On Self-Made, (not really) the Madam CJ Walker Story

In the earliest  scenes of Self-Made, we watch a pre-millions Sarah Breedlove suffer a health crisis that causes her hair to fall out, endure abuse and abandonment by the man she loves, and face insult and rejection from a light-skin for her “slave features”. As someone who’s experienced all three circumstances at different times along my journey, Self-Made had me hooked right away. Each of these traumas send her down into spirals of depression that would ultimately catapult her to astounding success. Like probably every self-made Black woman millionaire ever, she turned her pain into her profit.

As someone on my own self-made journey, and who fully intends to leave an empire to my daughter, this depiction of an audacious, headstrong, fearless woman founder meant the world to me. Had I been exposed to such images of Black women founders growing up, my long and windy road to entrepreneurship may have been a bit shorter. This is why it was so important for me to watch it with my eleven-year-old mini-me.

Prior to this film, I knew very little of Madam CJ Walker’s story. As a historical Black woman, it’s no surprise her story wasn’t taught in American history classes, nor that it is often glossed over during Black History Month. All I knew was that she was the woman who made it easier for Black women to straighten their hair with chemicals–a detail that was conspicuously missing from the film. Even though Netflix calls this a limited series, it felt like a film to me–I watched it almost straight through–and I’m calling it that.

It’s important to note that this project is not a true biopic. The film is heavily fictionalized, and in such a way that it reinforced many tropes. I link to historical articles at the end of this piece to which you can refer for the more accurate histories. But I’d like to analyze the project as a fictional work of art.

Lelia

I loved Tiffany Haddish in this film. I see the controversy about her as a casting choice as quite valid, but I still enjoyed watching her in a role that wasn’t slapstick. That was classy and honest. I think she did all right. Perhaps a deeper emotional connection with the character would have helped us forget that we were watching Tiffany Haddish and fall deeply into a character who had the most compelling journey throughout the film. Stuck in a marriage to a questionable character, limited by her mother’s hopes for her, beloved and adored thoroughly and gently by another woman, finally choosing to uphold her dying mother’s legacy, Lelia was far more relatable than Sarah Breedlove for me.

Sarah

This depiction of Madam CJ Walker did not make her likeable as a character. Her triumphs were inspiring and her business philosophy mostly aspirational, but this portrayal had her lacking the compassion that I believe is necessary to win at life. I’m still wondering why the film glossed over her stealing of Addie Munroe’s recipe. If indeed she transformed the recipe, can it be called stealing? If she built an empire on such a secret, wasn’t that worthy of further exploration in the film? Also, where was her soft side? This depiction certainly reinforced the strong Black woman who can do it all by myself trope. She always knew better than everybody else and had no patience for anything. Not aspirational.

CJ

Disclaimer: I’m old school. I like having doors opened for me and men carrying my bags and changing my tires and I always will. I’m a woman. I give life, I carry babies, so I’m not interested in carrying much else more than that I delight in.

In the beginning, I saw Sarah’s relationship with CJ as couple-goals. A man wholeheartedly throwing his weight behind his woman’s dream? It wasn’t explicitly shown, but I assumed he invested in the business, and the affection and adoration were beautiful to see. However, I did keep waiting to see him build his own separate empire. The trajectory of his emasculation was  a bit predictable, but it was believably portrayed. And of course he has to cheat on her with her light-skinned employee. Insert eye-roll here.

Unforgettable Quotes

“Never get your money where you get your honey.”

Cleophus, CJ’s father advising him to carve his own path. 

“It’s my duty to make money and to use it for the benefit of my neighbors.”

Sarah’s business philosophy.

“Take one more step and I’ll blow the black off you.”

Sarah’s threat to her attempted rapist.

“Female enterprise is good for us all.”

Sarah’s–and this film’s–most important message.

Wrap-Up

Overall, I loved the visuals, the mommy-daughter love, the period details, the wigs (except for that horror they put on Octavia Spencer’s head to imagine what hair loss might look like), the dance numbers. But this film should not have been promoted as Madam CJ Walker’s life story due to the countless inaccuracies. It’s greatest value is in anchoring us in the golden era of Black women’s entrepreneurship, just over a century after two of the world’s greatest Black women founders, Madam CJ Walker and Annie Malone, paved the way for millions of Black women to build their own empires.

It’s our time, Black woman founder. This film is a timely reinforcement of this glorious truth, and I’m calling on all Black men, and everyone else, to invest in us with reckless abandon. Like the fictional and the real Sarah Breedlove, when given the right resources, we always find a way to win.

If you’ve seen the film and have thoughts on it, please rate it here.

