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“I see the beauty now,” my mother told me when I asked her what she thought of Cicely Tyson’s face, about a week after the pathbreaking actor died in January at ninety-six. “But I didn’t then.” By “then,” she meant the decade and a half in the middle of the twentieth century, when Tyson won role after role in well-financed productions in the Hollywood system and made-for-TV films broadcast on the networks. Those were the years people learned her name. In Tyson’s earliest roles starting with 1956’s
Carib Gold, in which she was part of an ensemble that included Diana Sands and Ethel Waters she’d made uncredited appearances, customary for actors who were not yet in the union. Tyson was in her early thirties when she began acting, yet she’d place her age behind by a decade at her agent’s request. It was a plausible lie because Tyson kept a youthful glow, with taut, espresso-brown skin that had rosy undertones, round black eyes that pierced and trembled, an eru
HollywoodCaliforniaUnited-statesIrene-caraNathan-paul-winfieldTyson-rebeccaRoberta-flackDonald-bogleWesley-snipesEthel-watersDonny-hathawayBilly-dee-williams(Mario Anzuoni/Reuters) Her new fans use race to deny her artistry and exceptionalism.
The late Cicely Tyson is getting the Chadwick Boseman treatment. Mainstream media bow to her memory with overstated obits and one piddling night of two films on Turner Classic Movies. All this, pretending to respect the artistry of her 60-year-plus career, simply in order to make Tyson an exemplar of Black Lives Matter significance.
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Dark, lovely, and clearly intelligent, Tyson was certainly an extraordinary figure during the late 20th century, but like other black American performers who personified the social advances of that time, her reach into the millennium saw her achievements used as political fodder by media, politicians, and a new generation that was unaware of the qualities that defined Tyson’s exceptionalism. Tyson’s ageless beauty (she was nearly 50 when she made her breakthrough in
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