Okay, regarding my last post--I thought Darktown Strutters would be interesting based on it's premise, but I must say I did not love it. At all. Any movie that randomly has The Dramatics pop up in a jail cell in full costumes doing a full performance with Temptations-like choreography gets a huge side-eye from me. Why were movies that weren't dramas in the 70's so effin weird? I know it was a time of rampant drug use, and a lot of films from that decade were hard evidence of that...from "Tommy" to "Heavy Traffic" to "Darktown Strutters" just to name a few--they were just so disjointed, so horribly edited and all over the place with zero cohesiveness. *sigh* Thank goodness for Fred Williamson...
Anyway, let's view a few trailers, yes? These films at least have a linear storyline, but let me know if you find them interesting (personally I can't wait to see "Brooklyn's Finest"). I will get around to writing about the zillions of films I've seen in the past month and a half.
First up, Chris Rock's remake of "Death At A Funeral", with Danny Glover, Tracy Morgan, Zoe Saldana, Martin Lawrence, and my next husband, fine ass James Marsden.. I've had the original on Tivo for the longest, but still can't get myself to watch it....I would like to see the original before viewing this one with a Black cast-I'd like to see if they made it any different--or better:
Then we have this one, which is not really a Black film, but Sanaa Lathan (down with the swirl once again) was tweeting about how "proud" she was of it. When I first read about this film a year ago, it also got the side-eye from me, and after viewing this trailer, it now has a bigger one; Michael K. Williams from "The Wire" nonwithstanding. I dunno...:
I will be working with the publicity team on this one, so expect to see more about this film--hope you likey, at least for the novelty of seeing Wesley Snipes with back-length cornrows..."Brooklyn's Finest" (Michael K is in this one too, as well as The Cheadle, who I always like a lot more in crime thrillers):
Btw, here is a clip from Darktown Strutters; watch at your own risk (and yes, that is Roger Mosely...the chick is actually the first Black Bond girl for you trivia buffs):
There is one thing that really burns me, and that is folks that put down or discourage the dreams and aspirations of others. There is nothing more disheartening than sharing your thoughts and ideas with someone, only to be told that they are ridiculous and unattainable. To which I say this: Completely consider the source: A) Is this a person you would gladly trade lives with? OR B) Does this person lead a life that you admire and/or respect? If the answer is no, grains of salt, my friends, grains of salt.
One of my favorite things to do on this blog is to interview those I find interesting. The people interviewed here wholly deserve the attention and accolades they receive, as they are independent thinkers, free from the constraints of the conventional world. They learn from mistakes and experiences, and, most importantly, they are willing to share what they've learned with others. They are hustlers and sages, and I learn amazing life lessons and get inspired by each one of them; I hope you do too. Here is the latest--"A Good Day To Be Black and Sexy" director Dennis Dortch, a definite welcome addition to the halls of the new Black Renaissance in film...check it.
Question #1
The landscape is so barren on Black love/sexual situations in movies. I know you have been asked this many times over, but what gave you the idea to make this film? Who or what has been your inspiration in filmmaking? (That is really two questions--I'm cheating a bit)
Life. Real life. Our daily pursuit for happiness in love and sex drives and affects most of our decisions in life. We are living it everyday. These are basic human needs that find our white counterparts with oogles of quirky movies on the subject. When it comes to us, suddenly it's different even though we are all human beings with the same desires and needs. When you do see us in any sexual situation in a movie (especially a mixed cast movie) - we are either raping, overly sexually charged, or getting no ass whatsoever. Nothing but the extremes and nothing in between. Keep in mind that anytime you put a black person on the screen (esp. a black man), whatever they are doing or portraying holds much more weight. Put a gun in their hand, show them dead, show them running from the law, in court, or playing the President of the US or God, or Jesus, or simply having sex, it's suddenly a little bit heavier. Where our white male counterpart is just doing something as an action, the black counterpart becomes that *something* they are doing.
