Classic and Contemporary Poetry: Explained

"Movies" by Langston Hughes presents a sharp and poignant critique of the experience of African Americans in the context of Hollywood films, particularly during the early to mid-20th century. Hughes, a leading figure of the Harlem Renaissance, often explored the complexities of black life in America, using his poetry to articulate the struggles, frustrations, and resilience of the African American community. This poem is no exception, as it succinctly captures the irony and pain of black audiences engaging with films that misrepresent or ridicule their identities.

The poem begins with a reference to several theaters in Harlem—"The Roosevelt, Renaissance, Gem, Alhambra"—which serve as more than mere settings; they represent cultural landmarks within a predominantly black neighborhood. These theaters were places where African Americans could experience the latest in entertainment, yet, as Hughes suggests, they also became sites where the community was subjected to the insidiousness of Hollywood's racial depictions. The mention of these specific theaters ties the poem to a particular cultural and geographic space, grounding its critique in the lived reality of Harlem residents.

Hughes then contrasts the laughter of Harlem—"laughing in all the wrong places"—with the "crocodile tears / of crocodile art." The phrase "crocodile tears" traditionally refers to insincere expressions of sorrow, and Hughes cleverly extends this metaphor to "crocodile art," suggesting that the films being shown are inauthentic, false representations of black life and emotions. The audience's laughter in "all the wrong places" can be interpreted as a form of resistance, an acknowledgment of the absurdity and untruths portrayed on screen. This laughter is not born out of amusement but out of a recognition of the disconnect between the Hollywood portrayal and the audience's reality.

The poem further delves into the inherent dishonesty of these films with the line, "that you know / in your heart / is crocodile." Here, Hughes speaks directly to the audience, acknowledging that they are aware of the falsehoods being fed to them. The repetition of "crocodile" emphasizes the artificiality and deceitfulness of the art in question. The audience knows that what they see is not a true reflection of their experiences, but rather a distorted image crafted by those who do not understand or respect their reality.

In the closing lines, Hughes shifts the perspective to his own response to this dynamic. He writes, "(Hollywood / laughs at me, / blackso / I laugh / back.)" This final stanza captures the essence of Hughes' critique: the understanding that Hollywood's portrayals are not only inaccurate but also mocking. The term "blackso" here is particularly striking, as it reflects a sense of identity that is central to the poem's critique. Hughes is acutely aware that the laughter of Hollywood is a derisive one, aimed at the very core of black identity. However, instead of succumbing to this mockery, Hughes advocates for a form of resistance—he laughs back. This act of defiance serves as a reclaiming of agency, a refusal to be diminished or defined by the distorted images on the screen.

The poem's structure, with its short lines and abrupt breaks, mirrors the fragmentation and dissonance experienced by the black audience. The disjointed form reflects the jarring experience of watching a narrative that does not align with one's own reality. The use of parentheses in the final stanza adds a layer of intimacy and introspection, as if Hughes is sharing a personal, almost whispered, truth with the reader.

In "Movies," Langston Hughes masterfully conveys the complexities of African American identity in the face of a mainstream culture that seeks to undermine it. Through his sharp wit and incisive language, Hughes not only critiques the misrepresentation of black life in Hollywood but also celebrates the resilience and defiance of the Harlem community in the face of such misrepresentation. The poem stands as a powerful testament to the enduring spirit of resistance in the face of cultural marginalization.

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