Belle: A Lesson In the Timelessness of Racism and Misogyny Against Black Women


It’s not often that audiences are exposed to a portrayal of racism that is viewed through the lens of black women. Dido Elizabeth Belle, a mixed-race woman in 1700’s England, was the daughter of an admiral and an enslaved African woman. The film Belle, which was released nationwide this weekend, follows Dido’s life in the household of William Murray, her great-uncle, who was the earl of Mansfield and Lord Chief Justice of England. We watch Dido become a lady, educated and accomplished, while still forced to dine separately from her family in the company of strangers due to her lower status as a non-white person. We witness her experiences with romance and her complicated friendship with her white cousin, all during the infamous Zong case.

In the film, Dido becomes acquainted with an aspiring lawyer and abolitionist who advocates against the Zong slavers and, in turn, exposes Dido to the realities of slavery and racism that she had previously been sheltered from in the household of Chief Justice Mansfield. Meanwhile, as she comes of age and her cousin is introduced to society, she becomes painfully aware of what her race means outside the home of her great-uncle, becoming conscious of the unique prison she finds herself trapped within as both a non-white person and a woman. Her cousin, Elizabeth, is white, but poor; she doesn’t have the inheritance that Dido is privileged with. But the two young women discover how complicated both racism, sexism, and classism have made the world: Elizabeth can eat with her family and be introduced to society without burden; yet without an inheritance, her options for marriage are extremely limited, and the gentleman that she would marry will not have her, as his own pockets are empty, requiring a hefty dowry. On the other hand, Dido can afford to not marry if she wishes, or marry who she pleases, given her inheritance. Money gives her some independence, yet it seems she will not be able to marry at all, given her status as a non-white person: “too high to dine with the servants,” she says at one point, “but too low to dine with my own family.”

The intricacies of marriage and money and dowries in the 1700’s were complicated and seemed far different than what we experience in our world today, but what I saw in Belle—juxtaposed with the ancient-seeming idea of black bodies as property, cargo that can be thrown overboard as if drowning were not drowning but a mere spoiling of goods—was a startling sameness. Dido Elizabeth Belle was born in 1761 and died in 1804, yet the experiences this film projects in its illustration of the past bear shocking resemblance to the challenges black women (and black people) currently face in the United States today.

Dido’ fetishization by the two Ashford brothers, for one. While one brother sees her simply as an exotic Other who he can bed without forming attachments—very different than the attitude toward white women of the same time period, whose virtue was unequivocal and untouchable—the other is downright violent in his conception of Dido, calling her “repulsive,” but still expressing a desire to rape her. The scenes in which that older, more violent Ashford brother addresses Dido directly, giving voice to his unbridled racism and at one point assaulting her, are indisputably disturbing. Disturbing not just because they represent a disgusting and brutal history of humanity, but because I see remnants of those attitudes today in the way the world perceives the bodies of black and brown women: exotic, sexual, sensual, different, objects. We see it in the way Miley Cyrus and almost any given white pop star (Justin Timberlake and Robin Thicke, for example) use black women’s bodies as props in music videos: something to be appropriated and used for one’s own pleasure, and then cast off in pursuit of the next trend. In addition, the rape of black women still does not seem to carry much horror in 2014: it was most recently the punchline on Saturday Night Live, and last year Russell Simmons was forced to apologize for his highly-offensive “Harriet Tubman Sex Tape.” None of this is too different from the way the Ashford brothers perceive Dido’s body: an exotic Other not worthy of love or respect; merely lust, and lust framed in a particularly problematic racism.

The younger Ashford brother adds another layer to Dido’s complicated experience as a black woman: one night while he and Dido are sitting away from the crowd on their own, he confesses to being “taken with her,” and compliments her beauty in a strange way. Her mother’s blackness, he says, is undoubtedly ugly, but Dido’s “better half” (that is, her white half) won out in her features, which is what makes her so beautiful.

