Symbiosis - Kaycee Moore and The L.A. Rebellion

by Jacob Nadir

As the Black Radical Imagination, the thoughts and actions of transforming the future of Black culture, was being translated into the cinematic form more and more, names of individuals, movements, and organizations emerged out of obscurity and more into the public sphere. Although the Black Radical Imagination never fully permeated the public sphere, it had a presence that still resonates. Thanks to movements like the L.A. Rebellion, the artistic movement known as Assemblage, and the infancy stages of hip-hop culture, young Black artists could express their realities and fantasies without a filter.

The L.A. Rebellion grew roots at UCLA in a film program that was in many ways anti-Hollywood and pro-Black and Brown, whereas USC was a direct pipeline into the studio system. The Ben Caldwell’s, Charles Burnetts, Haile Gerimas, and Julie Dashes of the world came out of the L.A. Rebellion and it is their approach to the subject matter, aesthetics, and narrative sensibilities that not only Black cinema has cherished and emulated, but the independent film community has embraced as well.

In both Killer of Sheep and Bless Their Little Hearts, Kaycee Moore stands as a monument to a kind of stoic beauty that many of the characters in the films depend on. Poverty, in these films by Charles Burnett and Billy Woodberry, respectively, are the central element, the background, and the subtext, yet Moore truly stands above it all. In many regards, her characters serve as the archetypal anchor of the community in these films, which are just a few of the crown jewels from the L.A. Rebellion catalogue. Moore is integral to the L.A. Rebellion and the L.A. Rebellion is integral to film history. Both of these L.A. Rebellion films in which Moore co-starred are in the National Film Registry for being “culturally, historically, or aesthetically significant.”

Kaycee Moore passed away on August 13th at the age of 77.

The indomitable Kaycee Moore in Charles Burnett’s KILLER OF SHEEP

Actors provide new and emerging filmmakers with the confirmation that the characters they create can actually have a life on screen. The level of confidence exhibited by emerging filmmakers within their written material, their understanding of the craft and its history, and the spirit and technicalities of filmmaking can be matched by a single actor bringing a character to life. Bringing a character to life is the one variable in the craft of filmmaking that is the most dependent on someone other than the filmmaker. So when Kaycee Moore appears on screen in multiple Charles Burnett films (he wrote Bless Their Little Hearts), we are witnessing an affirmation. Moore’s performances affirm and present the “strong, Black woman” archetype during a time when it was absolutely vital to see Black people portrayed with strength. Many of the L.A. Rebellion films deal with a vast array of experiences - many of which where strength is the antithesis to a character’s experience, but Moore always appeared poised and dignified.

Whether it is a leading or supporting role, the practice of repeatedly casting the same actor for different projects tends to be one of the most symbiotic relationships that exists in the intersectional world of filmmaking. Where art and commerce intersect, relationships can be tricky arenas to navigate. Think Ryan Coogler and Michael B. Jordan’s parallel ascensions. Also consider Spike Lee’s utilization of Roger Guenveur Smith beginning with School Daze and Smith’s insistence on portraying a character he made up for Do The Right Thing that we all know and love as Smiley, to working together in film and in theater all the way to present day. Convenience and comfort surely play a role, but trust in the director/actor relationship is perhaps the most substantial element. Trust between the director and the thespian is often earned, but sometimes it is an instinct - and the combination of these elements (convenience, comfort, trust) is perhaps why it is the most mutually beneficial scenario in the film world. Kaycee Moore and Charles Burnett had this kind of relationship.

Eventually, Kaycee Moore would reappear in Julie Dash’s classic film Daughters of the Dust, which is arguably the most well-known and most referenced film that came out of the movement. It’s heavily referenced in Beyoncé’s visual album for ‘Lemonade’ and is constantly regarded as an inspiration for Black filmmakers all over.

Moore as Haagar Peazant in the classic DAUGHTERS OF THE DUST

Moore would go on to just have one more role. She played Pop-Bottle Ruby in Ninth Street alongside Martin Sheen and Isaac Hayes. The film takes place in her hometown of Kansas City, Missouri where she dedicated much of her time and energy to those affected by Sickle Cell Disease. From 1984 to 1999, she was the Executive Director of the Kansas City chapter of the Sickle Cell Disease Association.

To many, Kaycee Moore may be a small piece of a much larger story. This may be true, but I would add that without the small pieces, the story wouldn’t exist at all.

And to refer to Moore’s roles and on screen presence as “small” is a massive understatement. Consider the supporting roles in your favorite movies and you begin to realize that they are almost always the secret ingredient to that film being great.

For having such a short career, Moore graced the screen exhibiting the kind of fortitude that film audiences appreciated, but that Black audiences truly cherished.