While probably sighing the deepest sigh anyone ever sighed after the watching the "Madea's Happy Family" trailer (at least I think that was the name of it), I decided to clear my mind with fellow film blogger Issa Rae's new webseries "The Misadventures Of An Awkward Black Girl". It's getting a big buzz (cause it's hilarious) and will definitely mean we'll never pick up "Soul Sis-Star Reviews" ever again; I see a deal in her future... *another sigh*
Showing posts with label kudos. Show all posts
Showing posts with label kudos. Show all posts
While probably sighing the deepest sigh anyone ever sighed after the watching the "Madea's Happy Family" trailer (at least I think that was the name of it), I decided to clear my mind with fellow film blogger Issa Rae's new webseries "The Misadventures Of An Awkward Black Girl". It's getting a big buzz (cause it's hilarious) and will definitely mean we'll never pick up "Soul Sis-Star Reviews" ever again; I see a deal in her future... *another sigh*
Even though this film is not accessible in a lot of cities, I wanted to write about it as I am deeply disappointing in the numbers it's received. We all cry and complain about the dreck (well, most of us) that is the Ice Cube and Tyler Perry empire, begging for something more and something different, and when it's right in front of us, what happens? It is virtually ignored.I am speaking of the film "Night Catches Us", starring Anthony Mackie and Kerry Washington.
Since I've moved back to Oakland, I've had the very fine privilege of being around some original Black Panthers; the ones that were front and center when everything went down, both here and in Los Angeles. The vast majority of them epitomize the old saying "Still waters run deep". Silent, powerful, exuding the energy of all of the hurt, lessons, wisdom and knowledge that make up their being; and careful about the company they keep.
I would say this film is very much an allegory of that type of Black Panther personality, and it is fitting as it centers around two people that are former Black Panthers, struggling to get past their life-changing and disturbing experiences while in the party (Mackie and Washington).
That is basically all that the film is about. It is not an epic-type film (though they show original footage of the Panthers), but a slice of the very large pie that was/is The Panthers. And sometimes a slice is all we need to gather focus on a film's characters, and the beauty of the life it represents.
Kerry plays a civil rights attorney, seemingly having her old cohorts and her brother as her main clients. Her husband was tragically shot to death years before in a Panther strong-arm effort gone wrong. She has a daughter she's raising, and lives with a man who is apparently successful on a few levels. She has chosen to stay in the neighborhood where she's lived all of her life, because in some way, she still believes "the cause" will pick up where it left off.Mackie is a former Panther that has been deeply branded a "snitch", and may have been the cause of Kerry's husband's failed attempt and ultimate death. He has left town years ago, immediately after the incident, and returns to tie up loose ends in the wake of his father's passing.
Without telling the whole film (which on the outside doesn't seem like a lot), the wonderful chemistry of Kerry and Mackie draws you in, and sneaks up on you, just like a panther. They have learned a lot of lessons over the years, and when they come together, even though the core of what they were is still the same, the changes they've been through have changed them as well. They represent in each other the idealism they once had, but slowly and carefully come together to overcome what their current differences are to get to something that is true and organic--something that has been missing from both of their lives: love.
Intermixed in this relationship is the background of Mackie still having to deal with his accusers (including Jamie Hector from "The Wire"), who haven't forgotten a thing, Kerry's brother's breakdown stemming from his deep disappointment in the revolution that never really seemed to happen, the easy comings of Black men in Black women's lives in the 70's and the decades beforehand (a likely offset of the way slavery set up the familial unit), and the very sweet burgeoning relationship between Kerry's young daughter and Mackie.
To me, this film is compelling, engaging, and involving. It makes you think, and definitely has very real-life parallels of love, friendship, and family, both the loving and contentious aspects of them. Some may feel a slow moving film that takes it's time to establish it's characters and get to the center of it's point may be boring. But guess what? This movie, just like a living former Black Panther, is selective about the company it keeps.
Black Cinema At Large Rating: B++. Ms. Invisibelle says check it out.oh, and ps: the soundtrack by the roots is fantastic...this film is on cable on demand in many cities
Okay, there is always someone or something that brings Ms. Invisible back from the dead; if not posting while in competition for the Black Weblog Awards couldn't do it, then nothing could, I thought.
But this warmed up Ms. Invisible's cold, cold heart...I only know her name is Bittah Sweet on Twitter, and she made this video for a class project bigging up not just the Black female directors that we know and love, but the mega-talented new jacks who, from what I am reading, are making VERY big noises. Something that this eye and ear definitely needs to see and hear. Give it a whirl....
(admittedly, i watched with the sound on mute--depends on your musical taste)
This is a repost of a guest blog I did on my blogging brother Rippa, aka Rip Dem Up's spot: "The Intersection Of Madness and Reality". Please check him out...he mixes things up over there on a daily basis. Warning--he may piss you off and he loves to do that! PS Thanks to my new followers for doing so, tho I haven't posted in a millennium--love you!
I haven't blogged in a long time--it's not that I haven't wanted to, or had writers block, but somehow I couldn't seem to make the effort. Rippa challenged me to write my thoughts regarding the movie Precious, and the hoopla surrounding it, after reading my heartfelt tweets/anger about the sad folks that started a website to recruit people not to see the film. I mean WTF??
Listen people. I am what you would call the hugest Black Cinema enthusiast. I am completely involved in it every day, whether directly or indirectly via the internet. And for the life of me I cannot understand this backlash on Precious on any level--especially because the bulk of it seems to come from folks who've never even bothered to see it.
I have a blog on Black Cinema, entitled Black Cinema At Large...and on it we have discussed quite often and many times over the problem with Black film today. Most of the common complaints that I have read on my blog are actually addressed and handled beautifully in this film. Want some examples? Here we go:
All we ever get to represent us on screen is either a Tyler Perry film or a Black man in a dress.
This one is easy. Though Tyler Perry executive produced this film, there is absolutely no whiff whatsoever of any Perryism, and only real women play the women, and even 99% of them weren't wearing dresses.
1) Why can't we have a film starring Black people that is just a story? 2) Why do we always have film that puts our pain on screen?
The themes in Precious are universal. There are far, far too many people in the world that are suffering because of poverty and ignorance, not just us. Incest, poverty, and violence are real, in every culture, and happen every single day. Are they never to be addressed on film? This story could happen to anyone, and director Lee Daniels keeps the scenes involving the incest and violence to a minimum, if only just to show the challenges Precious had to break away from. The very focal point of the story is Precious' journey toward enlightenment from darkness. Would it have been easier to view if Precious was light, or was thin, or had long hair? Be honest when you answer that.
1) We are so tired of rappers and singers instead of Black Hollywood actors getting all of the roles in Black film. 2) We never get to see any up and comers given a chance, we see the same actors over and over.
Okay, so Lenny Kravitz and Mariah Carey are in it. But guess what? Their parts are small, and they actually added some good performances to the story. Lee Daniels made sure that they earned their place in his film--they were not missteps. The main roles are played by someone who has never sang or rapped, Mo'nique, and by newcomer Gabby Sidibe. As I'm sure you've heard or saw by now, both of these actresses put their FOOT in it. Even Paula Patton, who I've never been particularly impressed with as an actress, did an amazing job as Precious' teacher. The students, all unknowns, were completely natural and believable.
When we get a decent Black film made, it never gets any hype or publicity and fades away. All we are left with is coonery.
Ummm...even if you haven't seen this film, you know that it has gotten publicity in a major way, along with tons of major accolades. It broke box office records in it's limited release, and has slowly been expanded it all major markets. This film causes us to actually think, which Americans are probably not used to when watching a movie, and is a Black film that is completely coon free as well--can most wrap their mind around that?