I think the second part of that is black folks are kinda prudish. I mean the West is sort of prudish overall compared to our European counterparts, but we all love sex but we just don't want people to know we love it. That's why the porn industry is booming. It's all about secrecy, so it carries over to the big screen and the lack of content on the subject. I've been asked plenty of times, why would I want to make a film just about this stuff? Like a porno or something. This usually comes from a woman. Deep inside, I'm thinking this person is probably a freak in bed, but a lady in the streets. Simply, I wanted to just get at the things we are doing and feeling today and tomorrow, and the next day in a realistic presentation.
To answer the second part of your question, it's almost the same answer... Life. Real life. Women are an inspiration especially. Sometimes I just want to talk to you. And film is an extravagant way to communicate. You ever had an argument with your significant other and you wish a third party was present so that they could validate your point of view or judge who is right or wrong in this situation? Cause you feel the other person is clearly not listening to reason. You just want someone fair and non-biased to call it. Making a film is like creating that opportunity for a third party assessment. I'm simply telling on someone, including myself.
Question #2
The visuals were wonderful in the film, and the performances from the actors are truly on point--very natural and affecting. What is your primary focus when you direct a film? What emotions and thoughts are you trying to elicit from the audience?
My primary focus is sensuality and naturalness. To capture those fleeting real moments in life that we all have experienced but never have captured on film. The actors are bringing a piece of themselves to the set. We discuss their own experiences related to the subject and pull from there. My cinematographer Brian Ali-Harding is by heart a documentary filmmaker. His style is pure cinéma vérité. We have been making films together since college focusing on real human emotion and moments not artificial movie moments and over-dramatic fake movie emotions. You put these two factors together and like peanut butter and chocolate, you got black and sexy.
My goal for the audience was to create some connectivity. If you watch the film and identified with something that's happening on the screen either by knowing this person in real life or applying a past experience you, yourself had, it feels real. You then feel connected.
Question #3
The title of your film "A Good Day To Be Black And Sexy" was sure to stir up attention. Was the intention to make people take strong notice? Were you pressured to change the name by anyone?
Yes, I wanted the marketing of the film built in to the title and live on beyond it. It was always a brand to me. More than one film with many spin-offs and connected lifestyle products (clothing, music, etc.).
Yes and no to your second question. Someone very close to the film tried to convince me to change the stories to match what they perceived the title to mean.
Question #4
You made some unknown casting choices and filmed on a limited budget, and your film turned out to be one of the most interesting pieces I've seen for some time. As advice to some of the filmmakers who read this blog, how does one get a feel that they are moving in the right direction on a project? How does one garner support from those inside the film and outside of it?
The first question is what is the definition of the right direction? For me it is when something affects you or intrigues you. You have to be your own guinea pig and be affected before it can transfer to someone else. Trust yourself and your instincts and the people who are supposed to be attracted to your project will find it and support it. It's just energy and there is not trick in it. Just truth and honesty.
To go further, don't pay attention to the haters. There will be a lot of them. It's not that they mean you direct harm, but they have so much self doubt in themselves, and misery loves company. I was told that I was crazy to take the money out of my house to finance this feature. I was told that my script was a porno and no one would want to see this. I was told that no company would want to distribute a "black art film." Those types of films are reserved for white people. If you have a strong vision and it truly makes you excited just thinking about it, then there is a good chance that excitement will transfer to someone else watching the film that you made from that inspiration. Everybody may not like your film, but your job is not to please everyone. That is an elusive goal.(from iw--amen!)
As far as gaining support, just do your thing. Most people just talk, very few actually do. It's not easy. It's takes a tremendous amount of focus, perseverance, and unwavering faith. Making a film and expecting a company to buy it and in turn people pay to watch it is not a solid business plan. It's crazy actually. So, when someone does it and breaks through, the law of attraction takes over and the support trickles in. It's still a struggle after you initially get that attention. Support is a fickle thing, trust me. It's really up to you to build on it in a timely manner.
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)
If we collectively stop supporting the bullshit, the bullshit will disappear. It's about natural selection. Hollywood is not against making money any way they can. But really, you have to ask yourself, why would white people collectively give a damn about what we want as black folks? They are too busy trying to get what they want. Our wants and needs are our problem. And we dictate what gets put out there every time we spend money on it.
Question #6
Tell us what projects you are working on now. Anything we can look forward to in the future?