Great Twitter Threads on Self-Made


Historical Articles

Madam CJ Walker: Her Crusade (Henry Louis Gates Jr., 1998)

Madam CJ Sarah Breedlove Walker: US’s First Black Female Millionaire (Jennifer Latson, 2014) 

Who Is Madam CJ Walker? – The True Story Behind Netflix’s ‘Self Made’ (Emma Dibdin, 2020)
Did Self-Made Base Madam C.J. Walker’s Rival, Addie Monroe, on Annie Malone? (Chloe Foussianes, 2020)

FeaturedOur Top Five #BlackonNetflix – Shows and films for you to watch this weekend!

I guess the Netflix algorithm has figured out that I only really watch high-quality Black content with aspirational characters that make me feel good and hopeful about the Black world. Every time I log on lately, there seems to be some new content that fits my criteria so I’m eager to share with those who have similar taste to mine, or are looking for better Black content on Netflix.

The below are new in the US, but some may be streaming in the UK and parts of Africa as well.

My favorite high-quality, aspirational Black shows and films on Netflix for this week are:

1. Siempre Bruja (Always a Witch)

Everybody knows I loved season 1 of this show, it was such an adventure! Just seeing a breathtakingly beautiful Black Colombiana sold it for me. But then she was intelligent and honest, with some of the same superpowers I’m trying to master? Slam dunk. I get what people are saying about her romance with her owner, but for me, her character is worth watching in spite of that. I don’t pay that white boy no mind.

If you’re a sucker for stunning chocolate heroines with superpowers, Siempre Bruja will certainly leave you thirsting for more. Watch it with me this weekend then tell me what you think in the comments.

No embeddable trailer, so see it here.

2. Queen Sono

Black woman kicking ass all over town? I’m with it. The trailer is fire! Here’s the boilerplate description from Google: “A highly trained South African spy takes on her most dangerous mission yet while facing changing relationships in her personal life.”

Watch Trailer:

3. They’ve Gotta Have Us

A three-part series on the history of Black cinema. Very eye-opening as it highlights great films that most of us would never have heard of, details the many behind the scenes movements that got us to our current Black film renaissance. Robert Townsend and Harry Belafonte made the series for me, but all the subjects gave us so much wisdom and energy.

Watch Trailer:

4. Love Jacked

Corny but cute, a lighthearted Saturday-afternoon watch that you can re-watch any time you want to forget about your problems and holler laughing. Read my review here.

Watch Trailer:

5. Kasala

Kasala is a dope Lagos-based comedy; we screened at Yale back in 2018. I couldn’t confirm which countries it’s streaming in other than Nigeria and South Africa. Tag Netflix if it doesn’t show up for you and you’d like to see it in your country.

Watch Trailer:

Been on Netflix:

She Did That, the landmark documentary on Black women entrepreneurs, is a recent add from earlier this month. It’s still on Netflix, so watch it if you haven’t. Hell watch it again if you have, it’s worth a rewatch! Trailer here.

Also, in case you missed it, Netflix has also picked up Coming to America, Bad Boys, Rush Hour II and the Pursuit of Happyness.

Not a Black show, but definitely Black-adjacent and a seemingly fun watch, Gentefied.

We’d love to better track Black content on Netflix, so please post and hashtag #BlackonNetflix if you see high quality content that you think more of our people need to see. Netflix cancels shows based on viewership, so it’s super important that we support the content we love. As a general rule, make noise about any Black products you love.

If you’ve watched any of the content in this post, please let us know what you think in the comments. If not, go watch them this weekend and come back and tell us here. You can also chat with us on IG.

One love.

Love Jacked Film Review

First of all I have to say that I loved the movie. Yes the premise was a joke, but Shamier Anderson kept me hollering and kept my eyes glued to the screen. I’m still trying to remember when last we had such eye candy and charisma on screen from a brother. The line in which one of Maya’s relatives refers to him as a “young Denzel Washington” was incredibly apt. I know that given the chance to shine with rich, textured roles, Shamier could definitely give Denzel a run for his money.

Contrary to some other reviewers, I did feel the chemistry between Anderson and Amber Stevens West, who plays Maya. It was easy to root for them. The casting was expertly done and I love to see the behind-the-camera collaborations between Canadian, American and African filmmakers. Love Jacked is not a landmark film that changes us, but it is a special little treasure to return to for a good laugh and a feel-good Saturday afternoon.