The music and soundtracks in Black film are so awful--what happened to the soundtracks we wanted to buy in the 70's (and 90's)?
When I worked for The Studio That Will Henceforth Remained Unnamed, I was always saying that the soundtrack is an essential tool in creating and effective and compelling film. Daniels seriously knows the value in it as well, and weaves throughout the story added layers of amazing narrative through music; Labelle, Mary J. Blige (produced by Raphael Saadiq), Mahalia Jackson, Queen Latifah; all strong and talented women that came from humble beginnings. And he didn't take the easy way out by filling it with Lenny Kravitz and Mariah Carey.
The Black Hollywood elite never use their money or clout to back Black films.
Oprah and Tyler Perry? Nuff said
The fact is, if you are paying attention at all, you would know that Precious isn't all about pain, or being ghetto, or fathers raping their daughters, or Black stereotypes. It is about Precious breaking through a foundation of generations of ignorance. Her mother has no value for anything but the basest human functions--food, sex, and TV. Her mind cannot expand beyond what is happening inside of her house, and can barely expand beyond her own animal instincts and thought. Precious lives in the peripheral vision of her mother's mind, only to be recognized when she is hungry, angry, or horny.
The sheer weight of the legacy Precious has to handle, not alone her real weight, make her life almost unbearable. The only difference between Precious and her mother is that Precious has a small ray of hope (though she has no reason to), that she desperately clings to like a life preserver, hoping that one day someone will pull on it and lift her up. She escapes her real life through daydreams and fantasies, until the real life and daydreams start to meld. Yes, tragedy does bring her to a place of enlightenment, but isn't that the case with everyone on this planet? Isn't that why we're here? Does anyone learn anything from having it easy all the time? If you know someone like that, I would be interested to hear about it.
The ignorance of parents passed on to their children is absolutely real. I have been blessed in this life to have two parents that both have their master's degrees, and I have had some very hard and severe challenges in my life with both of them and in life, even on that foundation. But doing some volunteer work in West Oakland (historically a poverty ridden area for a few decades) years ago brought my awareness to a new level....I had always taken for granted so many things that the youth in the community had no knowledge of---the level of ignorance was absolutely crushing....it made me very sad, and very reflective for quite some time. Most of the sadness came from knowing that most of these kids were good, and had so much potential, but it would never be realized because these kids would never be able to move beyond the tools their parents gave them, which was barely above survival level. Most of them had never even been to San Francisco, across the bridge and only 4 miles away.
Precious was able to break free, and the joy of this film is seeing her journey--how when she hears her teacher and her lover speak, she says that "they sound like a channel I don't watch" and instead of being intimidated, strives to be more like them. We see her in a fantastic scene--where the images and sounds surrounding her from all angles; Malcolm X, Shirley Chisholm, the race and civil rights struggle--are slowly but surely chipping away her blindness. Her sheer determination and inexplicable force of will propel her to a life outside of the one she inherited, and though her life does not end up being challenge free, she is a testament that our lives are what we make them to be, and we are the ones solely responsible. And if that is cause for protest, then I got nothin'.
On an added note, anyone who knows anything about producer/director Lee Daniels knows that he consistently and repeatedly steps out of the box. I actually started my blog because of his film "Shadowboxer", because of the unfairness I felt is received from the critics. From that film (with elements of stepmother, son incest), to the very excellent and underrated "The Woodsman" (with pedophilia) to "Monster's Ball" (interracial love and sex) to Precious, Daniels creates images and themes that stir up a myriad of emotions in folks--admiration, reflection, sadness, excitement, anger--everyone has their own interpretation.....and after all, isn't that what art's ultimately supposed to do? If you can't support the content of his films, just be glad that something creative is being done by and for Black people--the studios are watching your every move!
To all of the people who still hate this film, and continue to be vocal about it, I invite you all to marinate on all of the recent studio greenlit Black films coming to a theater near you: Why Did I Get Married 2, Big Mamma's House 3, and Beverly Hills Cop 4---carry on!
I haven't blogged in a long time--it's not that I haven't wanted to, or had writers block, but somehow I couldn't seem to make the effort. Rippa challenged me to write my thoughts regarding the movie Precious, and the hoopla surrounding it, after reading my heartfelt tweets/anger about the sad folks that started a website to recruit people not to see the film. I mean WTF??
Listen people. I am what you would call the hugest Black Cinema enthusiast. I am completely involved in it every day, whether directly or indirectly via the internet. And for the life of me I cannot understand this backlash on Precious on any level--especially because the bulk of it seems to come from folks who've never even bothered to see it.
I have a blog on Black Cinema, entitled Black Cinema At Large...and on it we have discussed quite often and many times over the problem with Black film today. Most of the common complaints that I have read on my blog are actually addressed and handled beautifully in this film. Want some examples? Here we go:
All we ever get to represent us on screen is either a Tyler Perry film or a Black man in a dress.
This one is easy. Though Tyler Perry executive produced this film, there is absolutely no whiff whatsoever of any Perryism, and only real women play the women, and even 99% of them weren't wearing dresses.
1) Why can't we have a film starring Black people that is just a story? 2) Why do we always have film that puts our pain on screen?
The themes in Precious are universal. There are far, far too many people in the world that are suffering because of poverty and ignorance, not just us. Incest, poverty, and violence are real, in every culture, and happen every single day. Are they never to be addressed on film? This story could happen to anyone, and director Lee Daniels keeps the scenes involving the incest and violence to a minimum, if only just to show the challenges Precious had to break away from. The very focal point of the story is Precious' journey toward enlightenment from darkness. Would it have been easier to view if Precious was light, or was thin, or had long hair? Be honest when you answer that.
1) We are so tired of rappers and singers instead of Black Hollywood actors getting all of the roles in Black film. 2) We never get to see any up and comers given a chance, we see the same actors over and over.
Okay, so Lenny Kravitz and Mariah Carey are in it. But guess what? Their parts are small, and they actually added some good performances to the story. Lee Daniels made sure that they earned their place in his film--they were not missteps. The main roles are played by someone who has never sang or rapped, Mo'nique, and by newcomer Gabby Sidibe. As I'm sure you've heard or saw by now, both of these actresses put their FOOT in it. Even Paula Patton, who I've never been particularly impressed with as an actress, did an amazing job as Precious' teacher. The students, all unknowns, were completely natural and believable.
When we get a decent Black film made, it never gets any hype or publicity and fades away. All we are left with is coonery.
Ummm...even if you haven't seen this film, you know that it has gotten publicity in a major way, along with tons of major accolades. It broke box office records in it's limited release, and has slowly been expanded it all major markets. This film causes us to actually think, which Americans are probably not used to when watching a movie, and is a Black film that is completely coon free as well--can most wrap their mind around that?
The music and soundtracks in Black film are so awful--what happened to the soundtracks we wanted to buy in the 70's (and 90's)?
When I worked for The Studio That Will Henceforth Remained Unnamed, I was always saying that the soundtrack is an essential tool in creating and effective and compelling film. Daniels seriously knows the value in it as well, and weaves throughout the story added layers of amazing narrative through music; Labelle, Mary J. Blige (produced by Raphael Saadiq), Mahalia Jackson, Queen Latifah; all strong and talented women that came from humble beginnings. And he didn't take the easy way out by filling it with Lenny Kravitz and Mariah Carey.
The Black Hollywood elite never use their money or clout to back Black films.