The big project launching next month is what we are calling Black & Sexy TV. An online portal for black content from my team. The first out the gate is a spin-off web series from the film called BLACK & SEXY B-SIDES. We are basically expanding on the world and characters created in the film in 2-6 minute episodes online. Plus we are creating the sequel to the film tentatively called A GOOD DAY TO BE BLACK & SEXY: NEW YORK CITY.
Outside of Black & Sexy, I have a feature I'm currently writing that I'm real quiet on, but I'm real excited about. That's why I'm not saying anything really. You gotta stuff all that excitement and desired to blurt out the story into the script.
Question #7
Any thoughts or advice you would like to leave for the readers?
I guess this would go to the filmmakers...Distribution. Most filmmakers (including myself) look at obtaining distribution as the end-all and be-all goal. But that's really just the beginning. And we spend a lot of time stressing on the things that don't even matter in the end, when the real important things have slipped past us a long time ago. The great thing about making your own film from your own money is you have all the control. Suddenly when you get distribution, you see most of that control taken away. The biggest beef a filmmaker will have is how his/her film is marketed. And really it's just a divide between your goals and your distributor's goals. If you can identify what their true goal is, then you can better manage your expectations if you decide to sign with them. And you need to figure out what it is you want and how that fits in the current climate of the film industry. I stumbled upon a quote in a magazine on an airplane trip one day that said it all: "You don't get what you deserve, you get what you negotiate."
From IW: "You don't get what you deserve, you get what you negotiate." Truer words were never spoken, for reals! A phrase to live by folkses, and completely consider the source. Below is the new trailer for "A Good Day To Be Black and Sexy"--please add to your Netflix cue or get out to your nearest video store and support our new Renaissance....
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!
Not much going on in the world of Black Cinema--or any cinema, really. I went to a preview of the new Morris Chestnut/Taraji Henson/T.D. Jakes/Bill Duke movie "Not Easily Broken"...more on that after it opens, but here are a few tidbits....
Can I say what's up with Sundance? They are showing all types of...I don't even know what this year...to wit (spotted on The Obenson Report):
"[Michael Clarke Duncan] is starring in a film called Slammin’ Salmon, which will premiere at this year’s Sundance Film Festival in a couple of weeks.In the film, a brutal former heavyweight boxing champion Cleon “Slammin’” Salmon (Michael Clarke Duncan), now owner of a Miami restaurant, creates a competition to see which of his waiters can earn the most money in one night, with $10,000 as the winning prize, while the loser will endure a beating at the hands of the champ.
Of course, hijinx and hilarity ensue... what else, right?
The film also features Vivica Fox."
From IW: Hmmm...after some investigation, I see the makers of this film are "Broken Lizard", responsible for a few weird, low budget comedies. I don't know what to make of it, especially what is going on with Vivica's hair...it just seems to get bigger and bigger every time I see her. Here is the trailer:
It pays to be married to someone who knows the true meaning of "parlay", and this applies in volumes to both of the Smiths:
"TNT had greenlit the medical drama "Time Heals," with a 10-episode order. The series is produced by and stars Jada Pinkett Smith. David Julian Hirsh (TBS' "Lovebites"), Laura Kenly, Christina Moore ("90210") and Suleka Mathew ("Men in Trees") will co-star.
"Time Heals" is set in a Charlotte, North Carolina hospital, with Smith playing the director of nursing who takes on hospital administrators, apathetic colleagues and heartless doctors."
From IW: I would normally have lots to say on this, but I know Undercover Black Man was working on a project with Jada, and this may be it, so I'll be quiet and be nice...but oh! how it huurrtsss....
Got this in my inbox from Sergio:
IW-
So I've seen Notorious and I have to say that I think it's really really good. The plot may follow the standard basic formula of a bio-pic but then it's with real visual flare and style by the director George Tillman.
However the sake of openness I have to admit that I'm a long time close friend of Tillman and his producer partner Bob Teitell so course I'm biased. Also I have to be upfront and say that I really don't know anything about hip-hop so I ask you and all your readers to give their opinions about the film and say if they feel the film really captures Biggie Smalls since, though of course I know who he is, I don't nothing about his music except that he was a real big fat guy who got shot. At the screening there were several radio DJ's and local radio execs and they were enthusiastic about the film so I take it that they felt it worked for them.
