--- title: Green Book Continues the Oscars' Struggle with Race description: To many, Green Book’s victory fits into a pattern of the Oscars rewarding safe, self-congratulatory and white-created films about race. canonical: https://time.com/5537269/green-book-oscars-race/ author: Andrew R. Chow article:opinion: false article:content_tier: free article:published_time: 2019-02-25T19:24:06.000Z article:modified_time: 2026-02-23T22:51:43.504Z article:section: Entertainment og:title: How 'Green Book' Fits Into the Oscars' Complicated History With Movies About Race og:description: Many have compared its victory to that of 'Crash' in 2006 og:url: https://time.com/5537269/green-book-oscars-race/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt2bc978901ee7c767/698945d8e76ad24e3d6343d3/gettyimages-1127236128.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: 91st Annual Academy Awards - Press Room og:type: article twitter:card: summary_large_image twitter:title: How 'Green Book' Fits Into the Oscars' Complicated History With Movies About Race twitter:description: Many have compared its victory to that of 'Crash' in 2006 twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt2bc978901ee7c767/698945d8e76ad24e3d6343d3/gettyimages-1127236128.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  # How _Green Book_ Fits Into the Oscars' Complicated History With Movies About Race > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account.  by [Andrew R. Chow](https://time.com/author/andrew-r-chow/)  ## Andrew R. Chow Correspondent Feb 25, 2019 7:24 PM UTC  The creative team of "Green Book" (from left, Jim Burke, Charles B. Wessler, Nick Vallelonga, Peter Farrelly and Brian Currie) pose with the Best Picture and Best Original Screenplay award for "Green Book" with their Oscars. The creative team of "Green Book" (from left, Jim Burke, Charles B. Wessler, Nick Vallelonga, Peter Farrelly and Brian Currie) pose with the Best Picture and Best Original Screenplay award for "Green Book" with their Oscars.Jeff Kravitz—FilmMagic/Getty Images  by [Andrew R. Chow](https://time.com/author/andrew-r-chow/)  ## Andrew R. Chow Correspondent Feb 25, 2019 7:24 PM UTC When _Green Book_ won Best Picture at the Oscars last night, its director, Peter Farrelly, struck a tone of unity and progress: “The whole story is about loving each other despite our differences, and finding the truth out about who we are: We’re the same people,” [he said](https://www.youtube.com/watch?v=cZC140dC8Ps) in his acceptance speech. Spike Lee, whose movie _BlacKkKlansman_ was also up for Best Picture, was skeptical. In an interview backstage, he likened the film’s win to a “bad call” in basketball and then drew a connection between _BlacKkKlansman’s_ loss this year and a similar situation in 1990—when his movie about racial tensions in Brooklyn, _Do the Right Thing_, was snubbed in favor of _Driving Miss Daisy_. “Every time somebody’s driving somebody I lose,” he said. > [](https://twitter.com/andyjamesdalton/status/1099889513537536000) The contrast between these directors’ tones and viewpoints epitomizes a struggle over stories about race throughout Oscars history. To many, _Green Book_’s victory fits into a pattern of the Oscars rewarding safe, self-congratulatory and white-created films about race, in which a satisfying but ultimately false equality is achieved before the credits roll. _Green Book_, for what it’s worth, is beloved by many—it racked up many awards before the Oscars and received rave reviews in audience exit polls. Several personal friends of Don Shirley, the black pianist depicted by Mahershala Ali in the film, said the movie poignantly captured his struggle and unique persona: “It was like he was back to life. For two hours, he gave us back Dr. Shirley,” Michael Kappeyne, Shirley’s friend and former student,[ said an interview with TIME](http://time.com/5527806/green-book-movie-controversy/?xid=tcoshare). And the film has prominent black supporters in Hollywood and beyond. Oscar winner Octavia Spencer is an executive producer, and Congressman and civil rights leader John Lewis introduced it at the ceremony Sunday night, applauding the movie’s depiction of the tumultuous time period through which he lived. But the film received plenty of criticism, including from the Shirley family—who felt it was inaccurate and demeaning—and many online, who felt it aligned with [tropes of the white savior and the Magical Negro](http://time.com/5527806/green-book-movie-controversy/?xid=tcoshare). And the production team came under fire yet again on Oscars night, when they failed to mention Shirley—or the [Negro Motorist Green Book from which the film takes its