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The Interracial Romance As Primal Drama: Touch of Evil and Diamond Head

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The Interracial Romance As Primal Drama: Touch of Evil and Diamond Head The Interracial Romance as Primal Drama: Touch of Evil and Diamond Head • Alan Marcus Introduction In the late-1950s and early-1960s, a new genre of Hollywood films explored the theme of the interracial romance. This filmic idiom was a contemporaneous response to a turbulent and questioning period in race relations in America. With advances in civil rights and an increasingly enlightened and more liberal post-war American • Fig. 1: Charlton Heston and Janet Leigh in Touch of society, the option of interracial dating became a Evil (1958). topical issue. Though still largely taboo at the time between some racial groups, part of the allure of the idea of interracial romance may have so in an attempt to present its core theme – that been the way body colour operates as a marker of our primal instinct for survival. In turn, the for establishing genetic difference. As will be primal drama provides a model for analysing discussed, recent genetic research indicates that forms of human behaviour as perceived at the we use various signifiers to determine mate time of the film’s conception. Primal narratives selection, difference being one of them. In are necessarily reductive to permit the viewer to 1950s–60s America, though, there were social confront issues of survival, sexuality, self-sufficiency, strictures on selecting a mate from another exotic natural environments, and both the appeal ethnic group, particularly between whites and and the threat of the Other. In Touch of Evil, Afro-Americans. Charlton Heston's character (Ramon Miguel ‘Mike’ In this article, I examine the way the new Vargas) is the Other and serves as the object of Hollywood interracial romance operated within racist taunts (Figure 1), whereas in Diamond a broader genre I have referred to elsewhere as Head Heston plays the role of a bigot (Richard ‘primal drama’, and consider its historical context ‘King’ Howland). At a time in America when race and audience appeal.1 The two principal case relations were undergoing a public upheaval, studies used to investigate this theme are Touch studios and filmmakers who wanted to capitalise of Evil (1958), directed for Universal Pictures by on such topics did so in ways that were palatable Orson Wells, and Diamond Head (1963), directed to censors and commercially viable with potential for Columbia Pictures by Guy Green. Both films audiences. As a genre, the interracial romance feature Charlton Heston, one of the leading box had its own benefits for tackling issues associated office actors, who was interviewed in preparation with race relations, allowing the filmmaker to for this article, and whose star persona is a make certain moral and ethical points that in any dominant feature in reappraising the films’ import.2 other genre might be less effective. The genre I term ‘primal drama’ often features Touch of Evil and Diamond Head make for representations of the Other as its subject. It does an intriguing comparison. The former was not Film Studies • Issue 11 • Winter 2007 • 14 Interracial Romance as Primal Drama in Touch of Evil and Diamond Head • particularly successful upon its release, but has culminating in Martin Luther King, Jr.’s ‘I have a come to be lionized as one of the great films dream’ speech. The year 1963 also saw a number in cinema history. Diamond Head, by contrast, of violent acts by opponents to civil rights, was a mainstream studio picture that was including the death of activist Medgar Evers, and commercially popular, but which has the bombing of the 16th Street Baptist Church in subsequently slipped from view and about which Birmingham, Alabama by Ku Klux Klan members little has been written critically. The industry trade that resulted in the deaths of four black magazine, Variety, did not think highly of the film schoolgirls – Addie Mae Collins, Denise McNair, when it was released, announcing that ‘beneath Carole Robertson and Cynthia Wesley. The this alluring veneer lurks a contrived and banal following year, three Freedom Riders, Michael melodrama of bigotry and bloodlines in modern, Schwerner, James Chaney and Andrew Goodman heterogeneous Hawaii’.3 Both films were were murdered, shortly before the Civil Rights Act adaptations from novels: Touch of Evil from of 1964 outlawed discrimination in voting, public Badge of Evil (1956) by Robert Wade and William accommodations and employment. Miller who together used the penname Whit Marriage between blacks and whites was Masterson, and Diamond Head from a book by not completely unknown prior to the 1960s, the same title written by Peter Gilman and in fact in the 1870s in Fort Mill, South Carolina, published in 1960.4 Quickly brought to the for example, there were 33 mixed race marriages, screen, the novels presented interracial issues in 29 of which the woman