Film Inquiry Recommends: Films Passing The DuVernay Diversity Test
Over at our official Facebook page, we are currently posting daily film recommendations, with each week being a different theme. This is a collection of those recommendations! This week’s theme is films which have passed the Ava DuVernay Diversity Test.
The DuVernay Diversity Test is a term coined by NYTimes film critic Manohla Dargis. It’s a cinematic question based upon the Bechdel Test, which highlighted the problems with underwritten female characters in cinema. The criteria for DuVernay Test is that a film, in essence, needs to depict “African Americans and other minorities [who] have fully realized lives rather than serve as scenery in white stories”.
That might seem like a pretty low benchmark, but the amount of films that pass it is shockingly low – just look at this list of the Best Pictures nominees of the past 10 years. This year, there are none. Recent examples of films which have passed the test include Belle and Straight Outta Compton, and of course, Ava DuVernay’s own films, Selma, Middle of Nowhere and I Will Follow.
Ava DuVernay is known for telling stories from an African American perspective, and she adamantly strives to improve racial and gender diversity in the film industry.
Here’s a list of just some of the films from the past 50 years which have also passed the test.
1. Vigilante (1983, William Lustig)
William Lustig is a director who was able to capture the crime-ridden streets of New York City in the 1980’s incredibly well, giving them a dirty feel filled with violent characters and gruesome attacks which reflect the director’s indictment of the slowly crumbling city at the time. Fred Williamson is one of the legends of grindhouse/blaxploitation cinema, with his large muscly frame, thick moustache and always with a cigar in his hand, he’s an action star who knows what his audiences want. Vigilante is a stripped down revenge thriller which is filled with blood-soaked carnage and broad morals but is highly satisfying with some great character beats.
Fed up with the rising crime in his neighbourhood, Nick (Fred Williamson) starts a vigilante group, set on stopping any criminal that comes in their path. Nick is friends with Eddie Marino (Robert Forster) his work colleague, who is a happy, everyday family man. Whilst at Nick’s, Nick’s wife Vickie (Rutanya Alda) is stabbed and his son is killed by a gang run by led by the ruthless Rico (Willie Colón). Upset at the poor legal system who fail to indict the group, Nick snaps and attacks the judge during the final court hearing, which lands him in jail. Whilst in jail and learning about jail life from Rake (great character actor Woody Strode), Nick decides to help out and use his vigilante group to target Rico and get justice.
The film passes the DuVernay Test by giving the character of Nick depth: he isn’t just a lackey to any of the white people in his life. He’s a man who is dealing with the social injustices in his life by fighting back, which is a deeper theme than most B-movies usually deal with. Whilst Woody Strode’s character Rake falls into the stereotype of ‘Wise Old Black Man’ (one which Morgan Freeman inhabits in most of his latest mainstream features), Williamson’s tough portrayal of Nick is a step above the standard grindhouse protagonist, one who feels like he exists outside of Eddie’s world.
Whilst Vigilante may be seen as a weird choice for a film featuring diversity, the fact that its a film which features a tough African American protagonist that never addresses his race nor does it depend on any white characters to progress internally or storywise, makes Vigilante one of the more action-packed films to pass the DuVernay Test.
2. Putney Swope (1969, Robert Downey Sr.)
Robert Downey Sr.’s erratic satire Putney Swope is one which deals with quite an array of social issues in its own bizarre way and has gone on to become quite influential to many modern arthouse directors. Robert Downey Sr. is a director who is better known for being the father of his famous son rather than his string of arthouse films made from the 60’s to the 90’s, which ranged from this, Chafed Elbows, Greaser’s Palace and more.
Downey’s films can be classed as anti-establishment and are quite anarchic, a series of no-budget absurdist films which threw away any sense of linear narrative or mainstream qualities in order to experiment with the design and satirically touch on social issues through his own unique perspective. Putney Swope is probably the best known of his arthouse productions, a low $250,000 affair which initially critically and commercially bombed due to the film’s extremely niche audience given the time period and its non-mainstream qualities.
Putney Swope (played by Arnold Johnson) is a low-level advertising executive and the only black man in the executive board in an advertising firm. When the CEO suddenly dies, each board member accidentally votes for Swope to become CEO in a misguided attempt to secure themselves the position. Swope renames the company Truth and Soul, Inc. and they no longer accept business from companies that produce alcohol, war toys, or tobacco. As the radical movement starts to be successful, the government steps in as they consider it a threat to national security. The film’s satirical tone addresses different issues such as the advertising world, corruption within big business’ and the role of race in Hollywood and in society itself.