One fault though is that damn Angela Bassett. Subtlety is definitely not a word she's familiar with. Once again she goes overboard with her usual overacting and speaks in that THE VOICE OF GOD tone especially in her final closing narration in the film. As you said once that black people tend to confuse intensity and over acting with good acting. It's not. Basset is a straight up ham actress pure and simple. I mean she would overact just brushing her teeth.
Sergio
From IW: I'll also keep my mouth shut (for once) about Angela Bassett, 'cause I don't want the chix from "Angie B. News" bringing down their special reign of Bassett terror on me. I will say that I am not checking for this movie--but I said the same thing about Cadillac Records at one time, so we'll see.
Here is the trailer, tho I'm sure most of you have seen it:
And finally, for all you strong. Black, female screenwriters and filmmakers:
"The International Black Women’s Film Festival was established in 2002 by Adrienne Anderson, a San Francisco Bay Area-resident and San Francisco-native. Though an academic and collaborative technology trainer by profession, Ms. Anderson is also a journalist, writer and cultural activist. It was through her contact with music artists and filmmakers that she found that many films being presented had little, if any, fair representation of the complexity and human emotions of Black, female characters. Surprisingly, she found this consistency among films from other countries as well.
She decided to create a festival where the accomplishments, talents, creativity and filmmaking skills of Black women could be celebrated, featured and fairly represented. Looking beyond the usual Hollywood-style stereotypes of Black women, she introduced new and innovate cinema, primarily directed by Black women, and/or featuring Black women in non-stereotypical roles.
To date, the festival has received over 400 entries and has garnered international attention around the world from the Netherlands, Germany, Paris, Ghana, Canada and Australia! The festival has also received personal support and sponsorship from STAR WARS director and creator George Lucas and his media company LucasFilms, Ltd "
From IW: There is a call for entries going on right now. To find out more, click HERE.
Okay folks; please tell me you saw "Blackula" and "Scream Blackula Scream" last weekend on TV One. If not, for shame! :-)
I have a laundry list of things going on in Black Cinema--some of it good, some of it pure f*ckery.
First up this one:
Director John Singleton is no longer attached to direct the feature film adaptation of the 80s TV series “The A-Team,” according to Variety.
The filmmaker reportedly balked at Fox’s attempt to delay the long-gestating project for another year to allow more time for script development. The project had already been delayed multiple times due to script issues.
The Web site ComingSoon.net claims Fox is really pushing back the film to make room for an “Alvin and the Chipmunks” sequel. In either case, “The A-Team” release date has been moved from June 12, 2009 to June 11, 2010.
From IW: An A-Team remake with an underdeveloped script? Say it aint so! You know your movie is beyond tired when they push it back in favor of "Alvin & The Chipmunks 2". This is about the 99th project I've read about John Singleton starting and not finishing. 'What the problem is?' as Madea would say.
In other completely unnecessary remake news is this (thanks sergio!):
Having most recently played a dirty cop in "Lakeview Terrace," Jackson is set to star as a bad guy again in Columbia Pictures' remake of Berry Gordy's 1985 cult classic "The Last Dragon."
Jackson will play Sho'nuff, the Shogun of Harlem, a role played in the original by the late Julius Carry, whose spiel included asking ego-driven questions like "Am I the baddest mofo lowdown around this town?" Each time his gang of thugs answered, "Sho 'nuff!"
From IW: This one is co-produced by my fourth husband The RZA, which upon this news, may become one of my ex-husbands. At the very least, they should get Taimak to play Leroy Green again-he looks just as good as he did in 1985, for reals.
Speaking of Sergio and Samuel Jackson, here is Sergio's take on the upcoming movie "Soul Men" after viewing a preview screener:
'I saw Soul Men this morning at a screening and I'm sorry to say that it's shame that Bernie Mac is not around anymore because he'll never have another opportunity to make make up for the dreadful mess this film is.
It's an abysmal, unfunny, extremely tasteless movie that will stun you speechless when you see how bad it is. It's without question one of the worse films Ive seen this year, somewhere in the top three. There wasn't a single laugh or chuckle from the people in the theater when I saw it. Just stunned silence.
