CLASSIC REVIEW: Diana Ross, politics and fashion awkwardly intersect in 1975's Mahogany

1975, US, directed by Berry Gordy, starring Diana Ross, Billy Dee Williams
and Anthony Perkins.

Available as an imported region 1 DVD. Screening at MIFF 2018 on Sunday 5th August.

Watch this if you liked: Lady Sings The Blues (1972), Eyes Of Laura Mars (1978)

Rating: C+

At about halfway through Mahogany, the 1975 melodrama starring Diana Ross, the narrative stops for a four minute montage of Ross’ character in a variety of high fashion costumes gallivanting around Rome. It’s a beautifully shot sequence, filled with stunning outfits (from a mermaid look to a medieval queen), impeccable hair and make-up and some absolutely breath-taking images. The montage also serves a narrative function, demonstrating the character’s transformation from undervalued Chicago fashion designer, Tracy, to sophisticated model, Mahogany. At four minutes, it’s undeniably extravagant, with look after look. At some point, you either have to accept it as gorgeous and get drawn into the seductive fashion or you realise it’s largely meaningless within the film’s thematic goals and get bored out of your mind. This dilemma is at the heart of Mahogany.

It’s not as if the film isn’t trying to tackle larger issues. During the first hour, Tracy and local politician/love interest, Brian (Billy Dee Williams, five years before his career-defining role as Lando) debate what responsibility they have to helping poorer and more segregated parts of their neighbourhood. Their discussion effectively and with some nuance analyses race and class within 1970s Black America.

This debate is a key part of the film’s theme and story, with Tracy eventually forced to choose between her dream job of fashion designer and politics, as represented by Brian. Mahogany also sets up a love quadrangle between three men vying for her attentions; Brian, the psychotic fashion photographer Anthony Perkins and a forgettable Count. From a modern standpoint, the choice seems simple, Tracy should choose herself and what she loves doing, and find a way to augment that with political aims. That she doesn’t, instead choosing Brian and burying her own dreams in a superficially happy ending is concerning, especially for the message it sends to young black women.

If one can ignore the film’s problematic message and focus instead on the frequently awe-inspiring, gorgeous fashion and how stunning Diana Ross looks in it (not surprising, considering she designed the outfits herself), then you’re in for a visual treat. Her joy and physical presence are infectious, particularly in an early scene where she twirls in a dazzling rainbow top that fans out around her, grinning the entire time. It’s hard not to smile along with her.

However, maybe it would be simpler to look at GIFs of Diana Ross in beautiful fashion (handily compiled by out.com) while listening to the film’s memorable, melancholy theme. A more effective use of one’s time, anyway.