Black Myths and White Columns
Susan Myrick, one of the technical advisors for the film and a reporter for the Macon Telegraph, based her newspaper column on the events occurring on and around the set of Gone With the Wind. In regard to all three featured black actors: Hattie McDaniel, Butterfly McQueen, and Oscar Polk, she has at least one anecdote that enforces the myths that appear in the film. For Oscar Polk, it is degree to which he is invested in believing the reality of his character:

"Oscar Polk, who is playing Pork, the servant of Gerald O'Hara, in GWTW, brought me a copy of the Chicago Defender, Negro newspaper of Chicago, so I might read his admirable defense of the picture. There had been some criticism of the play by members of his race and Oscar Polk's defense is intelligent and worthwhile. I quote a part of it:"
Susan Myrick
'I am from the South and am as familiar with Southern traditions as any member of my race. The characters that appear in the picture, Pork, Mammy, Prissy, Uncle Peter, Big Sam and Jeems, are all true to life--all of them could, in fact, have lived. As a race we should be proud that we have risen so far above the status of our enslaved ancestors and be glad to portray ourselves as we once were because in no other way can we so strikingly demonstrate how far we have come in so few years.'(1)

Polk's claim of Southerner status means that he has been exposed to the same mythologies that other Southerners have during the course of the twentieth century and so, on that basis alone, he is no more an expert on slavery than a member of the Ku Klux Klan. However, his vested interest is in the critical and commercial success of Gone With the Wind and so, Polk seems to borrow some of his character Pork's blind loyalty to the cause at hand. There is, however, a clear distinction made between Oscar Polk's life and his character that does not appear in Myrick's following accounts. Especially concerning the on-set events surrounding Butterfly McQueen:

Cukor [the first director] has gone Southern with a vengeance and quotes from the book constantly, threatening to sell Butterfly down the river if she doesn't get the action just right or calling a prop man to get the Simon Legree whip. It is all in fun, of course, and Prissy enjoys the joke as much as any of us. (p. 83)
Butterfly McQueen While it is possible to dismiss this interplay as simply having fun in a society that was less racially sensitive than our contemporary one, it is more difficult to justify the way Myrick substitutes Butterfly McQueen's name with the name of her character. It is almost as if they are interchangeable in the columnist's mind. And even though this was all in good fun, perhaps it was this sort of situation that led Butterfly McQueen to make her later career choices. Roland Flamini notes:

Butterfly McQueen came from the stage. When she was signed to play Prissy she was appearing in the Benny Goodman-Louis Armstrong musical inspired by A Midsummer Night's Dream, entitled Swingin' On A Dream. After Gone With the Wind, the world of black squeaky-voiced comic maids could have been her oyster; she played the same character in four successive movies, and then issued a statement saying she would no longer accept such parts. Her refusal to be typecast damaged her film career, but Butterfly McQueen would stick to her decision, even walking out of a Jack Benny show rather than resurrect Prissy.(2)

McQueen was punished for trying to transcend the stereotype she was assigned but even with someone who accepted the role they were given, the blurring between the actor and the part seemed based on race:

Clark Gable, Hattie McDaniel, and I have colds. Naturally I feel happier about a cold when I am in such good company, but the thing that really pleases me was Hattie's bringing me a bottle of home-made cough syrup. I think Hattie has played Mammy so long in the picture Gone With the Wind she is being Mammy in real life, for she worried about my cough and insisted that I take a swallow of cough syrup every time I felt a cough coming on. (p. 293)

Myrick appears to be joking but, in the process, she subscribes to the mythification of the black woman as a constant caretaker. This blurring can occur due to the actor's ability to convey a role so effectively but it seems more likely that the standard mythologies about black females are so culturally insulated that they infiltrate actual perceptions of people. Part of the problem is the way McDaniel and other black actresses appeared in the same role time and again. Thomas Cripps notes in Slow Fade to Black:
Another force that paradoxically contributed to black pride and community while supporting the rigid racial order of Hollywood were the grandes dames of the ghetto, a social elite who gave without stint to help the race while at the same time supporting their style of life by playing traditional roles as domestic servants. Louise Beavers, Hattie McDaniel, Teresa Harris, Libby Taylor, Lillian Yarbo, Marietta Conty, and others carried both their stock roles and their selfless lives in their baggage--inseperably. For the twenty years between the wars their parties and fundraising "affairs" graced the inside pages of the black press: McDaniel's soirees and Canty's work with the established charities, Sunday schools, and the Sojourner Truth Home were forerunners of Lillian Randolph's favorite club, the Benevolent Variety Artists.(3)

Clearly McDaniel was giving of her time and her wealth and that should not be confused with the caring nature of the mammy figure but for Myrick, someone who is clearly unaware of how generous McDaniel is in her private life, the portrayal of Mammy seems to have been a good influence on the actress.