Oprah and Tyler Perry? Nuff said
The fact is, if you are paying attention at all, you would know that Precious isn't all about pain, or being ghetto, or fathers raping their daughters, or Black stereotypes. It is about Precious breaking through a foundation of generations of ignorance. Her mother has no value for anything but the basest human functions--food, sex, and TV. Her mind cannot expand beyond what is happening inside of her house, and can barely expand beyond her own animal instincts and thought. Precious lives in the peripheral vision of her mother's mind, only to be recognized when she is hungry, angry, or horny.
The sheer weight of the legacy Precious has to handle, not alone her real weight, make her life almost unbearable. The only difference between Precious and her mother is that Precious has a small ray of hope (though she has no reason to), that she desperately clings to like a life preserver, hoping that one day someone will pull on it and lift her up. She escapes her real life through daydreams and fantasies, until the real life and daydreams start to meld. Yes, tragedy does bring her to a place of enlightenment, but isn't that the case with everyone on this planet? Isn't that why we're here? Does anyone learn anything from having it easy all the time? If you know someone like that, I would be interested to hear about it.
The ignorance of parents passed on to their children is absolutely real. I have been blessed in this life to have two parents that both have their master's degrees, and I have had some very hard and severe challenges in my life with both of them and in life, even on that foundation. But doing some volunteer work in West Oakland (historically a poverty ridden area for a few decades) years ago brought my awareness to a new level....I had always taken for granted so many things that the youth in the community had no knowledge of---the level of ignorance was absolutely crushing....it made me very sad, and very reflective for quite some time. Most of the sadness came from knowing that most of these kids were good, and had so much potential, but it would never be realized because these kids would never be able to move beyond the tools their parents gave them, which was barely above survival level. Most of them had never even been to San Francisco, across the bridge and only 4 miles away.
Precious was able to break free, and the joy of this film is seeing her journey--how when she hears her teacher and her lover speak, she says that "they sound like a channel I don't watch" and instead of being intimidated, strives to be more like them. We see her in a fantastic scene--where the images and sounds surrounding her from all angles; Malcolm X, Shirley Chisholm, the race and civil rights struggle--are slowly but surely chipping away her blindness. Her sheer determination and inexplicable force of will propel her to a life outside of the one she inherited, and though her life does not end up being challenge free, she is a testament that our lives are what we make them to be, and we are the ones solely responsible. And if that is cause for protest, then I got nothin'.
On an added note, anyone who knows anything about producer/director Lee Daniels knows that he consistently and repeatedly steps out of the box. I actually started my blog because of his film "Shadowboxer", because of the unfairness I felt is received from the critics. From that film (with elements of stepmother, son incest), to the very excellent and underrated "The Woodsman" (with pedophilia) to "Monster's Ball" (interracial love and sex) to Precious, Daniels creates images and themes that stir up a myriad of emotions in folks--admiration, reflection, sadness, excitement, anger--everyone has their own interpretation.....and after all, isn't that what art's ultimately supposed to do? If you can't support the content of his films, just be glad that something creative is being done by and for Black people--the studios are watching your every move!
To all of the people who still hate this film, and continue to be vocal about it, I invite you all to marinate on all of the recent studio greenlit Black films coming to a theater near you: Why Did I Get Married 2, Big Mamma's House 3, and Beverly Hills Cop 4---carry on!
Usually it takes my beloved Mr. Howard (aka Terrence) to wake me out of my blogging beauty sleep, but even his laughable "Cleanse And Protect! You Gotta Wash Your Hands!" public fuckery campaign in Philly that takes his love for baby wipes to the next level couldn't wake me this time. I love you guys to death, and have wanted to share a bunch with you, but could not seem to put fingers to keyboard.Until the very lovely Jez at "Shook" Magazine from in UK sent me this amazing 2 CD masterpiece "Can You Dig It? The Music and Politics of Black Action Films, 1968-75".
Oh. My. God. Let me tell you this--I was in a Radiohead stupor for the past 2 weeks--literally I have listened to nothing but Radiohead very single solitary day at home, at work, and in the car. Only a small miracle could have moved me from Radiohead and my blogging slumber, and that is what I consider this compilation--a small miracle. The gatekeeper of this blog, Pam Grier, graced the cover of the CD, piquing my interest, and I was absolutely hooked from the very first song--Roy Ayers' "Coffy". Need I say more? Well, maybe for the young folk I do, lol. But I don't think I can ever say enough about this spectacular collection.
Blacula, Black Belt Jones, Trouble Man, Cleopatra Jones...you name it, all the classics are here repped by some of the finest jewels in music; James Brown, Issac Hayes, The Impressions, Joe Simon, The Blackbyrds, Marvin Gaye...by the time I got to "Brothers Gonna Work It Out" by Willie Hutch from the classic Blaxploitation "The Mack", I was completely, thoroughly, and absolutely in love, lol. Did you know Sweet Sweetback's Theme was by Earth, Wind and Fire? I might have, but forgot--it's tidbits like that that make this even more of a treasure. All of my memories of these films came rushing back, and I was very grateful to the people behind this project for having the amazing foresight and what must have been a good deal of patience for licensing. I even loved the fact that they called it a homage to "Black Action Films" as opposed to Black Exploitation, or Blaxploitation, two terms I never really cared for.I wish I could print the entire site here, but I can't--it might take you a while to read, plus it would take up about three pages of this blog...here is a bit more info (trust me, it will be the best gift to yourself you can possibly get all year, for reals!). Purchase and have one of your best parties ever!:
Can You Dig It?’ charts the rise of ‘Black Action Films’ from 1968-75. As well as featuring a double-CD collection of the stunning music from these films, ‘Can You Dig It?’ comes with a 100-page booklet, mini-film poster cards and stickers. For images, more info please call Karen or Angela on 020 7734 3341. Or email us on angela@soundsoftheuniverse.com or karen@soundsoftheuniverse.com
Here is the opening segment to the song "Brothers Gonna Work It Out", taken from an actual scene in "The Mack". Loves it.
Even tho the Oscars annoy the beejesus out of me, I wouldn't be a proper film blog without at least mentioning it, and the two Black actresses nominated, Taraji P. Henson and Viola Davis. One, I've never been a fan of and her tired, overacting style, and the other--well let's just say I saw her on a talk show recently and found her to be wonderful; intelligent, humorous---a serious actress worthy of nomination and more high profile roles. I'll let you guess which is which.
Sergio televised his Oscar predictions below. I have none, cause if it has nothing to do with Mickey Rourke or "The Wrestler" I really don't have much to say on it. Even the clothes don't interest me this year. Here is Sergio--check him out:
Did you know John Singleton directed the Oscar promos this year? I guess he might as well be directin' somethin', cause as of late, it sho ain't movies. What's up, John? And yes, that is Taraji with him in the picture above. What she is wearing I can't even venture to guess...
Martin Lawrence will be starring in a kind of reverse "Coming To America". No title yet, but the plot is described as this:'The film centers on a working-class man from Queens who discovers he is heir to the throne of an African country and travels there to claim his birthright'.
From IW: Martin is obviously not interested in breaking new ground, but I ain't mad, that mortgage is staying paid. And at least it's not what I blogged about a couple years ago--a big screen remake of his TV show "Martin". Someone must have finally woken up and put the brakes on that wonderful (not) idea.
Happy Birthday to Danny Glover's Robey Theatre company, turning 15 this year. Robey "Is a professional theater dedicated to developing and presenting plays that raise the social consciousness of audiences with work that explores the global Black Experience."All my folkses in the L.A. area, please try to support Danny and his endeavors. He never gets enough props for dedicating himself to our art and community for decades, imho.
