Tag: Race

#Oscars: “Babylon” (2022) starring Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, & Li Jun Li

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A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood. -Tagline

Aging actor Jack Conrad (Brad Pitt) is based on John Gilbert, a leading MGM star of the 1920s. He had a soft voice and dashing on-screen persona which didn’t match up w/ talkies. As his starring roles became few, Gilbert developed a drinking problem and died from a heart attack in 1936 (just aged 38). Gilbert’s story also inspired the screenplay for Singin’ in the Rain (1952). Emma Stone was originally cast in the role of ingenue Nellie LaRoy, which was announced to be based on Clara Bow, but dropped out due to scheduling conflicts after the production was delayed b/c of COVID. After Margot Robbie replaced Stone, the role become more fictional in nature. Olivia Hamilton’s character is based on Dorothy Arzner, one of the 1st female directors in early Hollywood, and the inventor of the boom mic. (FYI: Hamilton is also the wife of the writer/director, Damien Chazelle).

WTF did I see!? OMG, that is 3 hrs. 9 mins. that I’ll never get back! As this came from the mind of Chazelle, I didn’t have high hopes; I wasn’t a fan of La La Land (and haven’t seen his other work). He was given $80M to make the movie- wow! The opening (coke-fueled/orgy-like party) sequence is over 30 mins. long. Warning: If you’re more of a sensitive viewer (or consider yourself squeamish), avoid this movie! Several critics commented that there are maybe 3 great scenes- NOT a harsh assessment.

This movie boasts a large/diverse cast, but two of the most interesting characters, the Black trumpeter Sidney Palmer (Jovan Adepo) and Chinese-American writer/singer Lady Fay Zhu (Li Jun Li), could’ve been developed much more. In the early days, the movies were NOT considered classy/respectable; POC, women, and queer individuals played various parts (behind and in front of the camera). Pitt is phoning it in; he did better in Once Upon a Time in Hollywood. Robbie can tackle what she is given; she got to show her stuff on Nellie’s 1st day on set and the (stressful) 1st day making a talkie. The audience surrogate is the young/ambitious Manny Torres (Hollywood newbie/Spanish actor) Diego Calva. I learned that Calva has a big role in the Netflix series Narcos: Mexico. (I’m finishing up S1 of Narcos co-starring Pedro Pascal). Things just happen to Manny; he doesn’t get much character development. In the 3rd act, Tobey Maguire pops up; he plays a (cartoonish) rich/evil/villain. (FYI: He’s one of the movie’s producers.)

Is there anything I was impressed by here? Yes, Jean Smart does a terrific job (as usual); her gossip column writer and Pitt have on of the best scenes. The production design (Oscar-nominated) is great; the audience is taken into the (wild/crazy) past of early Hollywood. The cinematography (esp. in the early war/epic scene) is beautiful. The (jazzy) soundtrack suits the action; it was composed by Chazelle’s friend/former college roomie- Justin Hurwitz. This is one of the (many) cases of style over substance and self-indulgence (by the filmmakers) common in modern entertainment. Don’t watch it, b/c you MAY get mad at yourself!

“Harriet” (2019) starring Cynthia Erivo, Leslie Odom Jr, & Janelle Monae

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The extraordinary tale of Harriet Tubman’s escape from slavery and transformation into one of America’s greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. -Synopsis

Be free or die. -A tagline for the film

This is the 1st feature film to be made about the life of American abolitionist Harriet Tubman (birth name: Arabella Minto); you can watch it on HBO Max. Producer Debra Martin Chase chose Cynthia Erivo for the lead b/c of her impressive career so far: Tony, Grammy and Emmy for The Color Purple musical on Broadway. There was controversy in casting a British woman for such an iconic American role; director/co-writer Kasi Lemmons (a Black American woman/former actress) explained that the film represented African-Americans: writers, production designer, composer, and hair/makeup.