Shocking, isn’t it, that someone as beautiful as Dido would be struck down for her black half, and regarded as more beautiful simply because her white features are more prominent? Not so shocking when you consider it in the context of our beauty standards today, in which a quick Google search for “beautiful woman” returns almost entirely white faces. In American culture, the black women who do manage to be considered beautiful by mainstream societal standards are almost always mixed-race or possess white features: slim noses, light skin, straight hair. While the occasional darker skinned woman does manage to catch the public’s attention from time to time, she faces fetishization as well: look at Lupita Nyong’o. The public’s rabid consumption of her image often seems almost surprised with itself for finding a dark skinned woman so attractive, a feeling compensated for with adoration that borders on frantic.

Belle also examines the relationship between white and non-white women. Dido’s cousin, Elizabeth, speaks unhappily about the role of women in the world, noting that “we [women] are but their [men’s] property.” Her statement is almost comical: while bemoaning her own state of disadvantage as a [white] woman, she entirely ignores the disadvantage of black women, who were quite literally property. Where Dido and Elizabeth’s relationship was once intimate and carefree, tension grows between them as they become more aware (in different ways) of the power dynamics between them. Elizabeth’s ignorance and apathy—as well as her own racism—become roadblocks in their relationship, something we see often today when it comes to white feminists’ denial of their (our) own privilege and unwillingness to acknowledge intersectionality. Elizabeth is something of a feminist in her consciousness of the prison women are forced to live within in a sexist society, but her obliviousness to the plight of black people—and black women—blinds her to the ways that Dido’s identity impacts her life. That blindness is never actually remedied in the film—at one point she attacks Dido verbally about her “lower status,” but bites her tongue before saying something blatantly racist—and nor is it always remedied in our time, as white feminists so often attack women of color on decidedly racial ground, all the while claiming to be non-racist.

There was another moment in the film that paralleled our times so decidedly that it took my breath away. Toward the end, when Mr. Davinier—the young abolitionist lawyer that Dido encounters—is speaking passionately about the racist laws that made the Zong massacre possible, he says:

“Laws that allow us to diminish the humanity of anybody are not laws. They are a framework for crime.”

Yes, they are, and this is our world, our country. We live in a country where:

  • African-Americans are 33% more likely to be detained awaiting felony trials than whites.
  • African-Americans are frequently (illegally) excluded from criminal jury service, according to a 2010 study released by the Equal Justice Initiative. For example in Houston County, Alabama, 8 out of 10 African-Americans qualified for jury service have been struck by prosecutors from serving on cases involving the death penalty.
  • The U.S. Sentencing Commission reported in March 2010 that in the federal system, black offenders receive sentences that are 10% longer than white offenders for the same crime.
  • The Sentencing Project reports African-Americans are 21% more likely to receive mandatory minimum sentences than white defendants and 20% more like to be sentenced to prison than white drug defendants.
  • In New York, the infamous stop-and-frisk program continues to racially profile black and brown New Yorkers, even in the face of data that undermines its purpose.
  • Stand Your Ground laws continue to indicate racial bias in favor of white criminals who use it in their defense, meanwhile Trayvon Martin, Renisha McBride, Jonathan Ferrell and so many others receive no justice.

The list goes on and on. Dido Elizabeth Belle was born in 1761. It is now 2014, and the film about her life gives me very little comfort in the progress we have made as humans. In Belle, the courts rule against the slavers on the Zong, and Mr. Davinier rejoices, stating that the decision will reverberate throughout the world and will change the future. But the Chief Justice, Dido’s great-uncle, tempers the young man’s happiness: “History will judge whether your optimism is warranted,” he says, knowing there is much work to be done.

He was right. There is. And one of the greatest mistakes we can make in doing that work is acknowledging the ways in which we’ve come so far, while ignoring the ways in which we have not. Belle provides a view of an incredible life, a story not often told. We need these stories. We must keep hearing them. Mr. Davinier says at one point that a country that ignores the suffering of some and not others is “a country for whom hope is lost.” Let’s not be that country. Let’s not be that world.

