Controversial to the point of massive historical study, Josephine Baker took the tragedies of her early life on the run, never forgetting the horrors of her childhood as she became a great star in Europe and returned to her native United States to make her own attempt at fighting for civil rights. She may not have always made the right decision of how to fight, but you can't help but admire her for standing up for her own values and the love that she gave to her beloved "rainbow tribe" in trying to show the world that human beings could live together in harmony and that color was not the appropriate way of judging your fellow man.
Research shows that Ms. Baker (here played by the luscious Lynn Whitfield) didn't always have the support from her own people. She sometimes took things a bit too far, especially when she confronted the powerful Walter Winchell (Craig T. Nelson) for not standing up and revealing the truth about the way she was treated at the Stork Club on one night in 1951. Of course, just a decade before, she had been forced, as a star of the Ziegfeld Follies, to enter a fancy hotel via the kitchen rather than the lobby, and after spending time helping the allies during World War II obviously felt this opened the way for her to instigate her own methods of her fighting for civil rights. "Stormy Weather", a book on Lena Horne, mentions that Ms. Baker was offended when Horne didn't join her fight, having to suffer the indignities on her own back in the United States after, like Josephine, become a superstar in Paris.
In spite of the methods Josephine Baker tried to win equality during this time, her story is a tribute to the fact that it does at least take the wrong kind of fight to open a few people's eyes to the wrongness that blacks and other minorities were fighting, even after the war against fascism had long ended. Like she says, "You have to fight for the minor things in order not to have the major things taken away". She made great strides during her time entertaining the troops in the middle east, bringing black and white troops together and proving that brotherhood knows no color. She adopted children of every racial background, destroying her own marriage in the process. So even if you disagree with the ways she did this, you have to at least give her thumbs up for attempting to get the ball rolling, especially after being told that as a poor black woman, she couldn't even make it as a dancer.
There's a lot of sadness here in her life. She takes on a French nobleman as a lover, and her hopes for marriage and children with him are quickly dashed. Her agent tells her she needs more than stardom to find a husband; She needs a title, and she also needs to continuously re-invent herself to remain on the top. Then, there's the heartbreaking scene where she returns to America, goes on Broadway, and witnesses the elitist white audience walking out on her and the critical slaughtering she receives. So as much as you might not like some of the things she did, you can't help but feel some tears for her.
Even more tearful is the scene where she looses the castle she has moved into and raised her adopted children in. Thrown out into the rain with her years of memorabilia, it is as if the world hasn't learned a darn thing about compassion. But, like many other stars of similar pasts (most obviously Judy Garland and Edith Piaf), her falls were always followed by a sudden rise, and here, that comes with a finale where you better darn well have the Kleenex ready. "The Times, They Are a Changin'" is one of the great heartbreaking songs of all times, and the way it is interspersed here with memories of her past will make you think twice about judging her.
Research shows that Ms. Baker (here played by the luscious Lynn Whitfield) didn't always have the support from her own people. She sometimes took things a bit too far, especially when she confronted the powerful Walter Winchell (Craig T. Nelson) for not standing up and revealing the truth about the way she was treated at the Stork Club on one night in 1951. Of course, just a decade before, she had been forced, as a star of the Ziegfeld Follies, to enter a fancy hotel via the kitchen rather than the lobby, and after spending time helping the allies during World War II obviously felt this opened the way for her to instigate her own methods of her fighting for civil rights. "Stormy Weather", a book on Lena Horne, mentions that Ms. Baker was offended when Horne didn't join her fight, having to suffer the indignities on her own back in the United States after, like Josephine, become a superstar in Paris.
In spite of the methods Josephine Baker tried to win equality during this time, her story is a tribute to the fact that it does at least take the wrong kind of fight to open a few people's eyes to the wrongness that blacks and other minorities were fighting, even after the war against fascism had long ended. Like she says, "You have to fight for the minor things in order not to have the major things taken away". She made great strides during her time entertaining the troops in the middle east, bringing black and white troops together and proving that brotherhood knows no color. She adopted children of every racial background, destroying her own marriage in the process. So even if you disagree with the ways she did this, you have to at least give her thumbs up for attempting to get the ball rolling, especially after being told that as a poor black woman, she couldn't even make it as a dancer.
There's a lot of sadness here in her life. She takes on a French nobleman as a lover, and her hopes for marriage and children with him are quickly dashed. Her agent tells her she needs more than stardom to find a husband; She needs a title, and she also needs to continuously re-invent herself to remain on the top. Then, there's the heartbreaking scene where she returns to America, goes on Broadway, and witnesses the elitist white audience walking out on her and the critical slaughtering she receives. So as much as you might not like some of the things she did, you can't help but feel some tears for her.
Even more tearful is the scene where she looses the castle she has moved into and raised her adopted children in. Thrown out into the rain with her years of memorabilia, it is as if the world hasn't learned a darn thing about compassion. But, like many other stars of similar pasts (most obviously Judy Garland and Edith Piaf), her falls were always followed by a sudden rise, and here, that comes with a finale where you better darn well have the Kleenex ready. "The Times, They Are a Changin'" is one of the great heartbreaking songs of all times, and the way it is interspersed here with memories of her past will make you think twice about judging her.