There's NO comic timing or pacing and dialogue, in which literally every other word is the F word, it's clumsy, awkward and just plain painful to hear. (Remember the really awful F word heavy dialogue in Eddie Murphy's Harlem Nights? Well this is just as bad or even worse) Bernie Mac is simply just plain not funny at all throughout the entire the film. I understand that he was ill while making the film and that could explain why he's somehow "off his game" in this film. Samuel L. Jackson literally just screams (as he usually does) his way through this film, yet another crappy film in his long list of crappy films that he's made in his career. And wait till you see the final big supposedly comic highlight towards the end involving Bernie, Jackson and John Legend. You (and the audience) will be astounded by how awful and tasteless it is.
Every cliche you've ever seen before about two old partners who can't stand each other but get back together (like The Sunshine Boys) are used but even more wretchedly than before. And of course there's the obligatory super nerdy white guy who wants to be cool to make black audiences feel superior to a white man because he "ain't got no rhythm".
And there's also this pathetic far-from-comic over stereotyped character of this would-be rapper/drug dealer in the film who appears in a couple of scenes who is SO painful to watch that I wanted to walk out every time he appeared in screen.
(One good thing in the entire film, maybe, for guys of my generation is a brief cameo appearance early in the film by the legendary adult film actress of the 70's and 80's Vanessa Del Rio but of course she wasted too)
What even bothers me more is while watching it is that once again I felt that black cinema is in very sorry state of affairs. Medicine for Melancholy excluded, if this is what we're getting then there just shouldn't be any more black films, period. I would be happy and content just watching comic book superhero movie.
Next time I see a film with the credits: "Directed by Malcolm D. Lee" I'm heading for the hills.'
From IW: Ummm...dang. I'll reserve judgement until I see it (won't be paying tho). I'm seeing it cause of Isaac Hayes and the association with Malcolm Lee, whose career is starting to look a little dicey, at the very least.
Speaking of dicey moves, there is an online petition to get rid of The Cheadle in "Ironman" and bring back Baby Wipes Howard. Yes, really. If you want to see it, or heaven forbid sign it, you can click HERE.
In non-Black Hollywood news, I am really sad to see that Joaquin Phoenix has decided to quit acting for good. I saw "We Own The Night" last night, and really enjoyed it. It was a great cops and criminals action/suspense thriller, in which he co-starred with Robert Duvall and Mark Wahlberg. With so few real actors around, and folks like Robert Duvall and DiNiro getting older, it is sad to see someone like Joaquin leave, while Marky Mark keeps making movie after movie. I've always found that dude so wooden, and he looks and acts exactly the same way in every single film he's in. *sigh*
In other news, Elijah Kelley seems to be venturing from his brand new career in acting to writing/directing already. After getting rave reviews in "Hairspray" and landing a role in one of the supposed 3 biographical films of Sammy Davis, Jr. (what happened to those anyway?) he debuts with a project called "Who Killed Bishop Brown". It is described thusly:
'A scandalous romp filled with church politics, sexual tension and the untimely death of Bishop Brown. Kelley capitalizes on a style of filmmaking that has become very popular in the black community - a combination of drama, comedy, music, and morality.
Okay, here is the deal. Tyler Perry is to aspiring young black filmmakers what Quentin Tarrantino was to young white filmmakers a decade and a half ago. You can see Perry's influence throughout "Who Killed Bishop Brown." The dialogue, filmmaking and even casting choices mimic Perry’s production style.
“Who Killed Bishop Brown” is full of self-righteous dialogue, preachy messages and clumsy blocking. But it also features realistic characters and an ability to connect with the audience in a way put them in, in this film with Christian overtones.'
From IW: I'm sure Sergio will be thrilled to read this. Above is the trailer for it.....by the way, I got the info about the film from a site I discovered called "I Love Black Movies" which is filled Black Cinema movie reviews from folks that pretty much dedicate their lives to Black film and it's offshoots. It is definitely worth taking a gander, imho.