Harriet is shown more as a “superhero,” than a real woman; this was the choice of the filmmakers. This movie is sadly disappointing (given the V important subject), though Erivo does a fine job w/ what she as given. The dialogue doesn’t really pop and the delivery (at times) is heavy-handed. Yes, Harriet really did experience visions, as a result of a childhood head injury. Many historians claim that this is likely due to a head injury she received in her youth. It is nice to look at, though there was NOT a big budget. There is some tension/suspense in Tubman’s escape (from a plantation in Dorchester Co, MD) and various rescue missions. There is a narrow range of Tubman’s life shown and there are several jumps in years at a time. One astute viewer noted that “Tubman’s work on women’s suffrage was only a footnote and arguments around what actions the abolitionist movement should take were greatly reduced.” There is no mention of John Brown, BUT Fredrick Douglass has a brief cameo. For the sensitive viewers out there, this is a much less violent portrayal than seen in 12 Years a Slave.

Some actors are highlighted, though others (incl. veterans w/ gravitas) don’t get much screen time. I wanted to see more of Clarke Peters and Vanessa Bell Calloway; they play the Ross’ (Harriet’s parents). A few of Harriet’s family members were free, BUT most others are enslaved. Harriet’s 1st husband, John (Zachary Momo), was a free Black man. Vondie Curtis-Hall (also Lemmons’ husband) does a good job as Rev. Green. Leslie Odom Jr. is bright/charming as William Still, though I doubt this role was a challenge for him. Marie Buchanon (played by singer/actress Janelle Monae) was created for the movie; she is a sympathetic friend to Harrier, but quite modern. I don’t know how plausible it’d have been for a young/Black/unmarried woman to own a boarding house in Philly.

Harriet: [to Gideon, at gunpoint] You’ll die right here. On a frozen, blood-soaked battlefield, the moans of a generation of young men in your ears, dying in agony around you, for a lost cause. For a vile and wicked idea! For the sin of slavery! Can you hear them? God don’t mean people to own people, Gideon! Our time is near!

Unfortunately, we also see the in-over-his-head “actor” Joe Alwyn (also a Brit); I don’t know how he keeps getting roles! He plays Gideon Brodess, the slaveowner who grew up w/ (and maybe has a sort of obsession) w/ Harriet. Is it just about money (slaves were property), or is there something else going on? Perhaps worst of all (noted by several critics/casual viewers), is the cartoonish (Black) slavecatcher w/ the unfortunate name of Bigger Long (Omar Dorsey)- yikes!

[1] I attend a HBCU and have read, and studied, Harriet Tubman’s life. I don’t even know where to begin. There is no account of her ever standing with Union soldiers and pointing a gun. There are so many errors and what I saw on the screen was complete fiction.

[2] The scripting is insultingly lowbrow, almost patronizing. The acting talent has a good record in other productions, but in this film is unrealized due to the other problems. There are quite a few ahistoric, frankly false, events in this film which are not needed and make the film more a less than credible hagiography, as opposed to the plenty sufficient bravery, courage and strength of Tubman herself.

The film is not a total loss, but Tubman deserves better, much better, as do contemporary audiences.

[3] This is a standard biopic of anti-slavery heroine Harriet Tubman. It’s a serious take. The tone is singular which leaves the movie rather flat. I’m not calling for some broad jokes to inject silly humor or grotesque violence to horrify. The constant uninspired narrative can take a toll on the tension. The movie could push the intensity of the escapes. There are emotional power points, but they always seem a little melodramatic.

[4] If you want to see a REAL MOVIE on Harriet Tubman, look at the Cicely Tyson version: A Woman Called Moses.

