Stepin Fetchit: The Life and Times of Lincoln Perry

Before reading this book, I had read a lot of mean things about this character. Whenever folks wanted to put someone down, they would call them "step and fetch it." However, after reading about Mr. Lincoln, it is evident that he is a very smart and talented man. He played into racial stereotypes. He embodied Brer Rabbit, the trickster, in African American folktale. This character is also known in African/Ghanaian folklore as Anase the spider. He out foxed the fox. His dimwitted portrayal was simply him playing in the Brer Rabbit tradition. I surely now have more respect for the character and the genius of the man. Of course, the Black elite crown was up in a roar and despised the man. However, he was loved by the masses, who knew that he was purposely portraying a dimwitted character. They could laugh it him because each day of their lives they had to "wear the mask." They knew exactly what he was doing. It was about survival in a hostile and violent society. The sad thing is that Mr. Perry did not consider the future. He wasted his wealth and ended up a pauper. Well I guess he had fun while it lasted. This is a lesson. When the getting is good, you better save some for later.

Lincoln Perry, the man the world came to know as Stepin Fetchit, was a complex man. After reading this book, I realize I have childhood memories of seeing Fetchit in films on television. I also remember some of his imitators. Mel Watkins brought to mind cartoons like "Who Killed Cock Robin?" where a Stepin Fetchit type character was being beaten by the police. I asked my sister to quote our deceased mother using the title of this book. She said, "Stop acting like Stepin Fetchit." That made us laugh. But I also remember being taught by my elders who were the great grandchildren of ex-slaves, the subtle form of "playing dumb" to avoid being oppressed by the oppressor. Unfortunately, when "the oppressor" saw Stepin Fetchit movies, he didn't get the joke because it was at his expense. Therefore, forward thinking black people had to cringe watching some of movies movies in mixed company because they knew that this comedians "act" was being accepted as typical black man behavior. Mel Watkins did a fantastic job of explaining Lincoln Perry and the time in which he lived.

This book was well researched, and provides an entertaining and enlightening insight into an era that could not exist since the civil rights movement of the 60's. It speaks to social justice and inclusion, bias and the ability to transcend existing norms to earn a living at a time when, for black America, second class citizenship and economic hardship were the norm. Mr. Watkins is the professor and we are his students.

A Fascinating Character" I'd heard the term "Stepin Fetchit," but I didn't know that there was a real person (Lincoln Perry) or movie star who used the name. So when a friend suggested I read this book I was leery. But after a few pages I was caught up in the times and in Perry's struggle to break into films and establish himself as a star. What surprised me most is that he was apparently an intelligent, gifted performer who was nothing like our picture of the "Uncle Tom" that the name is associated with. Who knew that Perry wrote for the Chicago Defender, fought for higher pay and better roles for black actors, hung out with the heavyweight champ Jack Johnson as well as Muhammad Ali, and, for years, lived such a lavish life in Hollywood. Watkins gives us a rich, detailed account of this complex, talented black comic actor. And when one reads about the racial restrictions and circumstances of black actors in the 1920s and 30s, the reasons for his being cast in the cartoonish movie roles he played become clear. He was a man before his time. I finished the book thinking that Perry, with his ambition and outrageous knack for publicity and self-promotion, could have been a star today. It seems that Perry had more flair and attitude than many of today's biggest stars. This is an entertaining, eye-opening book - a great read. I recommend it for anyone interested in entertainment history or the bumpy road that black actors had to travel to become accepted in Hollywood, and for everyone who wants to be introduced to one of the most fascinating characters I've ever read about. Lincoln Perry's achievements need to be reevaluated and "Stepin Fetchit" definitely deserves * * * * * Five Stars.

Chances are you don't know who Lincoln Perry is, and chances are you do know who Stepin Fetchit is, even though you may never have seen any of Fetchit's movies. Fetchit was Perry's stage persona, famous for playing the "shiftless darky," the slow-talking, drowsy shuffler that was the comic bane of his white masters. Perry was as full of contradictions as the character he portrayed, and both get a full biography in _Stepin Fetchit: The Life & Times of Lincoln Perry_ (Pantheon) by Mel Watkins. Watkins has previously written a history of African American comedy, and so is well acquainted with Fetchit, his fellow performers, and the social changes of the twentieth century that led to the changes in feeling about Fetchit's screen character. This biography is not just about the man and character, but about a particular aspect of twentieth century American race relations. Perry was born in 1902 in Key West, Florida, and followed his father into performing, working tent shows, carnivals, and eventually vaudeville. Movies were not a career that black performers considered at the time, because if depicted, blacks were played by whites in blackface. Perry may have taken a job as a porter at MGM, and in 1927 he acted in _In Old Kentucky_, his first film appearance, one which got him some critical notice. Perry did not invent Fetchit's "torpid physical presence and halting, meandering speech," but he performed the role with meticulous attention and timing. When onstage before an audience, a key part of his act (it sounds like the sort of transformation for which Andy Kaufman was famous) was to come meandering out, looking lost and confused, and start a whining, incoherent monologue. He would then suddenly burst into a spirited dance that showed that the sloth and stupidity were nothing but pretense. Watkins makes the point that on the screen, there was no such transformation; Perry's sluggard, always performed with skillful languor, was the only role he got to play. He became the first true black movie star, and one of the first to have a studio contract. Like so many actors of his time, he spent lavishly and foolishly. Throughout his movie career, he would irritate studio executives so much that he would get fired from a movie or from his contract, whereupon he would go back to the road for work on the stage. He was criticized by the civil rights movement in the 1940s, and was unemployable because of it, although he could have made a comeback in drama in the sixties. He died in a home for Hollywood actors in 1985. Watkins has provided a full picture of a complex man of real talent who used it in a timely way, a way that simply became unfashionable as times changed. Perry's aggressive demands to be treated (and paid) like white stars branded him a troublemaker. His fame opened doors for other black actors in less controversial roles, but his name stands for a now-regrettable image. This entertaining biography shows that there was more to