with gender roles. Unlike Bleek’s mother, his father is not content with the protagonist’s indulgence in Jazz music and trumpet playing, to be precise. His chauvinistic comments relate musical careers with weak and vulnerable people. Referring to Bleek as a weak man showcases the prevalence of gender roles. The film shows varied impossibilities of people to follow their dreams in an attempt to constantly conform to societal expectations of genders. In the midst of equality, it is important to understand the illogicalities in associating careers and fields with specific genders. Such notions often trigger discriminative policies as a result of the people’s blatant refusal to accept diversification in the society. Individuals should not be deprived from making and enjoying their personal decisions regardless of gender. In Mo’ Better Blues, even if Bleek’s father considers him a weakling for playing the trumpet, he does not stop following his dreams. The three films in utilizing male protagonists also accentuate these gender specifications in their Jazz bands.
Apart from disregarding the presence of diverse races, there are no women present in these bands. They only occupy minor roles which, at the end of the day, uphold the men in these films. The directors merely use them as tools and symbols for helping men to achieve their ultimate goals in life. As a matter of fact, this case of male chauvinism is notable in Bleek’s character. It is unfortunate that he does not allow Clarke, one of his female interests, to sing with his band. The characters show clearly the extent of male insecurities which are often counteracted by dominating behavior. Bleek may have been scared of Clarke’s prowess hence used his power to decline her request. Through this scene, it is also clear to notice the disparities between men and women. While the latter is inclined toward seeing men succeed, the former do not share similar sentiments. They neither support the goals or dreams of these women, as portrayed by Bleek and Clarke’s encounter in Mo’ Better Blues. Also, in Eastwood’s Bird, Chan Parker’s life revolves around the betterment of Parker and his rehabilitation from drug addiction. The film does not portray a single clue about these male folk attempting to alleviate the professional status of these women that are offering them absolute allegiance. These male protagonists, the audience observes, reiterating the directors’ sentiments by heightening bigoted ideologies toward women in an unfortunate manner. Similar ideas are salient in Round Midnight as the film only revolves around Turner’s career, his addictions and his female love interest.
Like in Bird and Mo’ Better Blues, it is only from the male protagonist’s life choices that the audience is familiarized with these women. It would, therefore, be safe to assume that the women characters would be irrelevant roles in the absence of Turner, Parker and Bleek, the male protagonists. These men shape the female characters and create meaning in their existence in the three films and in the society, as a whole. Understanding gender roles in these films, therefore, infers utter superiority apropos of the males. Delving deeper into the issue of gender, as mentioned earlier, women are used as sex symbols. By catering to Bleek’s sexual desires, these females’ needs are undermined, thereby, interfering with the development of their characters in Mo’ Better Blues. Such scenes intensify the dependence of female characters on male ones in these three films. Despite their similarities, Lee’s style of direction and production elicits femininity from these male protagonists.
Gender roles are clearly defined in Mo’ Better Blues when the director does not allow female characters to stand on their own. It is impossible for these women to stand their ground, in the midst of Turner, Parker and Bleek, the developed male characters in Round Midnight, Bird and Mo’ Better Blues, respectively. Lee’s female characters are quite controversial due to the absence of inner satisfaction. An incorporation of male characters in Mo’ Better Blues accentuates the elements of power bestowed upon them; in comparison to the females. Such gestures, therefore, clearly increase the denunciation of women apropos of gender roles and identity in varied societies. There are evident fallacies in Lee’s Mo’ Better Blues because he fails to separate women and sex; depicting that the former cannot exist without the latter. These ideologies, however, lead to misconceptions about women among the audience. When these directors and producers address women that depend on male figures, it becomes difficult for them to acquire requisite information to describe femininity and its tenets. In the case of Mo’ Better Blues, Round Midnight and Bird, there is an integration of dependent females (Dickinson 123). They are quite inclined toward pleasing and catering to the men hence, interfering with the independence of females, as delineated in the 20th century. It would be more effective to utilize independent characters in the three films so as to acquire a solid understanding of femininity. Lee, Tavernier and Eastwood’s works depict weaknesses in character development as per their portrayal of females.