Another interesting blog worth wondering over to is IWBCAL commenter Camille Acey's "Adventures in Wheelville". In it she chronicles her life and times of being a former Brooklyn chick and now currently a one year resident of Radovljica, Slovenija (?!). Loves it.
Please check out my homie schlomie pop culture writer Michael G. Gonzales' co- project, "The Southernist". On it he describes his experiences with such elegant and intricate delicacies as chitlins and grits, haha!
Speaking of Mike G., he wrote this great comment on my post about Fred Williamson making Black Caesar:
[black caesar] is one of my favorite flicks; and the soundtrack is killer. i interviewed fred once and he told me james brown was mad, because he wanted to play the lead.
reminds me of when i read that originally, mgm wanted to cast sammy davis to play shaft...now, picture that.
From IW: James Brown as Black Caesar and Sammy Davis Junior as Shaft? I think God was directly involved in bypassing those two calamities, for sure.
And finally a huge big up to Reelblack's Michael Dennis winning CNN's IReport Film Festival. He says:
'I would like to personally thank everyone who viewed and voted for our film, which follows my grandmother's trek to vote for Barack Obama in the 2008 Pennsylvania Primary. It's been an amazing run. Since debuting at Fancypants Cinema and on Reelblack TV, we've been invited to screen in festivals in New York, LA and Charlotte, NC. The film will also screen the week of October 28 on BET-J's BLACK STORIES (along with Philly filmmaker Bianca White's short). All the comments are appreciated but there's so much more work to do. I chose the title The 13th Amendment to remind folks that there wasn't always a time when all Americans had the right of freedom. One of our greatest privileges is the Right To Vote. Please do it on November 4.'
From IW: Right on. If you'd like to see the short, you can view it HERE.
That 'The Pursuit Of Happyness" was pretty much BS? This from Sergio via "Cracked":
The Hollywood Version: Chris Gardner is a hard-working man with a pain-in-the-ass wife and an adorable little son boasting one of the greatest afros we've ever seen on a child. All Gardner wants to do is make enough of a living to provide for his son.
Through what we assume is black magic, he solves a Rubik's Cube in record time, wowing an employee at Dean Witter and he apparently passes the only test needed to qualify a man to become a stock broker. He toils for months, sleeping in subways and churches with his son at his side, but in the end it all pays off when he claims the one and only opening at Dean Witter, crying tears of joy and getting jiggy wit it in the streets of San Francisco.
In reality ... Gardner did get a chance to show his stuff in the Dean Witter training program (though we're sad to report his acceptance had nothing to do with solving a colorful puzzle game). But, as the more honest book version points out, he apparently wasn't quite the father the film made him out to be.
First, he was so focused on getting a job and earning his first million that, well, he actually didn't even know where the hell his son was for the first four months of the program.
In addition, instead of being arrested just before his big interview due to parking tickets ... well, it seems that Chris was actually arrested after Jackie accused him of domestic violence.
Don't get us wrong, Chris did indeed get his life turned around after landing the job as a broker. There were just some things in Gardner's past that they couldn't quite bring themselves to have Will Smith do on screen. Like selling drugs (as Gardner admits he did briefly), or doing cocaine with his mistress, with little doses of PCP and a hearty helping of Mary Jane tossed in for good measure.
Adulterous sex? Cocaine? Neglecting your child for months at a time? It says something about the man that he didn't drop the pursuit, despite having pretty much found happyness already.
From IW: Interesting. It seems those "small" real-life details are maybe what put dude in his downtrodden position in the first place, not just generic bad luck.
Speaking of Sergio, his "Black Harvest" film festival is coming to Chi-Town, aka Chicago. Here are the details:
14th Annual Black Harvest International Festival of Film and Video
The Gene Siskel Film Center welcomes you to the 14th edition of the "BlackHarvest International Festival of Film and Video," from August 1 through28
The Midwest¹s biggest and best celebration of the black experience on film,Black Harvest highlights talent from around the nation and around the world,with a special emphasis on our own Chicago-based filmmakers. An array of special events, personal appearances, and filmmaker discussionskeep this year¹s festival exciting from beginning to end.