Barry Michael Cooper, writer of New Jack City among other things, who I interviewed for this blog, let me know that he has a new film, "Blood On The Wall$", which you can view in the form of 21 webisodes....perfect viewing while the boss is not looking at work! lolMake sure you scroll down to see all of the webisodes...you can begin watching this gritty drama HERE.
This is old news now, but Halle Berry might finally do something interesting, while maybe proving once and for all that she actually has acting talent:'Halle Berry has become attached to star in the Eunetta Boone-scripted film, "Who Is Doris Payne," based on real events. Berry will star as the title character, Doris Payne, an international jewel thief whose career spanned five decades.'
From IW: This is the story of a Black woman who stole fine jewels for decades, at a time when just being Black and in a store that sold them was cause for intense suspicion. The plot sounds fabulous--I hope Halle can pull it off. For a great post related to this film, click HERE for Obenson's thoughts.
Did you know that Preston Whitmore has been financing up and coming filmmakers? One of the films has made it to BET:'BET has acquired broadcast rights to"Dough Boys," the debut film from Preston Whitmore's Give Back Raise Up Program wherein he finances and produces low budget pictures to give newcomers in front and behind the camera an opportunity to showcase their talent. BET will air the film in May. Paramount Home Video will distribute the DVD.'
From IW: Nice. And speaking of newcomers, received this in my email:
"Good afternoon! My name is Princeton Holt, and I decided to contact you humbly and see if you would at least be interested in seeing my first feature, "Cookies & Cream".Cookies & Cream is a character piece about a racially mixed single mother, who maintains an adult entertainment job in order to take care of her daughter and herself. The film has seemed to make male audiences feel a bit helpless, which I think has a lot to do with a subtle sexism in the sense that love from a man alone is not enough to dictate this female character's destiny, which I think has been unsettling to several male viewers, although the overall reception from men has been favorable. I would be very interested in hearing a female reaction to this subject.
Again, I really appreciate what you are doing; it is necessary for the survival of true art films about our past, present and future generations. Thank you for your work, as well as your time and consideration. "
From IW: Hmmmm.....it was shown at "The Sexy International Film Festival" (whatever that is), so at the very least, it must be sexy, haha. Here is the teaser:
Last but not least, I really will be reviewing Diary Of A Tired Black Man later today. I was going to do it last weekend, but it really wasn't Valentine's Day fodder. I have to admit, I've been watching and rewatching a lot of stuff on TV lately....did anyone catch the mini movie marathon on TV One yesterday? "Double Take "(blech) with Eddie Griffin, "Hollywood Shuffle", and a low budget independent film called "Traci Townsend" which involves a reporter (Jazsmin Lewis) examining her failed relationships. The movie is trite, and as as I've said before Jazsmin Lewis' acting skills seem to be limited to her innumerable hairstyles, but it is a good segue to my review later. **sigh** A lot of Black male/female relationships seem to be on permanent "fail" lately.....more on that later....
Oh sh*t! I almost posted this without putting this in (thanks sergio). There is an on-line petition against Sasha Fierce playing Angela Davis. For those commenters on my last post, and for the lurkers who also feel that even the mere thought is beyond ridiculous, you can click and sign HERE.
It has been discussed on this blog several times how Black sex/love/intimacy is rarely shown in films, especially in a realistic way.... really maybe not since the Blaxploitation of the 70's. Well, the film I am reviewing in this post certainly leaves those longings in the dust.
Had the pleasure of seeing "A Good Day To Be Black And Sexy", and wowee. I. Freaking. Loved. It. I don't even know where to start.It is a series of vignettes that show the perils and beauty of love and sex with several Black couples; the adulterous situation, the selfish lover, the love relationship that hits you out of the blue.
It opened with an "O" face shot, and a scene I wasn't too crazy about called "Reciprocity", in which a woman gets hers (downtown ifyaknowwhatimean) and doesn't want to reciprocate. "Oh boy, here we go", I thought, rapidly losing interest and thinking that this must be a typical, low budget outlook on Black male/female relationships...but after that--just wow. The next story, called "Her Man", involves a couple--the man being married, and the woman--being the mistress--making the mistake of starting to care too much, and making the inevitable demand for him to spend more time with her and being jealous of wifey. It is so real, so natural, and rang so true you it makes you think "damn, they really got this". It made me super curious to see the rest....and no matter who you are, you will find a strong affinity for at least one of these vignettes.
Some of the movie shows the beautiful, powerful side of Black love, some of it shows the ugliness, which is just as powerful, sometimes even more so if you let it be so. It is intelligent, humorous, and yes, sexy and erotic. Sometimes it was so sexy that it made Ms. Invisible hot in her seat, but I won't go much further into detail as sometimes Poppy Invisible, my father, peeks in here once in a while. My favorite is the story "Tonight, Part II", and I immediately had an hour long crush on both the male and female leads. It was absolutely affecting in it's magnetism...it shows how the power of silent, unknown attraction can be so mighty in it's power and emotion, it just makes all logic go out the window. You are completely out of your realm and comfort zone, but you are almost Zen in your focus that all you want is this person, and nothing else is really as important.
It made me remember one comedian, who I was meeting for the first time to set up a styling session, was at a radio station giving an interview. While I was sitting there in reception listening to him talk, I found myself becoming immensely attracted to him, I don't even know why. He looked out of the glass a couple times, but nothing seemed to register on his face--I didn't even think that he saw me. When the interview was over, he promptly came out, walked straight over and laid his body on the back of the sofa I was sitting on, and just started touching my neck and arm, real soft. In a normal situation that would have completely freaked me out, but at that time it felt like he should be doing it--and he did it before he even said hello to me.
"Tonight, Part II" is a story like that, and you drink in all of it with all of your senses. Director Dennis Dortch has one hell of an amazing eye for just beautifully sensual shots, focus, and colors that make you just feel it in your bones. Even the sound of beads clicking in someone's cornrows, or the way someone's t-shirt fits looks/sounds/feels sexy. You smell the leather in the seats of someone's car, feel the texture of the sheets on the bed. Even the music is completely on point. The characters were all amazing, in natural acting ability and to look at. I just hate when some people say "oh, they're light, or have good hair, or whatever else, so they must be 'mixed'". Black people are the most diverse in looks on earth, sometimes even in the same family, and Dortch shows us in every shade, color, and hair texture, which I loved. The girl in "Tonight", Mylika Davis, was particularly beautiful to me; young, petite, with a perfect jewel of a dark brown face. Her love interest, Jerome Hawkins, just might be my sixth husband :-)
The last vignette "American Boyfriend", focusing on interracial Black and Asian culture, was sort of a weak finish, but is still miles ahead of any Black Cinema I've seen for months. From what I've read, the stories are supposed to take place in Los Angeles, but everything had the look, feel, and flavor of New York to me.
This is a breath of fresh air movie about real Black love and sexual situations, sometimes almost graphic in it's rawness. It opens you up like a flower, and makes you think about past, present, and future love/lovers. Unless you are just the biggest prude ever, once you finish watching this movie you will be ready to smash anybody with a pulse, haha! It was released yesterday on DVD, Ms. Invisible says check it out, stat.
ANNOUNCEMENT: Black Cinema At Large is giving away a bootleg-free DVD copy of "A Good Day To Be Black And Sexy" in a little, bitty contest. Tell me what you think is the sexiest Black Cinema scene ever and why--my favorite will win this wonderful movie (we may have to vote!) just in time for Valentine's day. Leave it in the comments folkses-contest ends Saturday at midnight, PST!
Sorry I haven't posted in a minute, but Mama's been taking care of some serious bidness the past 2 weeks. I want to say thank you to the new folks that are following my blog...I have found some very interesting reads through the blogs that you have. Kudos!
