When you see Whoopi Goldberg in close-up, a loving close-up, you look at this woman, you know that in American films in the past, in the 1930s, 1940s, she would have played a maid. Suddenly, the camera is focusing on her and we say I've seen this woman some place, I know her."It appears to me that one of the problems most of the film's reviewers have in trying to analyze the film, with all of its faults, is to make sense of the overwhelming positive response from Black female viewers.
When Bogle talks about viewers' schizophrenic reaction, he is also pointing to the confusion felt by critics and scholars.
Two women in the audience stood firm in their approval of the film.
Tony Brown tried to badger them into backing down and Geiggar continually interrupted them, but in the end they got out what they wanted to say.
Yet, on the other hand, and this is the basis of the appeal of that film for so many people, is that the women you see in the movie, you have never seen Black women like this put on the screen before.
I'm not talking about what happens to them in the film, I'm talking about the visual statement itself.
At one point in the show, White, who liked the film, had to interrupt Geiggar's denunciation of Black people for being so "ignorant" of their own history that they accepted the film's historical inaccuracies.
White pointed out that there were no women on the panel. It is more about the oppression of Black women than about Black people."Several women in the audience did not like the film.
I don't think it's a valid criticism of THE COLOR PURPLE that it doesn't speak to the life of the ordinary and average Black family.
Art is not meant to do that.", March 18, 1986, Michele Wallace was less charitable to the film.