Filmcritic/cultural commentator Elvis Mitchell is our special guest on Tuesday, August 5, at 8:15 pm, with an advance screening of HBO¹s THE BLACK LIST,VOL. 1, presenting dramatic insightful portraits of influential African Americans. A special advance screening on Wednesday, August 6, at 6:15 pm,of TROUBLE THE WATER, set in post-Katrina New Orleans, provides a sneakpreview of one of the most acclaimed documentaries from the 2008 SundanceFilm Festival. The festival panel discussion "How to Get a Movie Made," on Saturday,August 9, is a valuable free workshop for filmmakers and aspiring filmmakers.
Five Black Harvest directors provide detailed advice on how toget your production off the ground. New this year, we feature a freevendors market in our gallery/café from 1:00 pm to 5:00 pm, providing information and demonstrations of production equipment. In recent years, Chicago has become a notable center for black independent filmmaking. This thriving scene includes producers, directors, writers, and many actors. We are pleased to present a stellar crop of newly completed features and shorts by local directors, several of whom have presented work in Black Harvest in the past.
There is tons and tons more happening and screening. For more info: Gene Siskel Film Center 164 N. State Street Chicago, IL 60601 phone 312 846 2075 fax 312 332 5859 email mrubin1@saic.edu Visit our website at: http://www.siskelfilmcenter.org/
Actually, this is the name of a film I've wanted to see for some time....a subject that comes up here quite often is why genuine Black Love isn't shown on screen (I mean really, wtf? I know our sh*t is intense, but damn!). "Medicine For Melancholy" was the first glimmer of hope, here is another---spotted on The Obenson Report:
For those of you living in the Philadelphia area, Sundance 2008 selection, A Good Day To Be Black And Sexy, (directed by Dennis Dortch) will be screening at the the ReelBlack Presents showcase on Thursday July 31st, at The Bridge Cinemas on 40th and Walnut Street.
No info on specific times. Go to REELBLACK for more info as the day approaches, or call the theatre.The film was picked up by Magnolia Pictures at Sundance and is scheduled for a fall 2008 theatrical release.
From IW: Love ReelBlack--they are always doing great things!
Normally I wouldn't write about these two films, as in my eyes they do not constitute what I define as black cinema....from Black Talent News:
Dwayne "The Rock" Johnson and Oscar winner Jamie Foxx led the box office this weekend taking the number 1 and 2 spots with Disney's "Game Plan" and Universal's "The Kingdom," respectively.
The PG family comedy, "The Game Plan," stars Johnson as a superstar football quarterback and bachelor whose lifestyle is disrupted with he finds out he has a daughter. It open No. 1 with $22.7 million, according to Media By Numbers. averaged a solid $7,307 from 3,103 theaters. "Game Plan" marked The Rock's second biggest opening ever in a lead role after 2002's "The Scorpion King" with opened with $36.1 million.
The R-rated "The Kingdom" stars Jamie Foxx, Jennifer Garner, Jason Bateman and Chris Cooper as members of a U.S. team investigating a terrorist attack in Saudi Arabia. It debuted at No. 2 with $17.7 million, averaging $6,335 from 2,793 locations.
Also debuting nationwide, MGM's "Feast of Love," starring Morgan Freeman, didn't fare as well opening in the No. 11 spot and earning only $1.8 million from 1,200 theatres .
From IW: Now leaving my geriatric husband out of this one (Morgan), how does one define a "Black Film"? My definition is that the cast has to be at least two thirds black, or there has to be a heavily defined black theme/plot/storyline. I don't necessarily believe that the director has to be black, though that would definitely add weight to the definition of black cinema. Black distribution would help immensely as well. What do you guys think? Do these 2 films count as a win for our community?
Received this in my email yesterday; you know I have to post if anyone from "The Wire" is involved, and I admire Esther Rolle. I definitely want to check this out:
Hello,
Please check out hit and acclaimed filmmaker Rel Dowdell's (writer/director of Sony's hit film "Train Ride") updated website to see a great pic of Rel with 2007 Best Actor Oscar Winner Forest Whitaker ("Last King of Scotland").http://www.reldowdell.com/
Rel Dowdell's "Train Ride" was called "one of the best American films of 2005" by esteemed 30 year veteran film critic Gerald Peary. That's very rare praise for the African-American film/filmmaker, especially nowadays. Check out the excellent review and commentary below. "Train Ride" has become one of the most successful African-American films ever made, staying on the http://www.amazon.com/ best selling African-American films for over 2 years now. Mr. Peary also mentioned the tremendous and priceless sacrifice that the late, great, Emmy award winning actress Esther Rolle made to be in his film, an honor that can never be imitated or duplicated.