-Excerpts from IMDb reviews

#Oscars: “Elvis” (2022) starring Austin Butler & Tom Hanks

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The life of American music icon Elvis Presley, from his childhood to becoming a rock and movie star in the 1950s while maintaining a complex relationship with his manager, Colonel Tom Parker. -Synopsis

While Aussie director Baz Luhrmann was going over auditions, incl. Austin Butler’s audition for Elvis Presley, Denzel Washington called the director to recommend Butler. Washington and Butler had co-starred in the Broadway play The Iceman Cometh. Washington told Luhrmann (who he’d never met): “You’re in for a surprise when you see the work ethic of this young man.” Butler stated that one of the aspects about Elvis that stood out to him was that he lost his mother at a young age, too. Butler also lost his mother at age 23, just as Elvis had. Butler took tap dancing and swing dancing classes to perfect the dance moves. Though his hair was dyed dark brown, and he wore dark brown or jet black wigs in some scenes, Butler is a natural blonde. Elvis was also a natural blonde. Butler and Elvis are 16th cousins twice removed; Elvis’ father (Vernon) and Austin’s mother (Lori) share a common ancestry- wow! Ansel Elgort, Miles Teller, Aaron Taylor-Johnson and Harry Styles also auditioned and screen-tested for the lead. Maggie Gyllenhaal and Rufus Sewell were cast as the parents before the production was shut down (due to COVID-19); 6 mos. later, both dropped out when productions resumed due to scheduling conflicts. This past SUN, Butler (who has an Oscar nom) won Leading Actor across the pond at BAFTA.

[sees an excited girl at Elvis’s first performance]

Col. Parker: [narrates] Now, I don’t know nothing about music. But I could see in that girl’s eyes, he was a taste of forbidden fruit. She could have eaten him alive!

Elvis ended up dethroning Top Gun: Maverick at the box office last Summer. This is the 1st big-screen (theatrical) biographical film about Elvis; it was made for $85M and shot (over a year) entirely in Queensland. Australia. The real “Colonel” Tom Parker was born on June 26, 1909, in The Netherlands as Andreas “Dries” van Kuijk. At age 19, he entered the US illegally. After a few mos, he enlisted in the Army and took the name Tom Parker; he thus forfeited his Dutch citizenship (becoming a stateless person). In reality, he spoke w/ a Southern American accent. At one point in the film, re: money issues, Parker comments that Elvis loved to spend on “hillbillies.” Elvis was generous to a fault (though it isn’t depicted here).

Elvis: If I can’t move, I can’t sing.

Elvis did NOT live up to it’s hype when I saw it recently (on HBOMax). Luhrmann’s direction failed to draw me in, though I’ve liked some of his previous movies. Butler does a fine job in ALL the musical numbers, BUT doesn’t seem to feel the weight of the heavier scenes. I think he has potential- he’s V young still. Parker is basically a caricature (w/ no redeeming qualities) here; IF you’re a big fan of Hanks, then you’ll be greatly disappointed. The opening 30-40 mins come across as messy/chaotic. Scenes somehow felt drawn out and fleeting at the same time. There is little time give to Priscilla, Elvis’ fellow musicians/peers, his friends, and other supporting characters. Some critics (incl. Black Americans) commented that race and civil rights issues were dealt w/ in a simplistic manner. We do see some up-and-coming/young actors: Kodi Smit-McPhee (The Power of the Dog), Dacre Montgomery (Stranger Things), and Kevin Harrison, Jr. (who plays B.B. King). Luhrmann is (oddly) more interested in Parker than Elvis; the iconic pop star remains mostly a mystery. The dialogue is nothing special- perhaps most disappointing of all!

[1] While of course he is a central character in the Elvis Presley story, I felt telling the story through such an unsympathetic character was unnecessary, and I found Tom Hanks Dutch accent and his prosthetic nose a little irritating at times.

[2]. The film feels almost like a bad fever dream, arbitrarily switching from scene to scene with little to no connection. Too much attention is put in Parker/Hanks, when he’s not narrating he’s the focus of every scene he’s in.

[3] For the first two hours it felt like I was watching the longest music video of all time. It was all over the place and extremely rushed. And what was up with the soundtrack?

[4] Firstly Austin Butler was great, he could actually be Elvis as he looked so much like him and clearly worked hard to do Elvis justice, but I didn’t really enjoy the movie, but can’t put my finger on why. The main actors did a good job, but I couldn’t really get an emotional connection with them or the story line until the very end.