The film passes the DuVernay Test due to the film’s honest criticism of the role of black actors within Hollywood and the flawed white power structure that exists within society. Arnold Johnson is a character who is introduced as a diminished character who is seen as diminished by the other advertising executives due to his race. Their own prejudices lead to their downfall as Johnson is accidentally lifted into power and flips the racial situation within the company which highlights how white-dominated corporations were back in the late 60’s/70’s.
Putney Swope is an African American character who doesn’t depend on white characters in order to exist, nor is he a gangster character or a slave, he exists as an original character who uses his powers in order to try and achieve something positive within his viewpoint, a shift from the usual African American characters in main roles within the Hollywood system. The film has become quite influential to many modern alternative directors, including the likes of Louis CK, Paul Thomas Anderson and Jim Jarmusch.
3. Ballast (2008, Lance Hammer)
Lance Hammer’s impressive independent feature film debut, Ballast, is a documentary-feeling drama which is a great naturalistic slice of life of some individuals in Mississippi. Even after his critical success with this film, including six nominations at the 2009 Independent Spirit Awards (the Oscars for Indie film), a beaming review by Roger Ebert (who put it in his Top 20 for 2008) and more glowing reviews from other top critics, Hammer has yet to direct another feature film, which is unfortunate.
Shot with a documentary aesthetic which includes handheld cameras and a lack of contrived drama, Ballast is a drama which captures realism in a way that only independent cinema can. Using non-actors (Hammer used civilians who lived in the area) gives the film a credible edge and authenticity in its filmmaking, a decision which isn’t seen in many mainstream films due to the high-risk productions that those ensure.
The film focuses on the sudden intersection of three distant individuals brought together by tragedy and chance. When Lawrence (Micheal J. Smith Sr.) survives a suicide attempt done after finding out his twin brother killed himself, he grows severely depressed and unable to run the store that he co-owned with his brother. Meanwhile, James (JimMyron Ross), Darius’ estranged young son tracks down Lawrence and robs him at gunpoint to buy money for drugs.
When James and his single mother Marlee (Tarra Riggs) are targeted by a drive-by shooting due to drug-related affairs, the pair are forced to hide out with Lawrence, where they form a de facto family that slowly try to build from their pasts and attempt to make a new life together away from the violence.
Ballast is a film filled with black actors that doesn’t focus on their race, rather using the particular actors to properly reflect the shooting location (Mississippi). For non-professional actors, the main ensemble do a terrific job, giving genuine performances and really allowing the audience to buy the naturalistic approach that Hammer has gone for here. Hammer successfully tells a humane, unflinching story which features fully-developed characters, creative uses of a low budget and an engaging look at theme of solace and the unexpected places where people can find it.
4. Eve’s Bayou (1997, Kasi Lemmons)
Eve’s Bayou is Kasi Lemmons’ critically acclaimed debut feature film which propelled child actor Jurnee Smollett into mainstream attention. Kasi Lemmons’ is a director and actor who has shown versatility between the two roles, but has only directed four films, with Eve’s Bayou still remaining as her most loved. Sadly, her subsequent films have declined in mainstream knowledge and critical acclaim, but she is attached to several projects, so she may be on the verge of a directorial comeback.
Set in 1962, Louise Batiste (Samuel L. Jackson) is a successful doctor married to his wife Roz (Lynn Whitfield) who he frequently cheats on with his female patients. One night after a party, Louise sleeps with Matty Mereaux (Lisa Nicole Carson), unaware that his daughter Eve (Jurnee Smollett) is watching the entire time. Confused as to what is happening, she tries to tell her older sister Cisely (Meagan Good), who dismisses the claims. Once Eve starts to find more evidence of Louise’s infidelities, the lies start to seep out and people start to slowly believe Eve’s claims.
The film received huge critical acclaim upon release, with one note being Roger Ebert naming it his favourite film of 1997. Reflecting the lack of diversity within the Oscars that still exists today, despite the film’s success, it was not nominated for any Academy Awards, despite it winning several acting awards from other less-known ceremonies. In February 2008, Eve’s Bayou made TIME’s list of The 25 Most Important Films on Race and Jurnee Smollett’s performance is frequently referenced as one of the great child acting performances.
Eve’s Bayou passes the DuVernay Test due to it being a film which doesn’t depend on white characters and respectfully addresses black issues without being pandering or elitist. The film is a terrific drama that has somewhat slipped off the mainstream radar, one that has the potential for a cult-like resurgence in modern pop-culture when talking about films featuring people of colour.
5. Black Orpheus (1959, Marcel Camus)
Adapted from the ancient Greek myth, Orpheus and Eurydice, which is re-imagined into the modern day of Rio de Janeiro in Marcel Camus’ energetic interpretation of the classic story. The film is best known for its vigorous score, which became a best selling soundtrack and propelled the composers Antonio Carlos Jobim and Luis Bonfa into international fame. A bitter-sweet romantic tragedy which entices its audience with its vivid use of colour, catchy soundtrack and delightful performance, Black Orpheus is an old school arthouse classic that isn’t such a drag to watch like many other older arthouse titles.
