A cause for celebration, this 20th Anniversary DVD release. The Watermelon Woman was a revelation back in 1996 and it is -- shame on us -- perhaps even more to-the-point today.
Seated by myself at the Film Forum here in NYC, 1996, a gay non-Black guy, I was expecting a variation on the Melvin Van Peebles satire from the early seventies, The Watermelon Man. But a mere five minutes into The Watermelon Woman, I knew I was in the presence of something special, indeed. Here was a tsunami of vivid, fresh air.
Cheryl Dunye -- writer, director, star -- had created something utterly new. Here she was, placing a Black Lesbian at the center, unapologetic about her same-sex longing and needs, about her rich magnetic Blackness, her fierce yet tender femaleness. For me, used to seeing Lesbians or gay men like myself held up for mockery or derision or contempt, it was a revelation to see Lesbians portrayed as just part of the human tapestry, regular people making it through the day, paying bills, falling in and out of lust and love.
For that alone, The Watermelon Woman deserves high praise. But it is about so much more. For Ms. Dunye uses her Blackness to probe an America which has never come to terms with its deep racist history. Ms. Dunye confronts it with wit and candor. Her character is researching a beautiful Black actress from the 1930s, who never received a credit in her films. It's like she never existed, a mere celluloid presence, nothing more.
As she probes deeper into the actress's past, Ms. Dunye begins peeling away her own reality. As both a Lesbian and a Black woman, in an America which marginalizes Lesbians, Blacks, women. She is forced to question assumptions about what it means to be a Lesbian and both a woman and a woman of color.
And here is where The Watermelon Woman becomes as timely as it was back in 1996. For in confronting her own marginalization, Ms. Dunye makes crystal clear why today's Black Lives Matter is so important to today's America. Like any work of art -- and make no mistake, The Watermelon Woman is a work of art, indeed -- meanings change over time. And though Black Lives Matter hadn't yet become a rallying cry, its genesis is inherent in The Watermelon Woman.
Cheryl Dunye, you and The Watermelon Woman are a oner!
Seated by myself at the Film Forum here in NYC, 1996, a gay non-Black guy, I was expecting a variation on the Melvin Van Peebles satire from the early seventies, The Watermelon Man. But a mere five minutes into The Watermelon Woman, I knew I was in the presence of something special, indeed. Here was a tsunami of vivid, fresh air.
Cheryl Dunye -- writer, director, star -- had created something utterly new. Here she was, placing a Black Lesbian at the center, unapologetic about her same-sex longing and needs, about her rich magnetic Blackness, her fierce yet tender femaleness. For me, used to seeing Lesbians or gay men like myself held up for mockery or derision or contempt, it was a revelation to see Lesbians portrayed as just part of the human tapestry, regular people making it through the day, paying bills, falling in and out of lust and love.
For that alone, The Watermelon Woman deserves high praise. But it is about so much more. For Ms. Dunye uses her Blackness to probe an America which has never come to terms with its deep racist history. Ms. Dunye confronts it with wit and candor. Her character is researching a beautiful Black actress from the 1930s, who never received a credit in her films. It's like she never existed, a mere celluloid presence, nothing more.
As she probes deeper into the actress's past, Ms. Dunye begins peeling away her own reality. As both a Lesbian and a Black woman, in an America which marginalizes Lesbians, Blacks, women. She is forced to question assumptions about what it means to be a Lesbian and both a woman and a woman of color.
And here is where The Watermelon Woman becomes as timely as it was back in 1996. For in confronting her own marginalization, Ms. Dunye makes crystal clear why today's Black Lives Matter is so important to today's America. Like any work of art -- and make no mistake, The Watermelon Woman is a work of art, indeed -- meanings change over time. And though Black Lives Matter hadn't yet become a rallying cry, its genesis is inherent in The Watermelon Woman.
Cheryl Dunye, you and The Watermelon Woman are a oner!