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9 thoughts on “Belle: A Lesson In the Timelessness of Racism and Misogyny Against Black Women

  1. Alison Loris says:

    To so many men, women are already “the Other” — primitive men felt awe and terror of women’s fertility cycle, and resentment of women for arousing those feelings (and judging by many Republican lawmakers, that set of emotions is not limited to primitive man).

    White men, as they explored outward from their lands, made people of color also “the Other” and attributed to them all the sensuality and connection with the natural world that they denied themselves.

    So women of color are the Other Other. Hatred mingled with lust, fear because despite everything white men do find black women beautiful and can almost never bear to admit it. White women are not immune to this queasy mixture of feelings in the face of black women — I don’t mean lust necessarily, though certainly that happens – but hatred and attraction, envy of their beauty and the fear of competition for men’s notice that is the ugliest of all the weapons men and self-hating women use to try to keep women in their “place.”

  2. America was built on backs of slaves and racism, why are we surprised that it hasn’t changed? Until White Americans apologise and share their wealth with African Amiricans we should expect no difference but in all fairness most of the world suffers a form of racism, yes even Black against whites where power and might permit. Darwins teaching of evolution’s survival of the fittest will keep that racism alive and well way beyond this generation. It will only take survival in the midst of equality to rear racism’s ugly head once more even once dormant in times of abundance ref. Germany in WW2

  3. katherinejlegry says:

    Racism and sexism hurts everyone including the perpetrators. To be denied friendships with men and women based on gender or color or race or whatever (no offense meant in my casualness) due to a shared (trained/nurtured/habituated/ingrained/violent)world history (there is indeed a collective psychosis albeit individually attended to… “all paths lead to the One” regardless of faith or lack there of) is to be denied a world of “real” privilege.
    Money is not “real” privilege. It’s the illusion of it. Money is the “oppressor” because we think it rules us. To rule is to “serve” not to “oppress”. That’s why Jesus gets a popular vote once in a while but his followers don’t.
    The south pole ice sheet has collapsed. Climate change is irreversible. Those facts are bigger than all of us.
    And for the girls who were taken captive in Nigeria, I do not care from a place of white privilege. I care from a place of being human and yes…being powerfully female. Frighteningly untraditionally unapologetically female. The privilege is being ALIVE.
    I appreciate your blog posts… thanks for allowing the forum.

  4. katherinejlegry says:

    I’m curious what you think of bell hooks comment about Beyonce being “anti-feminist” and a “terrorist”… and wondering if the panel discussion at the New School in new york that was live streamed is something you’ve already checked out. It’s expanding on the debate regarding gender and race to be sure… and depictions of black women as slaves, sexualized objects, etc. similarly to how you are discussing in your film review. I myself am a fan of bell hooks and not of Beyonce, but it’s a truly delicate conversation to be had.

  5. Reblogged this on crystalwilliamsbrown and commented:
    This post totally makes me want to go see the movie. I had been considering it but thinking it might be one of those “pat yourself on the back for making a black film to show you’re not racist” type of deals. I hate that term, “black film”. All films should have black people in them (if it makes sense) so what exactly is a “black film”? But I digress. In any case, if you haven’t read this article, I suggest you set aside a little time to do just that.

    Oh and random side note (considering the context), I past my written test and now have a learner’s permit. I can take the road test whenever I’m ready. Whoot-Whoot. I’m going on a road trip tomorrow, aka later today so I’ll get some good practice in. Wish me luck!

    Oh and let me know in the comments whether or not you’d go see Belle. And if you have seen it already, let me know what you think.

  6. So happy I’ve discovered your blog and I look forward to catching up on your posts! I am looking forward to Belle,I hope it will be a better watch than 12 Years A…, which I must confess I found utterly boring and added nothing to what I’d already seen, heard and read.Like you said, it will be interesting to have a woman’s take on that time…

  7. beebebluff says:

    Reblogged this on Cardigans//Cognac. and commented:
    must read

  8. Kushite Prince says:

    Boy I’ll tell you! Hollywood sure does love their slave epics don’t they? It’s like they don’t think black people existed in any other time

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