I will do a few more posts before we wrap up this crazy, amazing year. But today I want to leave you with 2 videos, both that highly peaked my interest. The first I was gonna do independently as a "Terrence Watch!" until I found the second vid. Thank you reader Harlepolis for sending this to me....it is of Jamie Foxx on Big Boy's radio show talking about his experiences with my beloved, Terrence Howard. He absolutely destroys it as he imitates Howard and his special way of talking, and speaks on Terrence's ummmm..."unique" personality. Funny as hayall!
This second one I saw while reading "On The Black Hand Side". It is of Etta James and Chuck Berry absolutely, positively KILLING it on some awards show. They show everyone, from youngest new jacks to the oldest heads, who the true royalty really is. Etta's talent is so huge, Bey can only dream at night of coming close...and Chuck is evidently quite the hype man.
You can see this reunion brought them back to the memories of their early days together...LMAO at Keith Richards of The Rolling Stones coming in on the end as if he were on the same level and caliber (or even deserved to be in the same room) as James and Berry.
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If you are not able to view the above video, click here: http://www.dailymotion.com/video/x4naj_chuck-berry-etta-james_music
Is the title of an adorable movie I saw last night. Some have you might have seen it already; I passed it up at a couple of film fests cause the trailers turned me off. It seemed silly, lame, and cliched, and I certainly didn't want to spend an hour of my life seeing a brother chase the grey girls.But if that stopped you as well, or if you haven't heard of it, I implore you to find/rent/ watch it on cable. I was surprised at it's freshness, it's sweetness, and it's optimism about black love, without being corny at the same time. It is funny, and the lead actor, Anthony Montgomery, is very easy on the eyes ifyaknowwhatimean. The lead actress seemed like a very cool chick--I know some people like her, though I must admit her hair had me at my wit's end. For those of you that consider yourselves different from the expected Black "norm" or maybe just a nerd looking for love, you will especially enjoy this. I also know a lot of the readers of this blog have said they liked "Hav Plenty" (which I did not, more on that later)--you will definitely get into this one.
I was going to write a review, but I saw one on Pajiba that summed up perfectly how I felt about it (plus Ms. Invisible's feeling a tad slackish today):
After a while, you get used to the romantic-comedy template. In fact, after reviewing dozens and dozens of them, you begin to realize that it’s not the existence of either romance or comedy that makes a movie a romantic comedy — since those qualities so rarely exist in the genre — but whether the movie follows the romantic-comedy structure: A man and (usually a) woman meet; they either fall immediately in love, or hate one another and fall in love later, then separate due to a contrived argument or circumstance, before ultimately reuniting after a callback and/or heartfelt speech, i.e. the grand gesture. It’s been the same since Shakespeare, and there’s no indication that this will ever change. And why should it? Name a romantic-comedy that ends unhappily, and I’ll give you a bad romantic comedy (see, e.g., The Break-Up and Prime, two more recent examples in which the protagonists didn’t end up together).
And by traditional measures, I’m Through with White Girls: The Inevitable Undoing of Jay Brooks (currently making the film-festival rounds) fits the romantic-comedy mold: Jay Brooks (Anthony Montgomery), a slacker-geek graphic novelist with a history of commitment issues, meets Catherine (Lia Johnson), an up-and-coming feminist author. They fall for each other more or less immediately, develop a serious relationship over the course of the film, and then — through a contrived argument that entails both his fear of commitment and her trust issues with men — the two separate, and Jay tries to win her back with a grand gesture, this one involving self-humiliation.
By that count, I’m Through with White Girls is a typical romantic-comedy, except that it’s not: In addition to being a rare rom-com that actually roms and coms, it’s also unusually smart, clever, and contains an authentic social message that is neither trite nor self-serious. What’s unusual about the fact that Jay is a slacker geek graphic novelist is that he’s also African-American, and Catherine - an uber-feminist writer - is of mixed-race and happens to speak like a valley girl, both characters defying racial stereotypes. Jay’s history of commitment issues also all involve white girls, because black women have never found him particularly date-worthy. Nevertheless, he decides, after a series of bad relationships with a string of white women, to swear them off. Meanwhile, Jay’s quirky best friend (male best friends in romantic comedies are always quirky - check the archives), Matt (Ryan Alosio) is an unemployed white dude with a video-game obsession who, to win the affection of a white girl, studies rap music and embraces the hip-hop lifestyle.
Sounds kind of crass, doesn’t it? And yes: Perhaps in a conventional studio comedy, all the stereotypes about race and sex would be trotted out and lazily exploited in a borderline offensive manner (e.g., white chicks dig black guys because they have big dicks), featuring Martin Lawrence, Cedric the Entertainer, and LaWanda Page. But here, director Jennifer Sharp, working from a script from Courtney Lilly (who, fittingly, has written episodes of both “Everybody Hates Chris,” and “Arrested Development”) playfully toys with those stereotypes in as subversive a manner as allowed while still maintaining the romantic-comedy label. The whole thing is surprisingly sweet, strangely funny, and so unexpectedly good that it took me a while to realize it was actually a romantic comedy. Indeed, despite a title that screams lame urban comedy, I’m Through with White Girls is something akin to a cross between High Fidelity and a Spike Lee film, if Spike Lee still had a goddamn sense of humor.Granted, it is a truly independent film (not from one of those corporate-owned specialty studios), and it shows in some of the film’s supporting cast - a few of the actors/actresses seem as though they were pulled off the street or were friends of friends just hanging out, likely given the two-week shoot (I am, however, impressed with the casting of Alaina Reed Hall, who some may remember from “Sesame Street” and “227.”). But despite a budget that probably wouldn’t pay for a day’s catering on a studio film, the cinematography is fantastic - vibrant and luscious, a romantic-comedy seemingly colored by a graphic designer. Super-hardcore-uber -neo-maxie- dun-dweebie-Trekkie geeks may even recognize the two leads - Lia Johnson (whose character is ten kinds of attractive and winsome as all hell) had a role in Star Trek: New Voyages, while Anthony Montgomery was a regular cast-member in “Enterprise,” and he is flat-out fantastic - the man effuses charisma, and I have no idea where this guy has been hiding. The two together have more chemistry even than Ashton Kutcher has with himself, which is saying something, given his obvious self-adoration. And Ryan Alosio is impressive as a poor man’s Justin Kirk, and his hip-hop white boy is less funny that it is sweet.
What’s most impressive about I’m Through with the White Girls, however, is its place in the current genre: It’s neither an Apatow-friendly dick-flick full of frattish humor or unattractive guys dating attractive women, nor is it the other side of the spectrum: A Rainbow Killer/McConaughey chick flick obsessed with finding Mr. Right. Instead, White Girls is a real goddamn love story that deftly explores race, gender, and class issues while maintaining a sense of humor. In other words, nothing that’s likely to come to a theater near you anytime soon.
From IW: Word. Here is a a trailer of the movie. Bear in mind, this is not the one I saw; this one is much better:
For a terrific interview that my girl SolShine did with the lead, Anthony Montgomery, on her blog Think Virtue! click HERE. She also has a sweet blog all about minority film called "Reel Artsy" which is on my blogroll, but you can click HERE to check it out.
A little while back, I wrote a review of a small film making big noises called "Medicine For Melancholy" here, which is a 24 hour love story between two seeming opposites, both black. The writer and director of that film, Barry Jenkins, was in attendance at the screening and was gracious and warm to all that approached him. He had the same graciousness when I asked to interview him for 7 Questions, and the warmth and thoughtfulness that seem to be part of his make-up come across in his answers....his views are quite refreshing. He also offers some inspiration for aspiring filmmakers, as well as giving the readers of this blog new bright hope for Black Cinema's near future. Check it.