-Excerpts from IMDb reviews

“The Woman King” (2022) starring Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, & John Boyega

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The Woman King is the remarkable story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, The Woman King follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. Some things are worth fighting for. -Synopsis

This historical drama’s title comes from the fact that the people of Dahomey believed in a legend of two kings, a man and a woman who are equals; Nanisca (Viola Davis- at the top of her game) is expected to be crowned a Woman King by King Ghezo (John Boyega- a galaxy way from his Star Wars role). Producer Maria Bello (who acted w/ Davis in Prisoners) was visiting Benin (a West African nation) when she heard the story of the Agojie; she returned to the US, convinced she’d found a great movie pitch. The project stayed in “development hell” for 7 yrs, first at STX (which only offered a $5M budget), then at TriStar. Only after the huge success of Black Panther (2018) was this film greenlit (w/ a $50M budget). Davis and her husband also served as producers; they have a production company.

The actors trained for 4 mos. to get in shape for the action scenes; they’d lift weights for 90 mins, and then train for 3.5 hrs. w/ a stunt coordinator (on martial arts, the use of swords and spears, and did cardio). Most of the department heads are either women or people of color (POC): cinematography, production design, editing, makeup, hairstyling, costumes and visual effects. The screenplay is by Dana Stevens; her work includes: Fatherhood, the adaptation of Nicholas Sparks’ novel Safe Haven, City of Angels, For Love of the Game, Blink, and Life or Something Like It. The movie (directed by Gina Prince-Blythewood) began shooting in South Africa (late 2021), but was interrupted by the Omicron variant of the COVID-19 virus. Production had to shut down for a few weeks; the extra time was used to rehearse the big battle. Prince-Bythewood has said in (recent) interviews that she directs only those movies that she is passionate about.

Izogie: Rule number one: Always obey Izogie.

[she gives Nawi a strict look]

Izogie: I am Izogie!

Unlike Top Gun: Maverick (2022), which also centers on a strong/middle-aged leader and an ensemble of younger “warriors” (pilots), The Woman King is a balanced blend of action and character drama. How much do we know about Rooster (Miles Teller), Hangman (Glen Powell), Phoenix (Monica Barbero), Bob (Lewis Pullman), etc? They have little character development, as Maverick- and to a lesser extent- Penny (Jennifer Connelly)- is the obvious star. In this film, we get to know (and care about) 3 different warriors under Nanisca’s leadership: Nawi (Thuso Mbedu- a petite/20s South African actress in her 1st movie), Izogie (Lashana Lynch- a British actress recently in the Bond franchise), and Amenza (Sheila Atim- a British-Ugandan actress known for Shakespearean theater roles). Izogie brings in moments of (needed) humor, 19 y.o. Nawi is the newbie/audience surrogate, and Amenza is thoughtful/spiritual. Though Nanisca is their experienced, tough, and respected general, she has suffered trauma in the past. Each the women fights in her own unique way, specializing in different weapons.

Nanisca [to Nawi]: Your tears mean nothing. To be a warrior, you must kill your tears.

This a film focused on women, though there are supporting roles for a few men also. Boyega does a fine job (as expected), perhaps channeling Denzel Washington and Eddie Murphy (from his African prince role in Coming to America), as some viewers commented. He says “my love” in a different way when he addresses each wife. The (fictional) white/Portuguese-speaking slave trader, Santo (Hero Fiennes Tiffin- nephew of actors Ralph and Joseph Fiennes), is welcomed by King Ghezo, but fails to maintain in good relations w/ him. Yes, the main villain is named Hero- LOL! Santo was perhaps loosely inspired by Francisco Félix de Sousa, a Brazilian slave trader who helped King Ghezo gain power IRL; these events are portrayed in Werner Herzog’s Cobra Verde (1987). I don’t want to give too much away, but there is another male character who adds flavor to the story. I smiled, I cried (3x), and it stood up to re-watch! You can rent this movie (Amazon Prime).