"Train Ride" also stars an electric Wood Harris (from the HBO series "The Wire") and female rap pioneer M.C. Lyte. "Train Ride" also recently received very high praise in noted film historian Irv Slifkin's nationally best selling book, "Filmadelphia: A Celebration of a City's Movies."
Movie n Cinema,a Comprehensive Library of Arthouse.Cult, Classic, Experimental and Rare Movies and Cinemas from All Over the World Please Visit and Share With Your Friends..!
Okay, regarding my last post--I thought Darktown Strutters would be interesting based on it's premise, but I must say I did not love it. At all. Any movie that randomly has The Dramatics pop up in a jail cell in full costumes doing a full performance with Temptations-like choreography gets a huge side-eye from me. Why were movies that weren't dramas in the 70's so effin weird? I know it was a time of rampant drug use, and a lot of films from that decade were hard evidence of that...from "Tommy" to "Heavy Traffic" to "Darktown Strutters" just to name a few--they were just so disjointed, so horribly edited and all over the place with zero cohesiveness. *sigh* Thank goodness for Fred Williamson...
To answer the second part of your question, it's almost the same answer... Life. Real life. Women are an inspiration especially. Sometimes I just want to talk to you. And film is an extravagant way to communicate. You ever had an argument with your significant other and you wish a third party was present so that they could validate your point of view or judge who is right or wrong in this situation? Cause you feel the other person is clearly not listening to reason. You just want someone fair and non-biased to call it. Making a film is like creating that opportunity for a third party assessment. I'm simply telling on someone, including myself.
As far as gaining support, just do your thing. Most people just talk, very few actually do. It's not easy. It's takes a tremendous amount of focus, perseverance, and unwavering faith. Making a film and expecting a company to buy it and in turn people pay to watch it is not a solid business plan. It's crazy actually. So, when someone does it and breaks through, the law of attraction takes over and the support trickles in. It's still a struggle after you initially get that attention. Support is a fickle thing, trust me. It's really up to you to build on it in a timely manner.
Outside of Black & Sexy, I have a feature I'm currently writing that I'm real quiet on, but I'm real excited about. That's why I'm not saying anything really. You gotta stuff all that excitement and desired to blurt out the story into the script.
Can I say what's up with Sundance? They are showing all types of...I don't even know what this year...to wit 
"TNT had greenlit the medical drama "Time Heals," with a 10-episode order. The series is produced by and stars Jada Pinkett Smith. David Julian Hirsh (TBS' "Lovebites"), Laura Kenly, Christina Moore ("90210") and Suleka Mathew ("Men in Trees") will co-star.
Director John Singleton is no longer attached to direct the feature film adaptation of the 80s TV series “The A-Team,” according to Variety.
Having most recently played a dirty cop in "Lakeview Terrace," Jackson is set to star as a bad guy again in Columbia Pictures' remake of Berry Gordy's 1985 cult classic "The Last Dragon."
Speaking of dicey moves, there is an online petition to get rid of The Cheadle in "Ironman" and bring back Baby Wipes Howard. Yes, really. If you want to see it, or heaven forbid sign it, you can click 
In non-Black Hollywood news, I am really sad to see that Joaquin Phoenix has decided to quit acting for good. I saw "
In other news, Elijah Kelley seems to be venturing from his brand new career in acting to writing/directing already. After getting rave reviews in "Hairspray" and landing a role in one of the supposed 3 biographical films of Sammy Davis, Jr. (what happened to those anyway?) he debuts with a project called "
[black caesar] is one of my favorite flicks; and the soundtrack is killer. i interviewed fred once and he told me james brown was mad, because he wanted to play the lead.
And finally a huge big up to Reelblack's Michael Dennis winning CNN's IReport Film Festival. He says:
