In this fun, feature-length film by Cheryl Dunye, the African-American lesbian filmmaker basically stars as herself: a young woman working in a video store, who is making a documentary about an obscure black actress from the 30's (known as "The Watermelon Woman"). At the same time she discovers that the actress had a white female lover, she begins a romance with "a cute white woman" -- who is played by Guinevere Turner (star of Go Fish). Great footage and photos from early black films and film stars. Cast also includes (playing themselves) Toshi Reagon and a nearly speechless Camille Paglia. 85 min.
The Watermelon Woman is a 1996 feature film by filmmaker Cheryl Dunye about Cheryl, a young black lesbian working a day job in a video store while trying to make a film about a Black actress from the 1930s known for playing the stereotypical "mammy" roles relegated to Black actresses during the time period. It was the first feature film directed by a black lesbian.
Cheryl is a young, African American lesbian who works in a video rental store in Philadelphia with her friend Tamara. They earn extra money by making professional home videos for people. Cheryl becomes interested in films from the 1930s and 40s which feature black actresses. She notices that these actresses are often not credited. She watches a film called Plantation Memories with a black actress who is credited simply as "The Watermelon Woman". Cheryl decides to make a documentary about the Watermelon Woman and find out more about her life.
Tamara tries to set Cheryl up with her friend Yvette, but Cheryl is not interested. Cheryl meets a white woman in the store called Diana who, to Tamara's annoyance, flirts with Cheryl.
Cheryl starts interviewing members of the public, asking them if they have heard of the Watermelon Woman. She interviews her mother who does not remember the name, but recognises a photograph of her. She tells Cheryl that she used to hear the Watermelon Woman singing in clubs in Philadelphia. Tamara's mother tells Cheryl to get in contact with Lee Edwards — a man who has done a lot of research into black films. Cheryl and Tamara go to see Lee, and he tells them about 1920s and 30s black culture in Philadelphia. He explains to them that in those days, black women usually played domestic servants.
Cheryl meets her mother's friend Shirley, who turns out to be a lesbian. Shirley tells her that the Watermelon Woman's name was Fae Richards, that she was a lesbian too, and that she used to sing in clubs "for all us stone butches". She says that Fae was always with Martha Page, the white director of Plantation Memories, and that Martha was a mean and ugly woman.
When Cheryl and Tamara get caught ordering video tapes under Diana's name, Diana takes the tapes and tells Cheryl that she will have to come to her home to collect them. Cheryl goes to Diana's house, stays for dinner, and watches some of the tapes with her, telling her about her project. They have sex, and Cheryl decides that although Diana is not her usual type of woman, she likes being with her.
Cheryl meets cultural critic Camille Paglia who tells her about the Mammy archetype, saying that it represented a goddess figure. Cheryl goes to the CLIT archive of lesbian material, and finds photographs of Fae Richards, including one given by Fae to a June Walker. With Diana's help, Cheryl manages to contact Martha Page's sister who denies that Martha was a lesbian.
As Cheryl and Diana grow closer, Tamara makes it clear that she dislikes Diana and disapproves of their relationship. She accuses Cheryl of wanting to be white, and Diana of having a fetish for black people.
Cheryl telephones June Walker, learning that she was Fae's partner for 20 years. They arrange to meet, but June is taken to hospital and leaves a letter for Cheryl instead. In the letter she says that she is angry with Martha Page, that Martha is nothing to do with what Fae's life was. She urges Cheryl to tell their history.
Having separated from Diana, and fallen out with Tamara, Cheryl finishes her project, never managing to make further contact with June.
* Cheryl Dunye as Cheryl
* Guinevere Turner as Diana
* Valarie Walker as Tamara
* Lisa Marie Bronson as Fae 'The Watermelon Woman' Richards
* Cheryl Clarke as June Walker
* Irene Dunye as herself
* Brian Freeman as Lee Edwards
* Camille Paglia as Herself
* Sarah Schulman as CLIT archivist
* V.S. Brodie as Karaoke Singer
* Robert Reid-Pharr
The Watermelon Woman was Dunye's first feature film and the first by a black lesbian. It was made on a budget of $300,000, financed by a $31,500 grant from the National Endowment for the Arts (NEA), a fundraiser, and donations from friends of Dunye. The photographic Fae Richards Archive, documenting the fictional actress' life, was created by New York City-based photographer Zoe Leonard. Made up of 78 images, the collection was later exhibited in galleries and as a book.
The Watermelon Woman premiered at the 1996 Berlin International Film Festival and went on to play at several other international film festivals during 1996 and 1997, including the New York Lesbian & Gay Film Festival, L.A. Outfest, the San Francisco International Lesbian & Gay Film Festival, the Tokyo International Lesbian and Gay Film Festival, the Créteil International Women's Film Festival, the London Lesbian and Gay Film Festival, and the Toronto International Film Festival.
The film was released in the United States on March 5, 1997, distributed by First Run Features. It was released onto Region 1 DVD on September 5, 2000.
In 1996, The Watermelon Woman won the Teddy Award for Best feature film at the Berlin International Film Festival and the Audience Award for Outstanding Narrative Feature at L.A. Outfest.
Critical reviews of the film were generally positive. Stephen Holden of The New York Times called the film "both stimulating and funny". He praised Dunye for her "talent and open-heartedness" and enjoyed the film's moments of comedy. He said that the film "lets you find your own way to its central message about cultural history and the invisibility of those shunted to the margins." Writing for the San Francisco Chronicle, Ruthie Stein had a similar opinion to Holden, saying that, despite the seriousness of the film's topics, it "never takes itself too seriously." She praised Dunye's "engaging personality" and said that she "has infused with a lightness that seems to match her spirit." The Advocates Anne Stockwell said that "this rollicking, sexy movie never gets self-important." She praised the "footage" of Fae Richards and Zoe Leonard's work on the photo archive of the fictional actress as "one of the film's joys".
Emanuel Levy rated the film as a "B", saying that it was "only a matter of time before a woman of color made a lesbian film." He said that while "oking fun at various sacred cows in American culture", it "makes statements about the power of narrative and the ownership of history." In a review for The Austin Chronicle, Marjorie Baumgarten called the film "smart, sexy funny, historically aware, and stunningly contemporary."
Criticism of NEA funding
On March 3, 1996, Jeannine DeLombard reviewed The Watermelon Woman for Philadelphia City Paper, describing the sex scene between Cheryl and Diana as "the hottest dyke sex scene ever recorded on celluloid". On June 14, Julia Duin wrote an article for The Washington Times, quoting DeLombard's review and questioning the $31,500 grant given to Dunye by the NEA.
Representative Peter Hoekstra, the chairman of the House Education and Workforce Committee's Subcommittee on Oversight and Investigations, also read DeLombard's review. It prompted him to criticize the NEA's funding of projects (including The Watermelon Woman) that "a majority of Americans would find offensive". Citing Duin's article, he tried unsuccessfully to get Congress to deduct the sum of $31,500 from the NEA's budget. On January 16, 1997, Hoekstra wrote a letter to Jane Alexander, director of the NEA, expressing his shock that taxpayer's money had been used to help fund the film. In his criticisms of the works funded by the NEA, Hoekstra focused on a small percentage of projects, mainly gay, minority or female recipients. A spokesperson for Hoekstra said that he had no problem with gay content, just those that contained explicit sex.
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