Question #1
Your film, "Medicine For Melancholy" is a cool, clean drink of water for those of us dying of thirst for something different in Black Cinema. What has been the response from your Black viewers? Is there a difference in the responses from your non-Black audience?
Question #1
Your film, "Medicine For Melancholy" is a cool, clean drink of water for those of us dying of thirst for something different in Black Cinema. What has been the response from your Black viewers? Is there a difference in the responses from your non-Black audience?
First of all, thank you for that. I'm from the South, so believe me I know how good a cool, clean drink of water can feel on a hot afternoon! This film has only played at film festivals, which…to me a film festival viewer is different than an average viewer at the multiplex. I feel at film festivals the audience is truly there to support the filmmaker, they go into a screening hoping, wanting to love the film. So in that respect, I have to say across the board the response to the film has been overwhelmingly positive, regardless of race, class, gender, etc.
That said, the response from folks of color, particular black folks, has been undoubtedly passionate. By passionate I mean I've signed the back of ticket stubs, posed for photos, given long, warm hugs, signed program booklets; I've been messaged on MySpace and Facebook these sincere thoughts about the film and how it's made people feel. And I am not exaggerating at all when I say that ninety-five percent of those incidents have come from black folks.
Question #2
What was your goal when making this film? Was there a message you were trying to put across?
I think there are many different types of filmmakers, but there are two types in particular I reference when it comes to this question:
1) Those who have a definitive point of view and create a film to present that point of view.
And…
2) Those who have a question and create a film to investigate that question.
To me, this film and myself fall decidedly in the second group, which is a way of saying there was no particular message I was trying to put across in making the film. The two characters represent two different sides of a discussion, and I tried to be very careful to not give more weight to one or the other. The questions that arise during the film are addressed but not answered. As a chronicling of 24 hours in the lives of two people, you can only resolve those issue so far in this film.
Question #3
How were you able to fund your film? What were your biggest challenges? Any advice for those wanting to go the same route?
The film was funded first and foremost at the screenplay stage. When writing the script, I made sure to set it in places that I knew we'd have access to, that would require minimal lighting and simple set pieces. It was monetarily funded by my friend Justin Barber, paid for entirely by the money he earns doing special effects/animation work on DVDs. Basically, the Ocean's 13 DVD special features menu paid for Medicine For Melancholy. Justin owns this movie outright...or rather he used to own it before we sold to IFC.
This movie was shot with a four-person crew on an obsolete camera (Panasonic HVX) and edited on a laptop. The means to make films is out there for anyone with enough friends and skill to utilize them. The biggest challenge was and always will be deciding to "just do it." It seems cheesy to say it, but the truth of that statement is why Nike's slogan has stood the test of time.
Question #4Do you see us as making any inroads and having successes in Hollywood as far as Black Cinema goes? What is your perspective on the state of Black Hollywood?
I'm so glad you asked this question. Due to the success of this film, I've been spending more time in Hollywood and what I've found has been pleasantly surprising. All over town, there are young folks of color making their way up the ranks, holding executive positions at many of the major studios and production companies. I lived in LA five years ago and this was not the case. As these folks work their way up through the ranks, I think you'll begin to see more interesting work by and about people of color coming out of Hollywood. It's an amazing thing that's happening from the inside out, which to me is the final piece of the puzzle that's always been missing.
Just last week, I watched the 2nd debate between Obama and McCain in an apartment in LA filled with young execs of color (and some absent that color!) from all different aspects of the Hollywood game. If what I saw that night was any example, the future is bright.
Question #5
A subject that comes up here quite often is the dissatisfaction with what "The Hollywood Machine" is producing in the way of Black Cinema. What, in your opinion, can the public at large do to change things? (Everyone gets asked this question, btw)
This one is simple: One ticket, one vote. Every time you go to the multiplex, the powers that be take note. In fact, the Hollywood machine is completely driven by box office. When a movie like Talk To Me or Miracle At St. Anna tanks, many, MANY people take note. And to be honest, this is no different than when a movie like The Wackness or The Door In The Floor tanks. To them, it's all dollars and cents. If World War II movies about folks of color made money, Hollywood would have no problem pumping them out; it's all about the bottom line. Tyler Perry (and this not in anyway a critique of those films) is a perfect example. Dollars and cents.
I always go back to the Rosewood/Booty Call example. They came out on back-to-back weekends. A whole lot of people went to see one. Not very many the other. Hollywood took note.
Question #6
What projects do you have coming up in the future?
I'm working on a few different things, all of which are nothing like Medicine and hopefully involve us getting paid to exercise our craft. I've done nothing but SPEND money to make Medicine For Melancholy. If folks want to know what it takes to realize an indie film, that's it in a nutshell. I have nothing but debt to show for this film. And a whole hell of a lot of PRIDE.
For the record, I definitely come out on top in that deal.
Question #7
Any thoughts you would like to relay to the readers?
Yeah, MUCH THANKS for reading this. And by this I don't mean this interview, but rather this blog. Much thanks for taking the time to get on the net and find resources like this blog, The Obenson Report, Hammer to Nail, Indiewire, all these resources that help plug us all into the same cycle. Medicine For Melancholy would not have had the success it's had were it not for people blogging about it, doing the work of pointing it out to readers. It's a cycle that keeps on giving. I made the point of "one ticket, one vote" above. Building awareness of smaller films like ours via the web is no different.
I'm very grateful to have your eyes on that computer screen right now, so...
…much, MUCH THANKS.
From IW: No, thank you. Loves it! I expect great things from this brother. If you'd like to more about his film, Medicine For Melancholy, check the link http://www.medicineformelancholy.com/. It will be on the IFC Channel soon....until then, here is a clip:
And here is a clip of Barry giving a short chat about the movie:
If you have been following this blog for a while, you would know that I was not such a huge fan of Spike Lee's earlier works. I thought them sometimes confounding (Bamboozled), overwhelming (School Daze), underwhelming (Jungle Fever), cliched (Get On The Bus), and recently, just weird (She Hate Me). And I will never, ever, get the attraction of "Do The Right Thing" (please don't bother to recruit me in the comments, it won't work).
But at the very least, he was admirable for the very fact that he was doing what no Black director was doing, and had not really done much up to that point--making films on his on terms. Sure he talked massive amounts of shit (and got away with it) about the Hollywood system, but the bottom line is people gave him money to make movies the way he wanted them made. For better or for worse.
A lot of his frustrations and anger came out in his earlier films, and many accused him of being ham-fisted with his race related subjects, which I tend to agree about. I'm all for speaking out, but I don't want to be clubbed in the head over and over again. At some point folks will stop listening--and somewhere in the 90's people did; folks didn't rush out immediately to see the latest Spike movie, but instead gave it a careful side-eye before deciding, and then usually made the decision to stay away. I believe it pretty much began with "Girl 6", in which Spike's anger and message multi-tasking started to give way to his fantasies and hobby interests (basketball).
I've always believed that in his early years he was much better at marketing and inciting controversy than actually making movies-in fact, he was a genius at it. He knew how to make films about inflammatory subjects, and folks (especially Black folks) were thirsty for something different after the overwrought corniness of the early and mid eighties cinema. He was still developing as a director, but no one could miss that he had the potential to be something greater.