In understanding racial relations, Mo’ Better Blues not only delves into black film makers but, it also utilizes its characters to reiterate the issue of racism in music. Even if Lee does not delve directly into the problem of racial segregation, there are subtle instances explored by the director of Mo’ Better Blues. The audiences acquire information about non-accommodation of diverse races through dialogues between Bleek and Shadow. There is an aura of blackness in the latter’s music as he writes about Harlem experiences, which mostly revolved around the lives of black individuals. Through incorporating these happenings, the directors manage to create a sense of homeliness in the African-Americans and blacks. Lee uses music to create an identity for these black folk, despite their bad experiences with racial discrimination from white folk. It is, therefore, important for white individuals to understand Lee’s reasons for employing racial diversity in his films.
It would be inaccurate for these Europeans to infer prejudice as a result of Lee’s style of direction and delineation of racial matters in Mo’ Better Blues. Nonetheless, misconceptions are also notable as a result of Lee’s portrayal of Rap, as a genre of music. As he upholds Jazz music and castigates the former, the audience notes contradictions in the exploration of racial issues in Mo’ Better Blues. It would be easier for the director to capture the attention of black individuals by adhering to their tastes and preferences. In this case, therefore, Lee should be placed more emphasis on Rap music; as opposed to Jazz, which was not as popular within the black community. His audience may also endorse Lee’s integration of Jazz music as a way of reincarnating the dead art among people of color. It is unfortunate that he employs unworkable channels to depict his reminiscence apropos of Jazz music and its influence on showcasing elements of blackness in various societies. Unlike Eastwood who embraces interracial romantic relationships, Lee’s sentiments as notable in Mo’ Better Blues are against diversity in terms of love interests. According to him, white people oppress blacks repeatedly thus a relationship with them is considered uncouth and absolutely unacceptable. He delves deeper into the subject of interracial romance and utilizes oppression as an excuse of denouncing white people. Even if there are logicalities in his statement, he elicits negative reactions from most of his viewers who are inclined toward diversity, tolerance and acceptance. Being a black man, therefore, would make white individuals may classify Lee as racist. These conclusions would be based on the events in some of his films such as Mo’ Better Blues that address the contemporary issue of racial segregation in distinct communities. The mockery, jokes and condescending attitude directed toward black people, as exposed by Lee, is a clear representation of their loopholes in living freely as a person of color.
Distinctively; race, gender and class have been explored in Lee’s Mo Better Blues, Eastwood’s Bird and Tavernier’s Round Midnight. Each director touches on different issues while analyzing the three contemporary issues. The similarities in most of their ideas are indications of actualities in the music industry. These three films, incorporating protagonists pursuing Jazz music, delves deep into the hurdles encountered by celebrities in their pursuit of happiness. Through challenges such as alcoholism, addiction to drugs and psychological complications, the audience familiarizes itself with matters of gender roles and class-consciousness. The females in Mo’ Better Blues, Round Midnight and Bird are portrayed as requisite saviors in delivering the male protagonists from their trials. Class-consciousness is represented due to the utter prevalence of individuals with celebrity statuses in these films. Understanding race, gender and class using the three films also enlightens the audience on the directors’ positions and sentiments. Spike Lee, for instance, does not offer any justice by portraying them as dependent human beings. It is forlorn that without the assistance of male figures, they cannot stand their ground. Tavernier and Eastwood also use similar strategies to classify women as inferior individuals in their society. As racial problems have prevailed since time immemorial, these films representing the 20th century attest to similar facts.
Works Cited
Dickinson, Kay. Movie Music, the Film Reader. Psychology Press, 2003. Print.
Guerrero, Ed. Black Film: Mo’ Better in the ’90s. Indiana University Press. Black Camera, Vol. 6, No. 1 (Spring/Summer, 1991), pp. 2-3.
Narayan, Uma. Decentering the Center: Philosophy for a Multicultural, Postcolonial, and Feminist World. Bloomington [u.a.: Indiana Univ. Press, 2000. Print.
Nelson, Camille A, and Charmaine A. Nelson. Racism, Eh?: A Critical Inter-Disciplinary Anthology of Race and Racism in Canada. Concord: Captus Press, 2004. Print.
Smith, Paul. Clint Eastwood: A Cultural Production. Minneapolis, Minn. [u.a.: Univ. of Minnesota Press, 1993. Print.