“Band of Angels”, the 1957 Raoul Walsh film starring Clark Gable and Yvonne de Carlo is strange tale. It owes no small debt to the novel Iola Leroy, by Frances Harper, as it shares more than a few plot points. But the film, based on the novel of the same name by Robert Penn Warren, is also a departure for a few reasons.
Amantha, like Iola, is a privileged young woman of light skin, so light as to pass for the skin of a white woman. Both Amantha and Iola are the “issue” of slave mothers, who were the result of seemingly loving and fully fashioned relationships with their white fathers. Both young women are educated away from home and both are informed of their slave status after the deaths of their respective, beloved, white fathers. And both women are suddenly removed from their lives as free, white people and turned over to lives of instant slavery. But here, most of the similarities end.
In the matter of the tragic mulatta, Amantha Starr, does not fit. In fact, Amantha’s tragedy seems to be that she is only momentarily removed from her whiteness and status. She is, however, soon enough restored, in a way, and resigns herself to her fate in her new home with her benefactor, Mr. Hamish Bond.
In the confines of the idyllic New Orleans lodgings of Hamish Bond, Amantha, Rau-Ru and the household of seemingly content ‘slaves’ go about their lives not terribly fazed by the impending war, their lot in life or much else. For a film that opens with such a strong statement regarding slavery and the precarious nature of those individuals with vague light skinned privilege, it takes a turn into an almost fantasy of Beauty and The Beast proportions following the love story of Amantha and Hamish.
The star crossed lovers are thwarted, in epic fashion, by the arrival of the Civil War, a scandalous secret and the vendetta of Hamish’s “high stepper,” Rau-Ru.
Rau-Ru, for his part, is fixed on righting the wrong committed by Hamish in exhibiting his “kindness.” It is the the sort of bleak, misshapen “kindness”, which comes to light later on, and makes for a complexity of character for Bond and Rau-Ru which is not afforded the other characters in the film.
In the end, however, it is the trope of the ‘Magical Negro’, in the form of the previously angry Rau-Ru, that takes hold and any thoughts of vendettas are put aside so that the white people can ride, literally, off into the sunset.
What starts off as a promising story exploring miscegenation and it’s repercussions, ends as a fairly typical love story uncomplicated by any of that messy race stuff. And perhaps that’s as it should be.