Lena Horne had a way of making an entrance that no one could forget. Back in January 1942, when she made her debut on L.A.’s Sunset Strip, she was a vision in a simple white gown. Without any introduction, she emerged from the shadows into a single spotlight, captivating the audience with her rendition of the timeless tune, “The Man I Love.” It wasn’t long before Hollywood’s elite, including legends like Marlene Dietrich, Lana Turner, and Cole Porter, were lining up to witness her magic.
Just weeks after that unforgettable night, MGM announced they had signed Lena, a New York-born African American beauty, to a contract. As Donald Bogle, the author of the newly released biography Lena Horne: Goddess Reclaimed, explains, "Before Lena came to Hollywood, Black actors and actresses were often typecast as comic servants or relegated to supporting roles." What set Lena apart was her sophisticated beauty, which transcended racial boundaries, appealing to both Black and white audiences. Bogle adds, "She had this incredible ability to connect emotionally with the songs she sang. Her presence was untouchable, yet irresistible."
A Rising Star in a Segregated Industry
In the 1940s, Lena starred in 13 MGM features, including the iconic 1943 film Cabin in the Sky, which remains her only starring role in a movie musical. "She was the first Black woman in Hollywood to be fully glamorized and publicized by her studio," says Bogle. However, her success was bittersweet. Lena often found herself relegated to roles where she would appear briefly, performing as a nightclub singer in films dominated by white actors. "It was frustrating for her," Bogle explains, "because she wanted to act in mainstream movies, not just be a musical number."
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Breaking Barriers, Facing Disappointment
By the mid-1940s, Lena had become the highest-paid Black actor in Hollywood, but she felt increasingly sidelined. She campaigned hard for the role of Julie in the remake of Show Boat, a character who passes as white but is revealed to be Black. "She felt that role would be a perfect fit for her," Bogle says. Unfortunately, the part went to Ava Gardner, a white actress. This decision left Lena deeply disappointed and further fueled her frustration with the industry's lack of opportunities for Black performers.
Fighting for Justice
Lena's dissatisfaction with Hollywood led her to join various activist groups, which in turn put her under scrutiny during the era's Communist witch hunts. Her marriage to Lennie Hayton, a white man, also stirred controversy. "They married in France in 1947 and kept it a secret for three years," Bogle reveals. This, combined with her activism, resulted in a blacklist that temporarily blocked Lena from working in films, on TV, or in nightclubs.
Despite these challenges, Lena remained committed to fighting for social justice. She refused to perform for segregated audiences during World War II and continued advocating for equality. "She was a political fighter," Bogle emphasizes. In the 1960s, Lena became a prominent figure in the Civil Rights Movement, speaking at the historic March on Washington and participating in other pivotal moments.
Reinventing Herself
Lena's career experienced a resurgence when she shifted her focus to live performances. In 1957, she dazzled audiences on Broadway in the musical Jamaica. Her later success included the 1981 one-woman show Lena Horne: The Lady and Her Music, which earned her a Tony Award. Last year, Lena became the first Black woman to have a Broadway theater named in her honor. Though she never achieved the movie stardom she initially sought, Lena embraced her unique identity. "I don’t have to be an imitation of a white woman that Hollywood hoped I’d become," she once said. "I’m me, and I’m like nobody else."