“Lady Macbeth” (2016) starring Florence Pugh, Cosmo Jarvis, Paul Hilton, & Naomi Ackie

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Rural England, 1865. Katherine is stifled by her loveless marriage to a bitter man twice her age, whose family are cold and unforgiving. When she embarks on a passionate affair with a young worker on her husband’s estate, a force is unleashed inside her, so powerful that she will stop at nothing to get what she wants. -Synopsis

In the north of England, a young woman named Katherine (Florence Pugh) is sold into marriage (along w/ some land) to a middle-aged man, Alexander Lester (Paul Hilton- a character/theater actor). Sadly, there is no love or even common kindness involved here; this marriage was arranged by Boris Lester (Christopher Fairbank), Alexander’s domineering father. Katherine is prevented from leaving the house. Boris scolds her for not giving Alexander a son, but her husband doesn’t even touch her! One day, both men have to leave the estate for separate business matters, leaving Katherine alone with the housemaid, Anna (Naomi Ackie- also in an early role). Finally, Katherine is free to explore the area to alleviate her boredom!

This indie film (streaming on MUBI) is based on the Russian book Lady Macbeth of Mtsensk by Nikolai Leskov. I learned that iFeatures is a collab btwn the BBC and the BFI; every year, they produce 3 feature films for £350,000 as a stepping stone for 1st time directors. Lady Macbeth (directed by William Oldroyd) was chosen out of over 300 applicants- wow! It was filmed over 24 days on location at Lambton Castle, County Durham and Northumberland, UK. Shaheen Baig was the casting director on Florence Pugh’s 1st film, The Falling (2014); when the script came her way, she suggested Pugh (then just 19 y.o) to Oldroyd.

I loved the fact she was naked all the time. At that point in my life, I had been made to feel sh*t about what I looked like and that film was perfect. There was no room for me to feel insecure. -Florence Pugh, in an interview (ES Magazine)

This is a V dark tale; the first 35 mins. are quite slow and NOT much happens (w/ little dialogue); the next 45 mins. is an unbridled (and often) violent trip! There is almost no music to be heard. The setting is oppressive, the tone is foreboding, and there are bursts of violence (which will be quite jarring esp. to sensitive viewers). Unlike most period dramas you may be familiar w/, this film uses colorblind casting. Ackie is a Black woman from the UK w/ Caribbean roots, Cosmo Jarvis (Sebastian- the horse groomer) is of British/Armenian heritage from the US, and Golda Rosheuvel (most recently Queen Charlotte in Bridgerton) is a British biracial woman. The acting is quite effective, esp. from Pugh (mature beyond her years); I wanted to see more of Ackie’s character (as she does a fine job also). Ackie (only early 30s) went on to work on Star Wars: The Rise of Skywalker. She plays the lead in Whitney Houston: I Wanna Dance with Somebody.

[1] The film seems to be a pre-feminism manifesto for women’s rights. […]

The interesting thing is how Katherine evolves from victim to culprit. She seems to have learned from her husband how to use and misuse power. The lack of social conscience of which she at first is a victim, becomes a driving force for her own behaviour.

[2] Lady Macbeth features a mesmerising and beguiling performance from Florence Pugh. It is far away from these slushy chocolate box romantic period dramas. Katherine is steel edged and deadly.

[3] Several archetypal themes arise in this somber, artfully-photographed drama. For instance, one that emphasizes the wages of sin is prominent; another about the subjugated rising against the oppressor; and another about the danger of socially imprisoning smart women in a paternalistic society. A leitmotif also surfaces about the dangers of debilitating class distinctions, which are never a good thing in the long haul.

Ari Wegner’s cinematography is portrait-like if considering only the recurring shot of Katherine sitting on her Victorian couch in a consuming dress that seems to deteriorate with each similar shot. Underneath the dress is the corset, so long a symbol of the era’s tight hold on women.

-Excerpts from IMDb reviews