I’d love to see more films like this but with a richer context. One thing that was missing for me was an authentic African character who could inject some indigenous knowledge into the film. If Uncle Rufus had been someone who’d actually spent time in Africa, and who could be regarded as an “expert” on at least one African culture, or if Malcolm had simply spent some time on YouTube learning Yoruba, these details could have taken the story from a lighthearted, low-depth knee-banger to a much more valuable classic. The continual references to Africa as if the continent of 2 billion people is a country were grating–especially knowing that the director Alfons Adesuyi is Yoruba. But I get that in the context of Maya’s family, African Americans who are not familiar with nor have they been to any African countries, it was accurate perception..

If you haven’t seen it yet, and you’re anti-spoilers, then watch the trailer below then go watch it on Netflix. Everything below the trailer is spoiler territory.

Trailer

More critique and major SPOILERS:

The writing could certainly have benefited from more depth. If Maya had called off the wedding to her South African millionaire for reasons other than just the usual infidelity (tired trope), we could’ve learned much more about their characters. I really thought the father, who seemed to be suspicious of everything all along, would out them. This could’ve been done in a loving way since the fake “Mtumbie” was growing on him. Something like “I know you’re not a real African, but I’d still love to have you as my son-in-law.” Then helping him get the girl for real. Maya’s family chemistry really worked for me, which is why I would’ve loved to see them regarded more intelligently than they were. Everybody knows Black folks be extra suspicious and love to call out a fake. Even if they were desperate for their daughter to get married, they could’ve shown a little more discernment.

There was definitely some of the usual lightskinned shenanigans–a Chocolate Sister could never get away with that big ole lie bullshit. Don’t come for me, lightskinneds, y’all know I love you. But truly I did love Stevens West’s acting. The scene in which she changed up and told her dad that Mtumbie was indeed coming was the one scene that I felt was unconvincing, but otherwise she did a stellar job. Their characters’ lack of chemistry–as two people who truly didn’t know each other and who weren’t comfortable with each other–was so obvious that I thought someone in her family, if not everyone, would call it. Naomi almost did, but as the most deplorable character, her challenging the validity of their relationship wouldn’t have likely gone very far.

The ending was messy, but the final scene was my favorite, them taking Maya’s entire family to South Africa (we assume since it wasn’t stated) for their honeymoon. Definitely reinforces some traditional African values and drives home some of the most powerful underlying messages from this film–look out for each other and stay rooted at home 😉

Black Glory 2019 Highlights

Black Glory 2019

NOIR FEST partnered with the Yale Africa Film Fest (YAFF) to bring Black Glory to New Haven in November 2019. NOIR FEST is a Yale-grown film-tech startup, and the Council of African Studies (CAS) and Yale Graduate and Professional Students (YAGPS) played an integral part in the formative experiences of the NOIR FEST Founder Lolade Siyonbola, since she co-founded the latter with friends who went on to become part of the core startup team.

Black Glory: Once Upon a Future is an Afrofuturist exhibit featuring original works by digital artists at the forefront of an artistic movement which has been likened to Cubism. The collective images exude Black power, Black joy, Black strength, depth and beauty. Through experimental collages, bold colors, and the use of sharp shapes and contrasts, artists evoke the memory of ancient African civilizations and summon a future in which African innovation and glory are known ubiquitously. The exhibit curated works by Rickii Ly, Shakquan McAllister, Nat Girsberger, Brittany Harris, Camila Pinheiro, Kokab Zohoori-Dossa and Emmanuel Karangwa.

Guests were welcomed with a reception with African food and had the opportunity to mingle and enjoy the Digital Art Exhibit. Thereafter, Lolade Siyonbola provided an energetic intro to NOIR FEST an organization she has dreamed of for several years. NOIR FEST is all about celebration, community and conversation. And received an outstanding response from the public, from a standing-only room with nearly 100 people.

The second part of this exhilitaring event included screenings and Q&A of three rich films. To Be Free was presented first, a 12 min film by Adepero Oduye, a Nigerian-American actress, director, singer, and writer. Guests enjoyed a heartfelt conversation with Oduye from afar, since she was travelling while filming upcoming projects. Peau de Chagrin/Blue de Nuit was the second short of the evening, a 10 min film by Baloji is a visual artist in motion, a film and art director, a musician, poet, a man of images and ideas with roots in Congo and Belgium. The Q&A included comments on the choices for colors, one of the most striking traits of this piece. White Colour Black closed the evening, followed by a Q&A with Joseph a. Adesunloye is a British-Nigerian filmmaker with laughter, the tensions of homecoming and the deliberate decision to display explicit scenes in the film.

This was just the inaugural presentation of Black Glory. The Digital Art Exhibit along with the films will come to more locations in the United States and beyond. We are excited to bring this energy and dialogue to other places and connect to the diversity that constitutes the global black diaspora. Stay tuned for more details on where Black Glory is going next.

We look forward to seeing you there!