was white.6 In the that were transfigured in key ways when adapted main, though, such liaisons were strongly for the cinema. Previously, Hollywood’s discouraged and couples could be ostracized, censorship code specifically disallowed films that killed or punished under the law. Black men featured acts of miscegenation.5 The word who were accused of raping white women ‘miscegenation’, derived from the Latin miscere were severely dealt with, as in the case of Jesse (to mix) and genus (race), became enshrined in Washington, a 17-yeard old retarded farmhand a series of state statutes throughout the U.S. who was castrated, mutilated, burned alive and outlawing interracial liaisons. lynched by a cheering mob. Both the mayor and the chief of police joined in the lynching, which took place in Waco, Texas in 1916. Historical Backdrop to the Interracial Lynching became a primary tool for terrorising Romance the black community and deterring intimate In addition to featuring the same star and themes relations between the races, particularly if of racial prejudice and interracial romance, the initiated by black men. Genital mutilation was two films provide neat historical bookends with a common component of a lynching event, their release dates of 1958 and 1963. With the including cutting off the victim’s penis and rise of the civil rights movement in America and stuffing it in his mouth. Through the 1930s, its violent backlash, racial issues were at the ‘lynching postcards’ retained their popularity, forefront of the domestic political scene, marked often featuring the amused perpetrators. by events that included the arrest in 1955 of Rosa Of the 4,733 persons lynched between 1882 Parks for violating city bus segregation laws, and and 1959, 85% were in southern States, with the lynching that same year of 14-year-old events sometimes serving as a form of family Chicagoan Emmett Till for flirting with a white entertainment attended by large crowds in the shop girl in Money, Mississippi. There followed hundreds or thousands. Over 200 bills were the Little Rock Nine’s attempts to enter high submitted to the U.S. Congress to make lynching school aided by National Guard troops in 1957, a federal crime, but all were defeated, and it was the 1960 Greensboro, North Carolina not until June 2005 that the United States Senate Woolworths’ lunch counter sit-in, and the August formally apologized for its inability to enact a 1963 Civil Rights march on Washington, federal anti-lynching law. Film Studies • Issue 11 • Winter 2007 • 15 • Interracial Romance as Primal Drama in Touch of Evil and Diamond Head Interest in the taboo and unjust restrictions that the U.S. Supreme Court declared Virginia’s regarding sexual relations between blacks and anti-miscegenation statute unconstitutional in whites became the subject of the romance novel, the case Loving v. Virginia, thereby ending all Strange Fruit, published by the southern writer legal restriction to marriage based on race in the Lillian Smith in 1944. It generated substantial United States. Classic films that explored themes national interest and controversy, selling 550,000 of racism and integration, such as In the Heat of copies by May 1945. The story, which was based the Night and the landmark Guess Who’s on a song by Billie Holliday about a lynching, Coming to Dinner, both of which starred Sidney revolves around a white man, Tracy Dean, and his Poitier, were not released until 1967. While these love for a black woman, Nonnie Anderson, set in films dealt specifically with white versus black 1920s Maxwell, Georgia. In most southern states, social issues, Touch of Evil and Diamond Head miscegenation laws were passed making it illegal can be seen as early forerunners of the genre. for members of different races to marry. In a In fact, the same year that Diamond Head was 1955 decision of the Supreme Court of Appeals released, Poitier won the Academy Award for of Virginia, a ringing endorsement for the Best Actor for his role in Lilies of the Field in doctrine of White supremacy concluded that the 1963. Although often confirming racial State’s legitimate purposes were ‘to preserve stereotypes, films of this period were also the racial integrity of its citizens’ and to prevent developing black characters in more nuanced ‘the corruption of blood’ of ‘a mongrel breed of ways.10 The previous year, Gregory Peck won the citizens’, and ‘the obliteration of racial pride’.7 Best Actor Academy Award for his performance In June 1958, two residents of Virginia, Mildred in another film on racial prejudice in To Kill a Jeter, a black woman, and Richard Loving, a Mockingbird (1962). Given the sensitivity of the white man, were married in the District of time, it is significant that Touch of Evil and Columbia. Shortly after their wedding the Lovings Diamond Head highlighted issues germane to returned to Virginia and established their marital contemporary black/white relations by setting abode in Caroline County.
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