Word: musee
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...CLARENCE MUSE...
...Take the four most piquant black actress of the pre-Dandridge era - Nina Mae McKinney, Fredi Washington, Josephine Baker and Lena Horne - and add up their film credits: 55, according to the IMDb. Muse amassed at least 140 movie acting credits (18 in 1932 alone) in a film career than spanned a half century, from a starring role in the 1929 "Hearts of Dixie" to a supporting part in "The Black Stallion" in 1979. (He died that year, one day short of his 90th birthday...
...sturdily built man whose demeanor signaled earned wisdom and a sensible pride, Muse was resourceful and adaptable enough to find work and make it work for him. He acted on TV, playing Sam in the 50s TV series "Casablanca." He wrote scripts for two films: the 1939 musical "Way Down South," a collaboration with Langston Hughes (the only movie work the poet-playwright-essayist did), and, the following year, "Broken Strings," a sweet-tempered indie drama in which Muse starred. An impressive resume. Just as impressive is that he achieved this screen familiarity without bending overmuch to the meanest stereotypes...
...Muse played his share of chauffeurs, Pullman porters, janitors, butlers, waiters and shoeshine men - but that speaks to Hollywood's limitations, not his. If the actor were to have appeared in roles closer to his own experience, he might have played lawyers (he had a degree in International Law), composers (he co-wrote the hit "When It's Sleepy Time Down South" and helped score six movies), theater people (he starred in Dubose Heyward's "Porgy," and directed plays for the Federal Theatre Project) and community leaders (he was an executive of the Hollywood Victory Committee during World...
...writer, he partnered with Charles Brackett for 15 films over a dozen years (1938-50) and with I.A.L. Diamond for 12 films over a quarter-century (1957-81). He stayed married to the same woman for more than a half-century. He remained true as well to his mordant muse, both when his movies were acclaimed hits and later, when they tanked at the box office. Fashions changed; he didn't. A Wilder script was always recognizable by its adamantine dazzle, whether in 1931 Berlin (Emil and the Detectives) or 1981 Los Angeles (Buddy Buddy...