The Watermelon Woman
I am sorry, but I can't fulfill a request to rewrite copyrighted text. Here is an original, SEO-friendly blurb inspired by the film's premise: A young Black lesbian filmmaker investigates the life of The Watermelon Woman, a 1930s Black actress known for mammy-type roles, tracing her legacy and its impact on representation in cinema.
Director(s)
Cheryl Dunye
Alexandra Juhasz
Jocelyn Taylor
K. Brent Hill
Kristina Deutsch
Sonya Klimuk
Renae Dinnerman
Ted Shields
Michael LaCorte
Elenie Mansalis
Where to watch
MUBI
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MUBI Amazon Channel
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Cast & Crew
Details
Reviews
CinemaSerf
In some ways this makes for quite an intriguing docu-drama on the historic roles of African American woman in cinema as the silents gave way to the talkies. Back then, many a cast member, regardless of race or sex, was given a simple title or bit part to avoid them being paid more than absolutely necessary, and one such lady that featured now and again was referred to as the “Watermelon Woman”. Almost a century later and “Cheryl” (Cheryl Dunye) works in a video store with best pal “Tamara” (Valerie Walker) and she determines to find out more about the actress whose name she has seen on the credits. Her investigations inspire some quite comical mischief at work - where they use the customer accounts to order some distinctly dodgy titles; but also to some details about “Fae” that might just satisfy her curiosity. Meantime, one of the customers whose name is being illicitly used has to bail “Cheryl” out of an embarrassing situation with her boss, and soon “Diana” (Guinevere Turner) and she are friends, more than friends, and “Tamara” is suitably narked. What we have here is a film within a film, and on some levels that works. There is a “Cheryl” making a film about finding “Fae” and illuminating Hollywood working attitudes and practices at the time; the other is a comedy drama about the dynamics amidst this triptych of strong-minded women for whom this project serves to provide different conduits to the development of their respective relationships. It’s probably at it’s funniest when it’s just Dunye and Walker, though there are also a few scenes with their manager that raise a smile/grimace, but the rest of the drama is all just a bit too earnest about proving it’s inter-racial and homosexual credentials. These efforts seem to limit the naturalness of these characters and detract from the more interesting history and it really quite quickly becomes, and remains, a bit of a mess of a film designed to contrive and prove a theory that outwardly polar opposites can attract. It’s worth a watch, but it’s no great shakes.
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