And greater he definitely is today. When veering off outside of his comfort zone, and directing others' projects, I feel he is amazing. "25th Hour" is beauty incarnate as a film (read my review on this blog if you haven't), "3 Little Girls" and "When The Levees Broke" are sober, absorbing and monumental in their social responsiveness. "Sucker Free City", "Miracle's Boys" for kids TV and "A Huey P. Newton Story", while not completely successful, were indeed exercises in expansiveness, and definitely not boring. "Inside Man" was his biggest hit of his career.
But now we come full circle. While watching "Miracle At St. Anna" I was reminded of the Spike I used to know--ambitious, heavy handed, trying to say everything about everything in one film. While the subject matter is important and needs to be shown, the way in which it was said was....let's just say I had a flashback to the early 90's, a place that I don't love in association with Spike.
I wished with all of my heart that he had told just a straightforward story about what actually happened during that battle, with a lot less personal interjections, just as I wished "Bamboozled" were just about racism in Hollywood. I wished that it would be shorter (at almost 3 hours) and better edited, just like I wished School Daze wasn't so messy and doing 5 things at once that could have been edited out. And I wished that I didn't see and hear Spike's personal thoughts so loudly, like I did when I saw "Get On The Bus". And yes, once again, I did completely admire him for doing something different, and on his own terms, but that's not always enough, is it?
That being said, one Black director isn't the savior for the whole race, and he and every other Black director should be allowed their missteps, without everyone jumping on them like pitbulls on a steak. Especially him, as very few Black directors even attempt to say anything in the way of social responsibility, consciousness, and accountability. He does his thing, and he is not afraid, nor boxed in by one train of thought. Which is why, no matter how much I may dislike one of his films, I know he will soon make one that I love. And that is more than I can say for the majority of Black Cinema and it's makers in these present times.
Yes, I know--my posts have been non-existent. I think every blogger goes through a period where they are ready to chuck their blog and just focus on the non-internet world. Some actually do it (R.I.P. Super Negro, The Black Actor, Babes, Bling and Booze, and most recently Black Kool *sniff*) .
Cause I know how disheartened I was when those blogs went away, I decided to keep it up, but needed a serious blog break with lots of beach and lots of dirty martinis and Sapporo. Mission accomplished, haha. I just wanted to give some love to some blogs that are my must haves, as well as one that I have recently discovered.
I think my regular readers know Madame Invisible loves a well made martini. One of the things I love even more is a witty and original Negro. My new blog crush is definitely the work of one: "The Black Market Index", relating the ebbs and flows of the stock market index to Negroid shenanigans and their ilk, like Whitney and Ray J. Loves it!
Photographer BygBaby is one of the most talented out there, but his hilarious crotchety ways, love of art & culture, and zero hesitation to call a mofo out makes him one of my favorite bloggers. If you haven't already, check him out at "BygBaby's Mindspill".
I always enjoy my time at "Maybe It's Just Me". Wonderman is an openly gay Black man, and he discusses the lifestyle, but also talks about current events, film, comic books etc. in a way that he seems to have read my thoughts. He is one great writer with a gift for expression, and can be pretty funny too.
Also on the Black Male tip (this is 4 for 4) is "The Happy Go Lucky Bachelor". I've noticed that he seems to be evolving from what a woman would give the side eye to in his unapologetic woman chasing to quite a thoughtful guy with an obvious love for women. Of course, that was probably the case from the beginning...and it is always nice to get a Black Man's perspective.
Let's get one in for the ladies, yes? I didn't think it was possible for someone to have an interesting blog about the oversaturated subject of fashion, but this beauty has somehow managed it, and thoroughly. In "Make Fetch Happen" Brigitte focuses on the Black situation in fashion and it's politics, both past and present, and makes it appealing to even those who aren't fashion maves. Go girl :-) Here is a picture from her blog. Recognize her?
And we all know that Thembi is always, always, always good for a laugh at "What Would Thembi Do?"
Speaking of laughs (or maybe tears), can someone please explain this travesty to me? I'll be waiting.
OK, I know I was a bit rough on the Whitaker the other day...so I'll make up for it with this newsy news from The Obenson Report (which, by the way, is the most amazing blog dealing with Black Cinema out there.....I would say as good as mine, haha :-) ):
Who knew Forest Whitaker was such a busy man? Not me! According to Variety Magazine:
HBO has greenlit the pilot for a program called Fat Sells which is set in the world of the $46 billion herbal weight loss industry. Forest Whitaker will produce AND potentially direct.
The project will center on the head of a weight loss behemoth (and his family) and how his life starts to unravel when the FDA begins investigating the company's claims.
No word on casting yet.
Whitaker will next be seen in the upcoming Hurricane Season, the post-Katrina, Tim Story-directed film, playing a high school basketball coach in Louisiana, "who assembles a team of players who had previously attended five different schools before the disaster, and leads them on the path to the state championships."
He's also developing a Showtime project about the rise of African-American organized crime in the 1970s, AND an FX show about arms dealers.
All sound very interesting to me. His name attached to each project certainly helps. More as each story develops.
Go Forest, go!
From IW: I agree with Obenson, all of it sounds interesting, and different.... about time! Finally, a Negro with an Oscar putting it to good use.
tried to find an unpainful pic--this one is almost ok....
Sorry for the light posting as of late--be patient with me....I've been on an extended stay in the South, and am going back home to Cali and have business to tie up for a minute. Let me put it this way, after experiencing life as a Southerner, I never want to be out of arm's reach of a Chambord martini (or beach) or the possibility of one ever again! No liquor on Sunday? GTFOH!
Some things have been piling up; of course Sergio has been sending me Black Cinema news, being the sweetie pie he is. I'll share a few of the film tips he sent over...first up, hopefully Isaiah Washington can recoup his film career (I felt he was too big for TV anyway). From The H'wood Reporter:
Isaiah Washington has booked his first major feature film role since exiting "Grey's Anatomy" in June.Washington will star opposite Forest Whitaker in "Patriots," the Dimension's sports drama being directed by Tim Story. Also joining the cast are Taraji P. Henson, Robbie Jones, Jackie Long, Eric Hill, Bow Wow, Lil' Wayne, Irma Hall, Jarod Einsohn, J.B. Smoove and Chyna McClain.
"Patriots," based on a true story, is set in the aftermath of Hurricane Katrina, when Al Collins, a high school basketball coach in Marrero, La., assembled a team of players who previously attended five different schools and led them on the path to the state championships.
Washington will play an assistant coach at John Ehret High who helps lead the squad.
Robert Eisele ("The Great Debaters") and Greg Allen Howard ("Remember the Titans") wrote the script. Raymond Brothers and Scott Glassgold of IAM Entertainment and Stephanie Allain and Michael Beugg are producing. Shooting begins this week in New Orleans.
From IW: Not really my flavor, but good to see Isaiah working. And me love Jackie Long.
Next up for all of you aspiring filmmakers; here is an interesting way to gain some exposure;--it is also telling about how new media will be working in the millennium. From AOL:
Always the innovative filmmaker, Spike Lee's next project is somewhat unique in its own way.
The Hollywood Reporter states that Spike Lee has linked up with Nokia to direct a movie made with cell phone footage from everyday people in what he calls the democratization of film.
The film by Nokia Productions will consist of three acts. An 'assignment' for each act will be announced online and people will then have four weeks to produce their submission.
'You are seeing first hand the democratization of film," Lee said in a statement on Thursday. "Aspiring filmmakers no longer have to go to film school to make great work. With a simple mobile phone, almost anyone can now become a filmmaker.'
The film's theme will evolve around the way music tells the story of humanity, and people can submit text, music, video or images at certain times between now and August 21.
Nokia will choose 25 submissions, then people can vote online for their favorite for a top 10 from which Spike Lee will then choose the winning submission from each act.