Set during the time of the Carnaval in Rio de Janeiro, the story tells of the titular Orpheus and Eurydice who meet up and fall in love against the vibrant, musical backdrop. Orfeo (Breno Mello), is a tram conductor who is currently engaged to Mira (Lourdes de Oliveira), even tho Orfeo is against it. Eurydice (Marpessa Dawn), a girl from the country, has run away from home to avoid a man who she is convinced was going to kill her. She arrives in Rio to stay with her cousin Serafina, where she meets Orfeo. Their new relationship blossoms, which infuriates Mira, causing distress for the new-found couple.
Camus shot the film entirely on location in Brazil with his cast and crew of mostly local talent within the Morro da Babilônia, a favela (slum) in the Leme neighbourhood of Rio de Janeiro. Despite this, Black Orpheus isn’t looked as favourably in Brazil due to its depiction as a constant party town, removing any form of grittiness or social problems that the country has. Whilst Brazil wasn’t a fan of the film, the film did quite well internationally, winning the Best Foreign Film Oscar in 1960 and also the Palme d’Or at Cannes when it premiered initially.
6. Blue Collar (1978, Paul Schrader)
Paul Schrader, most famous for writing the screenplay for Taxi Driver, broke out into directing after its success, where he directed Blue Collar, a dramatic vehicle for comedian Richard Pryor. Schrader has directed some great films throughout his career, even though lately his output has been quite lacking (the most famous example being the Lindsay Lohan disaster The Canyons). Schrader’s films usually feature protagonists who are losers or outcasts who exist within cynical, crime-ridden communities. They are often driven into action by revenge or a lust for something erroneous. His debut feature, Blue Collar, is an great example of Shrader’s style.
Written by Paul and his brother Leonard Schrader, Blue Collar tells the story of Zeke (Richard Pryor), Jerry (Harvey Keitel) and Smokey (Yaphet Kotto), three guys who work at a car plant together, and each have their own desperate needs for money quickly. One drunken night the three decide to rob their shop’s safe, but are disappointed to see that they only got a total of $600 from it.
The disappointment slowly fades when the guys realise that Zeke took the ledger, which contains many signs that the car shop is highly corrupt, leading the men to decide if they should blackmail the owners with the confidential information or go to the authorities. Things get complicated when the car shop owner reports that $10,000 was actually stolen which further demonstrates the corruption to the men.
Blue Collar is best known for the on-set drama that went down when shooting the film, the most infamous story being Richard Pryor, in a drug-infused craze, pointing a loaded gun at Schrader’s head and demanding that he never do more than three takes for any of his scenes. This event caused Schrader to have an on-set mental breakdown, which nearly caused him to quit directing all together.
Despite these problems, Schrader managed to create a terrific drama, one which gives Pryor one of his best (and only) dramatic roles in his cinematic career. One interesting filmmaking decision within the film is the central casting of Pryor and Keitel as the sidekick, a subversion of the typical white male lead with black comedic sidekick trope, one which is still prominent in today’s films, especially the comedy genre.
7. Fresh (1994, Boaz Yakin)
Michael “Fresh” (Sean Nelson), is a 12-year old kid who currently runs drugs for a variety of different drug dealers, with his main boss being Esteban (Giancarlo Esposito), an intimidating ruler who has a tight grip on Michael. Desperate to get out of the ghetto and save his heroin-addicted sister Nichole (N’Bushe Wright), Michael attempts to come up with a plan to get away from the drug dealers ruling his life. His weekly chess games with his alcoholic grifter father Sam (Samuel L. Jackson) help give Michael the mental skills to come up with an intricate chess-like plan to manipulate those around him in order to achieve his dream of a new life.
Whilst initially marketed as a standard ‘gangster’ film along the lines of Menace II Society and Boyz N the Hood, Fresh is quite different to those films due to the intelligent child protagonist and the demonising of the crime lifestyle. The relationship between Michael and his father is quite an interesting dynamic, with the chess metaphors being used before they became an extremely overused and tired trope (2014’s Son of A Gun is an example of using a chess metaphor within a crime film in a horrifically lazy way).
The film’s more realistic tone is in stark contrast with the films of the similar genre, not relying on broad stereotypes or typical story developments, rather, Boaz Yakin creates an unpredictable and fresh (yes, I know) drama which has sadly (like many films we recommend) fallen off mainstream radars.
What are some other films you feel pass the DuVernay Diversity Test?
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