In 2002, Halle Berry made history as the first and only Black woman to win the Academy Award for best actress, an achievement that remains singular in the Oscars’ nearly century-long history. Berry’s recent reflections in the Apple TV+ documentary “Number One on the Call Sheet” reveal a complex mix of pride and questioning, as she considers whether her landmark win has truly paved the way for more Black actresses.
Reflecting on the Oscar Legacy
Berry’s candid inquiry into the impact of her Oscar victory comes from observing a persistent pattern: since her 2002 win for her performance in “Monster’s Ball,” no other Black actress has taken home the prestigious award. Berry openly questions whether her win has indeed sparked broader change within Hollywood and for women of color. In the documentary, scenes depict Black actresses consistently passed over in favor of their white counterparts in subsequent Oscar ceremonies, highlighting an industry dilemma.
The Wider Industry Context
The documentary notes that fifteen Black actresses have been nominated for best actress over the years, with Cynthia Erivo being the latest example, having been nominated twice. Most recently, Erivo was recognized for her role in “Wicked” but lost the award to Mikey Madison. Fellow actresses Taraji P. Henson and Whoopi Goldberg voice similar frustrations in the documentary, underscoring the challenge many Black actresses face in seeking recognition in leading roles.
Voices of Concern
Berry recounts a poignant moment she shared with other talented Black actresses, highlighting that in 2021, both Andra Day and Viola Davis were competing for the best actress Oscar for remarkable performances in “The United States vs. Billie Holiday” and “Ma Rainey’s Black Bottom,” respectively. Berry was confident that one of them would win the award that year, only for Frances McDormand to take home her third Oscar for “Nomadland.” The outcome epitomizes a trend that Berry argues points to systemic issues within the Oscars.
Industry Critiques
Berry openly criticizes the entertainment industry’s structure, which she believes is not designed to acknowledge the brilliance of Black actresses in leading roles. She challenges the emphasis on awards, suggesting that the true value of art lies in its ability to touch lives, not merely to win accolades. This perspective is echoed by Goldberg and Henson, who express disbelief over the lack of recognition for Black talent at top awards levels.
The Path Forward
Henson posits that Black actresses often receive supporting roles as a result of industry bias, resulting in more victories for supporting actress awards than leading ones. This imbalance raises questions about the narratives that Hollywood values and perpetuates. Finally, the documentary invites a broader conversation on equity and representation in the film industry, urging for systemic change that goes beyond the allure of an Oscar.