Lee will direct the film through the Web site.
The final film with the three winning submissions and other contributed content will premiere later this year in Los Angeles.
From IW: And finally, a heartfelt thank you to Ms. Marvelous at "Opinionated Black Woman". She graced me with the Red Rose Award and this mini-poem:
A single Red Rose is a wonderful gift
It shows the heart
and gives the spirit a lift
I feel the same about her blog 100%. She puts her pure thoughts and feelings out there, no holds barred, and it is very brave. Kudos to her for making us all know life is universal, whether we care to admit it or hide it. Love ya, MM!
Update: Hey Atlanta fam! There is a free screening tonight of "Neo Ned" with Gabrielle Union that some folks say is very similar to the film that Halle is to star in about a woman with multiple personalities, one a racist. Here is the info:
Event Name: Urban Film Review
DATE: Tonight, Monday, April, 28th
TIME: 7:00pm
LOCATION: Woodruff Arts Center, 1280 Peachtree St NE, Atlanta, GA 30309
Some things have been piling up; of course Sergio has been sending me Black Cinema news, being the sweetie pie he is. I'll share a few of the film tips he sent over...first up, hopefully Isaiah Washington can recoup his film career (I felt he was too big for TV anyway). From The H'wood Reporter:
Isaiah Washington has booked his first major feature film role since exiting "Grey's Anatomy" in June.Washington will star opposite Forest Whitaker in "Patriots," the Dimension's sports drama being directed by Tim Story. Also joining the cast are Taraji P. Henson, Robbie Jones, Jackie Long, Eric Hill, Bow Wow, Lil' Wayne, Irma Hall, Jarod Einsohn, J.B. Smoove and Chyna McClain."Patriots," based on a true story, is set in the aftermath of Hurricane Katrina, when Al Collins, a high school basketball coach in Marrero, La., assembled a team of players who previously attended five different schools and led them on the path to the state championships.
Washington will play an assistant coach at John Ehret High who helps lead the squad.
Robert Eisele ("The Great Debaters") and Greg Allen Howard ("Remember the Titans") wrote the script. Raymond Brothers and Scott Glassgold of IAM Entertainment and Stephanie Allain and Michael Beugg are producing. Shooting begins this week in New Orleans.
From IW: Not really my flavor, but good to see Isaiah working. And me love Jackie Long.
Next up for all of you aspiring filmmakers; here is an interesting way to gain some exposure;--it is also telling about how new media will be working in the millennium. From AOL:
Always the innovative filmmaker, Spike Lee's next project is somewhat unique in its own way.The Hollywood Reporter states that Spike Lee has linked up with Nokia to direct a movie made with cell phone footage from everyday people in what he calls the democratization of film.
The film by Nokia Productions will consist of three acts. An 'assignment' for each act will be announced online and people will then have four weeks to produce their submission.
'You are seeing first hand the democratization of film," Lee said in a statement on Thursday. "Aspiring filmmakers no longer have to go to film school to make great work. With a simple mobile phone, almost anyone can now become a filmmaker.'
The film's theme will evolve around the way music tells the story of humanity, and people can submit text, music, video or images at certain times between now and August 21.
Nokia will choose 25 submissions, then people can vote online for their favorite for a top 10 from which Spike Lee will then choose the winning submission from each act.
Lee will direct the film through the Web site.
The final film with the three winning submissions and other contributed content will premiere later this year in Los Angeles.
From IW: And finally, a heartfelt thank you to Ms. Marvelous at "Opinionated Black Woman". She graced me with the Red Rose Award and this mini-poem:A single Red Rose is a wonderful gift
It shows the heart
and gives the spirit a lift
I feel the same about her blog 100%. She puts her pure thoughts and feelings out there, no holds barred, and it is very brave. Kudos to her for making us all know life is universal, whether we care to admit it or hide it. Love ya, MM!
Update: Hey Atlanta fam! There is a free screening tonight of "Neo Ned" with Gabrielle Union that some folks say is very similar to the film that Halle is to star in about a woman with multiple personalities, one a racist. Here is the info:
Event Name: Urban Film Review
DATE: Tonight, Monday, April, 28th
TIME: 7:00pm
LOCATION: Woodruff Arts Center, 1280 Peachtree St NE, Atlanta, GA 30309
MORE: FREE! Arrive early, limited seating.
Click here to RSVP
Can we talk about TV One for a second?
I notice that lots of people talk about the failings and shortcomings of BET, but rarely is a word given over to TV One. Let's not take them for granted, starting with the Black woman owner Cathy Hughes (who genuinely cares about the community)....they are always doing very positive things over there. They are real and comforting, like going over to one of your favorite relatives' homes.
One of my favorite components are the films that they show. This weekend they showed a good variety; "Doing Hard Time", "New Jack City", "Malcolm X", and "The Ernest Green Story". This channel is fabulous for seeing films you might have missed the first time, or haven't seen in a while and want to view again.
Since I am a major film lover, I fall into the second catagory and am usually rewatching. I usually don't do that very much, but for some reason I enjoy it when I re-view on TV One. I notice things I might not have seen the first time or even the second time I watched a film.
Doing Hard Time
Doing Hard Time is the very first time I saw Michael K. Williams, who plays the infamous Omar on "The Wire". I wasn't expecting much from the movie, as I only picked it up since I'd pretty much seen everything else, and wasn't that thrilled about top billed Boris Kudjoe (not a fan). It is the story of 2 men (Kudjoe and Williams) who are at odds against one another in prison.
To my surprise I got completely absorbed into the film, every bit of the reason being Mr. Williams. On first glance I was dismissive, like "who is this crispy negro?" but I found myself getting wrapped up in his drama and emotions, just like his performances on The Wire. Check this movie out to check him out, but it is a bit violent, it's a prison setting after all.
New Jack City
What can I say that hasn't been said already? But a lot of time has passed since this movie first came out, so you look at some things in a different way. Some things I noticed:
-Flava Flav was all up in that piece, like they were proud to have him. Who knew what he would come to in the new millenium?
-The landscape architect haircuts look hilarious now. Mario Van Peebles flatop was a travesty.
-How did Allen Payne and Wesley Snipes lose so very much hotness?
-It didn't occur to me that when Lil' Wayne talks about "The Carter" he was referring to the drugged out apartment building in this movie. Prolly cause I don't pay attention to Lil' Wayne.
-I think Dave Chapelle got those white lips for his sketch crack character from Pookie.
-Remember when Teddy Riley was the sh*t and not broke? How did that negro lose all that money anyway?
-I think this was the last serious film for Judd Nelson, poor baby.
-I'm still wondering what happened to Tracy Camilla Johns.
Malcolm X
I wrote about this film when I first started this blog here. I must say, after watching it again, I really got caught up in the last third of the movie, which starts right about when Malcolm goes to Mecca and changes his views about other cultures.
Malcolm X is one of my most important icons, and the enlightenment he felt after his experience was so huge, and so eloquently related by him that you could feel it in the fiber of your bones. I think the film captured that essence very well, and you are devestated when he is shot, and all knowledge that this is really Denzel Washington becomes secondary.
This is the film that should have garnered him an Oscar.
Very appropriate for Black History month....we should always be reminded that at one point in time our very lives were in danger just for trying to go to a decent school. It is the story of The Little Rock Nine, whose cause was a bit more noble than the Jena Six.
It assembles an eclectic cast with Morris Chestnut playing the lead, co-starring with Ruby Dee, Avery Brooks, Tico Wells, CCH Ponder, Ossie Davis, and Monica Calhoun.
To learn more about Ernest Green and The Little Rock Nine click HERE.
