Dark Girls is a new documentary that uses interviews (notably the powerful testimony of many different African-American women) to confront the controversial issue of “colorism” — the notion that darker-skinned blacks face more prejudice. It premieres this Sunday at 10pm ET on the OWN network. Dark Girls was produced and co-directed by the great character actor and filmmaker Bill Duke. I recently had the pleasure of speaking with Duke about the new film as well as his Chicago-shot masterpiece The Killing Floor and his criminally underrated 1992 crime movie Deep Cover, a staple in my Film Studies classes.
MGS: How did Dark Girls originate?
BD: It basically originated from us wanting to give a voice to the voiceless: us (growing up) as dark-skinned young men and seeing what our families went through — the young ladies in our families. We did a year and a half or two of research. And then after the research we began to put some film together and interviews. And then we contacted experts from psychiatrists, spiritual leaders and a lot of different people to really get a point of view on this subject matter — a lot of historians. And so we finally just put it together over a couple years.
MGS: When I was preparing for this interview I realized that the stigma that dark-skinned black women face is quite old . . .
BD: It’s also global. And I found something that’s interesting: skin bleach is one of the (best)-selling cosmetics in the world. It’s a multi-billion dollar business. In India for example, Indian men use skin bleach because they want to be lighter because any darker-skinned Indian man is considered a field worker. A lighter-skinned Indian man is considered an office worker. It’s a global thing.
MGS: Right. Does that originate with slavery, do you think?
BD: I think colonialism around the world, yes, that’s one of the things, and also caste systems, etc. But I think it’s something that unfortunately still exists and is impacting our children in a very negative way.
MGS: It seems like it’s still taboo to talk about it.
BD: Well, people don’t really want to talk about it because it’s painful. And one of the biggest things to happen after we screen the film is the Q&A after — because that’s when people (in the audience) really say what they really have gone through. And their question is, “What’s next? The film is okay but what are we going to do about it?” You know?
MGS: Right. Is that important to you, to use filmmaking to educate?
BD: Sure, because, you know, I screened the film three weeks ago at a high-school in L.A. And then, after the screening, these dark-skinned little girls are crying. We asked them why. They said, “Well, nobody invited us to our senior prom because they thought we were ugly.” This happened three weeks ago.
MGS: Hopefully, your film will go a long way towards changing people’s perception of that.
BD: I hope so. We’ve got to do something about it. I appreciate your support of it because it’s more than a film. People get, you know, the fact that it has some importance.
MGS: I’m actually going to make it an extra credit assignment for my students.
BD: Great, great, great.
MGS: You’ve always believed that movies should educate, right? Because your first real film as a director was The Killing Floor (about Chicago’s labor wars) from 1984.
BD: Yes. That is one of my favorite films of all time that I made, The Killing Floor.
MGS: Mine too. I think that is one of the all-time great Chicago movies.
BD: Thank you so much. I really love that movie. The great Moses Gunn was in that. I love Moses Gunn.
MGS: As “Heavy,” right?
BD: (laughs) Yes!
MGS: Why is that not available on DVD?
BD: I’m not sure, you know. It was a PBS-sponsored film. I’m not quite sure why they never made a DVD of it. I would love to know the answer to that question.
MGS: So PBS owns the rights to it?
MGS: So people should petition them then if they want a DVD release. The way you recreated Chicago from 1917 to 1919 was absolutely incredible.
BD: Thank you very much. We really enjoyed it. And we enjoyed being in Chicago in that time too ’cause Harold Washington (Chicago’s first black mayor) was elected the first week that we were there. Yes — political history.
MGS: I’m sure that felt auspicious for your film.
BD: Incredible, man. Incredible.
Damien Leake in The Killing Floor
MGS: I also wanted to ask you about Deep Cover. That’s a film I show in my Film History classes . . .
BD: Oh, really? Thank you for that.
MGS: Yeah, I show it to illustrate neo-noir. Are you a fan of the old films noir of the 40s and 50s?
BD: Yes, I am. Always have been. Always have.
MGS: And were you consciously trying to update the conventions for the 90s?
BD: Yes, exactly. That’s exactly right, yes. I studied it and wanted to see how I could leverage it in some way and it was really a great experience for me. It really was.
MGS: I think the chemistry between Laurence Fishburne and Jeff Goldblum was phenomenal in that film.
BD: I agree a thousand percent. I thought they did a great job, man. They really did. Great acting.
MGS: It seems like a lot of their dialogue was improvised. Was that the case?
BD: Um, it was based on the text but, you know, I let them kind of freestyle too ’cause they were feeling each other. So I let them do what they wanted to do. We had a great writer too. Henry Bean was a great writer.
MGS: It seems like you’re working more in television these days and it seems like a lot of ambitious filmmakers think that television is the best venue for serious films. Would you agree with that?
BD: Well, I created a documentary company (Duke Media) that makes what I call “edutainment”: you can entertain people but also you can deal with social issues. And so I have a documentary company. Dark Girls is one (film), we’re bringing Yellow Gals next and What is a Man? after that. So it’s really interesting to use documentary filmmaking to make statements and also explore issues that impact our community.
MGS: What were those next two films you just named?
BD: Yellow Gals, which deals with what light-skinned women go through and then What is a Man?, which deals with manhood from the caves to the present day.
MGS: Well, I look forward to seeing them. Thank you so much, Bill.
BD: I appreciate it, man. Thank you for your support.
Laurence Fishburne (in his last performance credited as “Larry”) basking in the red/blue color scheme of the awesome neo-noir Deep Cover.
You can learn more about Dark Girls at the official website for the film: http://officialdarkgirlsmovie.com/