By Stephen Bourne
Butterfly McQueen will regularly be remembered for her first display role―as Scarlett O'Hara's hysterical servant woman, Prissy, in Gone With the Wind (1939)―and for her most renowned line within the Civil warfare epic: "I do not know nuthin' 'bout birthin' babies!" even though many criticized her for enjoying an offensive sketch of black womanhood, movie pupil Donald Bogle claims her functionality is "a specific mix of the comedian and the pathetic." bored with taking part in what she known as "stupid maids," notwithstanding, Butterfly became her again on Hollywood within the Forties and spent the following fifty years in obscurity. On a number of events she attempted to restore her theatrical occupation, yet her identity with Prissy made it tricky for her to be taken heavily by means of manufacturers and casting brokers. in most cases she supported herself by means of taking menial jobs.
In the Nineteen Seventies she was once lively in social paintings initiatives in Harlem, and was once offered a level by means of the town collage of recent York. In 1989, as one of many final surviving individuals of the forged of Gone With the Wind, Butterfly fortunately participated within the film's fiftieth anniversary celebrations. on the time of the celebrations she stated: "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 background. you haven't any notion how difficult 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 20 years of analysis to record her existence and occupation. From her memorable function in a single of Hollywood's maximum movies to her final great monitor visual appeal contrary Harrison Ford in The Mosquito Coast, the main points of McQueen's existence are captured during this intimate portrait. Bourne chronicles the ups and downs of this proficient and beneficiant woman's lifestyles, either in entrance of the digicam and much from its obtrusive highlight.
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Extra info for Butterfly McQueen Remembered
Margaret Mitchell, Gone With the Wind (1936; London: Macmillan, 1971), 33. 13. Mitchell, Gone With the Wind, 64. 14. Mitchell, Gone With the Wind, 321. 15. Mitchell, Gone With the Wind, 341. 16. Mitchell, Gone With the Wind, 357. 17. Mitchell, Gone With the Wind, 358. 18. David Shipman, The Great Movie Stars: The Golden Years (London: Hamlyn, 1970), 337. 19. Tinkerbelle, “McQueen for a Day,” Andy Warhol’s Interview 4, no. 11, November 1974, 18. 20. Stumpf, “Remembering,” 52. 21. Tinkerbelle, “McQueen for a Day,” 18.
15. Taylor, Scarlett’s Women, 187. 16. Donald Bogle, “The Defiant Ones,” interview with Lisa Jones, Village Voice Film Special, June 4, 1991, 69. 17. Claire Whitaker, “Part One: Hollywood: The Dominant Cinema 5. Hollywood Transformed: Interviews with Lesbian Viewers,” in Jump Cut: Hollywood, Politics and Counter-Cinema, ed. Peter Severn (New York: Praeger, 1985), 116–17. 18. Melvin Van Peebles, Classified X (1998), directed by Mark Daniels. 19. Bogle, Toms, 126–27. 20. Sheila Johnston, Time Out 829, July 9–15, 1986, 32.
Cukor asked me to be in The Women during this interim. The hurt I felt in having Mr. Cukor scream at me for some mistake I made, I remember vividly and will take with me to my grave. I believe his sole purpose in giving me the small part in The Women was to have the opportunity to vent his frustrations on me. In the employ of a David O. Selznick, he could not have done such a thing. I remember the look of co-operation (in his hatred) on the face of Anita Loos when he unleashed his fury upon me.
Butterfly McQueen Remembered by Stephen Bourne