name](http://time.com/5457827/green-book-history/)—in their acceptance speech. > [](https://twitter.com/ira/status/1099885809748996097) > [](https://twitter.com/AWolfeful/status/1099888017840336897) Comparisons between _Green Book_ and _Driving Miss Daisy_ circulated long before they shared Best Picture accolades. In the New York _Times_, Wesley Morris [called both](https://www.nytimes.com/2019/01/23/arts/green-book-interracial-friendship.html) “racial-reconciliation fantasies”: feel-good buddy films in which two characters, who are separated by race and class, form a grudging and then warm friendship. Both films focus more on the growth of the white character than on the black character’s interior life. Morgan Freeman, who starred in _Driving Miss Daisy_, [later called his involvement](https://www.theguardian.com/film/2000/jul/14/morganfreeman) a “mistake” because it typecast him into a longstanding stereotype of African-American men being portrayed as wise and dignified in the face of suffering. A similarly righteous character was played by Sidney Poitier two decades earlier in _In the Heat of the Night_. In the film, he plays a savvy black cop who solemnly weathers the taunting of the racists around him—including a sheriff played by Rod Steiger—while solving a murder case. And while the film was transgressive for Poitier’s [revenge slap](https://www.dga.org/Craft/DGAQ/All-Articles/1101-Spring-2011/Shot-to-Remember-Norman-Jewison.aspx) of a plantation owner, it put Steiger’s character’s evolution front and center. The film walked away with an Oscar for Best Picture—and Steiger won Best Actor over Poitier, who was not nominated. Over the ’80s and ’90s, the Best Picture winners that had the opportunity to tell nuanced black stories pushed them to the background. _Out of Africa_, which won at the 1986 ceremony, depicts Robert Redford and Meryl Streep romping across the African plains, with actual Africans mostly serving as exocitized extras; the film beat out _The Color Purple_, which starred Whoopi Goldberg, Danny Glover and Oprah Winfrey in her film debut. And _Forrest Gump_, which won in 1995, has since [come under scrutiny](https://medium.com/@RossWBermanIV/i-took-screenshots-of-all-the-black-people-in-forrest-gump-because-i-dont-understand-how-to-be-an-905fe07c7a67) for its [whitewashing](https://news.avclub.com/after-hours-discusses-the-troubling-messages-of-forrest-1798275580) of three decades of American history and reduction of black characters to stereotypes or the help. The film most emblematic of the Academy’s struggle to confront racial issues, though, is _Crash_, which won Best Picture in 2006\. The film crisscrosses cross-cultural encounters in Los Angeles, staging heavy-handed confrontations that unfold in a “toxic cloud of dramaturgical pixie dust,” in the eyes of[ one reviewer](https://slate.com/culture/2005/05/crash-and-kingdom-of-heaven.html), before ending with an uplifting note that tolerance and diversity can and will lead to a better society. > [](https://twitter.com/guybranum/status/1099886090213720064) The Academy Awards have made significant progress toward diversity over the last 15 years. The #OscarsSoWhite campaign led to a widening and diversifying of the voting pool, with the groundbreaking _Moonlight_ winning Best Picture in 2017\. Three out of the four acting winners this year—Rami Malek, Mahershala Ali, and Regina King—were people of color, while Mexican directors have taken home the Best Director trophy five of the last six years. And while many supporters of _Green Book_ believe it’s a clever inversion of old tropes, its detractors see its victory as a continuation of the Oscars rewarding a familiarly naive story, told from a familiarly white viewpoint. Its legacy may shift over time, but for at least this year, the Academy proved it is still enamored by Farrelly’s rosy declaration that “We’re all the same people.” ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/5537269/green-book-oscars-race/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/5537269/green-book-oscars-race/"},"headline":"How Green Book Fits Into the Oscars' Complicated History With Movies About Race","datePublished":"2019-02-25T19:24:06.000Z","dateModified":"2026-02-23T22:51:43.504Z","description":"Many have compared its victory to that of 'Crash' in 2006","url":"https://time.com/5537269/green-book-oscars-race/","keywords":["awards","movies","Oscars"],"thumbnailUrl":"https://static.time.com/v3/assets/bltea6093859af6183b/blt2bc978901ee7c767/698945d8e76ad24e3d6343d3/gettyimages-1127236128.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","author":[{"@type":"Person","name":"Andrew R. 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