The Watermelon Woman

Cheryl becomes interested in the Watermelon Woman after discovering the film *Plantation Memories* from the 1930s, where a Black actress is only credited as "The Watermelon Woman." As a Black lesbian filmmaker working in a video store in 1990s Philadelphia, Cheryl is already fascinated by classic films featuring Black actresses who weren't properly credited. The mystery of this unnamed actress represents the broader erasure of Black women's contributions to early cinema, which resonates with her own struggles with representation in filmmaking.

Cheryl's daily work at the video rental store and her interest in classic films foreshadow her later documentary project.

Fae Richards was a Black lesbian performer who sang in Philadelphia clubs during the 1930s and 40s, specifically for audiences of "stone butches." She became forgotten because she was not properly credited in the films she appeared in, particularly in *Plantation Memories* where she was only referred to as "The Watermelon Woman." Her erasure reflects the historical marginalization of Black actresses and queer women in classic Hollywood cinema.

Cheryl's mother recognizes the photograph of the Watermelon Woman from her performances in Philadelphia clubs.

Shirley, a friend of Cheryl's mother, reveals that Fae Richards was often seen with Martha Page, the white director of *Plantation Memories*. The film implies they had a romantic relationship, though Martha Page's sister later denies this when Cheryl attempts to contact her. This hidden relationship mirrors Cheryl's own complicated romantic dynamics and highlights how queer relationships, especially across racial lines, were suppressed in historical records.

Shirley reveals that Fae was seen with Martha Page, establishing the hidden nature of their relationship.

Tamara openly disapproves of Cheryl's relationship with Diana, a white woman, accusing Cheryl of wanting to assimilate into white identity. Tamara also criticizes Diana for what she perceives as a fetishistic view of Black individuals. This conflict highlights the complex emotions surrounding race, attraction, and identity within the queer community, representing tensions that Cheryl must navigate as she explores both her racial and sexual identity.

Tamara's initial disapproval of Diana's flirtation at the video store establishes the racial tension in their dynamic.

The C.L.I.T. archive provides Cheryl with photographs of Fae Richards, including one given to June Walker, Fae's long-term partner. This discovery validates much of Cheryl's research and confirms Fae's identity as a real person who existed and had meaningful relationships. The archive represents a space dedicated to preserving LGBTQ+ and feminist history that might otherwise be lost.

Cheryl's earlier discovery that Fae was known as "The Watermelon Woman" leads her to seek further documentation.

June Walker, Fae Richards' long-term partner with whom she shared a life for two decades, is hospitalized before she can meet with Cheryl. This interruption leaves Cheryl frustrated and unable to complete her documentary with the firsthand account she was seeking. June does leave a letter expressing her frustration with Martha Page, providing some closure but also representing another instance of historical stories being incomplete.

Cheryl's earlier discovery that Fae had a long-term partner establishes June Walker's significance.

Cheryl's meeting with cultural critic Camille Paglia provides intellectual context for her search. Paglia discusses the Mammy archetype and its implications for Black women's representation in cinema. This conversation helps Cheryl understand the historical context of how Black women were portrayed in classic films and why figures like the Watermelon Woman represent both problematic stereotypes and complex cultural presences that deserve examination.

Cheryl's growing interest in representation and film history leads her to seek expert perspectives.

Cheryl completes her documentary even after her relationships with both Diana and Tamara become fractured. The isolation she experiences becomes a catalyst for personal growth, channeling her emotional journey and the historical knowledge she uncovered into her creative work. Completing the documentary represents her ultimate act of self-discovery and assertion of identity, transforming her personal struggles into artistic achievement.

The earlier conflict with Tamara about Diana foreshadows the growing rifts in Cheryl's personal life.

In the 1936 film *Plantation Memories*, Fae Richards played a character referred to as "The Watermelon Woman," a stereotypical role common for Black actresses in that era. The name reflects the offensive caricatures and limited roles available to Black women in classic Hollywood cinema. Cheryl's quest to uncover the real identity behind this dehumanizing label represents a broader effort to reclaim and honor forgotten Black voices in film history.

Cheryl's discovery of *Plantation Memories* and the mysterious credit "The Watermelon Woman" initiates her documentary quest.

The film explores identity and representation through Cheryl's dual journey of making a documentary about Fae Richards while navigating her own identity as a Black lesbian filmmaker. Through her research, Cheryl confronts how Black women and queer individuals have been historically erased from cinema history. Her project becomes both an act of historical recovery and a personal exploration of her own place within these marginalized narratives.

Cheryl's work at the video store and interest in classic films establishes her passion for representation.

At the end of the film, Cheryl completes her documentary about Fae Richards despite being emotionally isolated from both Diana and Tamara. The ending is bittersweet, while she achieves her creative goal and gains a deeper understanding of her cultural and personal history, she remains disconnected from the people in her life and never gets to fully connect with June Walker. Her documentary represents both an accomplishment and a poignant resolution to her journey of self-discovery.

Cheryl's perseverance through earlier setbacks and her determination to complete the documentary set up this resolution.