The Lunch Date is a ten-minute short film directed by Adam Davidson. It won the 1990 Short Film Palm d'Or at Cannes, the 1991 Academy Award for Best Short Subject, and in 2013 was placed in the Library of Congress. h/t Open Culture’s list of free movies
Jesse Owens usually gets all the attention when people talk about the 1936 Summer Olympic Games, but the documentary Olympic Pride, American Prejudice looks at the other black athletes who traveled with Owens to Hitler’s Berlin 80 years ago, including Jackie Robinson’s big brother Mack, and Tidye Ann Pickett-Phillips, first black American woman to compete in the Olympics.
Creed's star, Michael B. Jordan, and director, Ryan Coogler, talk about film and race. [more inside]
Two years ago, I was thrilled that three of the six women on our roundtable were black: Oprah Winfrey, Lupita Nyong’o and Octavia Spencer. I thought, perhaps naively, that this represented a sea-change in the film business, and hoped it was catching up with the tectonic shifts that industries all across America have had to make to reflect this country’s diversity. But I was wrong. Stephen Galloway, in The Hollywood Reporter: Why Every Actress on The Hollywood Reporter Roundtable Cover Is White
Anna May Wong was the first Chinese-American movie star, first appearing as an extra in 1919. Her first leading role came in 1922's Toll of the Sea, the first color feature made in Hollywood. She continued appearing in films until 1960, the year prior to her death. [more inside]
This movie is two hours of black people walking up to white people and yelling "BLACK" and white people yelling "WHY YOU GOTTA MAKE IT ABOUT RACE" over and over again.Ijeoma Oluo (previously) has written a handy guide to writer/director Mike Bender's recently-released "dramedy" for The Stranger: Boobs, Booze, and Black People Hair: A Very Thorough Review of Black or White. More under the fold! [more inside]
It's a white industry, writes Chris Rock on show biz, from the lowliest focus-group testing gig to being a film executive. [more inside]
Do the Right Thing wasn’t ahead of its time. It was behind its time, and it’s ahead of ours. It came out in the summer of 1989, six months before Driving Miss Daisy, but if you can imagine it without hip-hop, it could have come out in 1939 alongside Gone with the Wind; without color, in 1929 with The Jazz Singer; without sound, 1915 and The Birth of a Nation. If you updated the soundtrack and the fashion a bit and released it next week, critics would praise its timeliness and how its depiction of police brutality and racial tension captures the angry zeitgeist surrounding the recent killings of unarmed black civilians by police officers. Some might even predict that it would ultimately end up feeling dated, as some did 25 years ago. If only. - Lessons from Do the Right Thing on Its 25th Anniversary
In Do the Right Thing, the subject is not simply a race riot, but the tragic dynamic of racism, racial tension, and miscommunication, seen in microcosm. The film is a virtuoso act of creation, a movie at once realistic and symbolic, lighthearted and tragic, funny and savage... I have written here more about Lee’s ideas than about his style. To an unusual degree, you could not have one without the other: style is the magician’s left hand, distracting and entertaining us while the right hand produces the rabbit from the hat. It’s not what Lee does that makes his film so devastating, but how he does it. Do the Right Thing is one of the best-directed, best-made films of our time, a film in which the technical credits, the acting, and Lee’s brazenly fresh visual style all work together to make a statement about race in America that is all the more powerful because it blindsides us. - Roger Ebert (SPOILER) [more inside]
"You know something very bizarre is going on in Hollywood when the movie Rise of Planet of the Apes tells more about the black experience in America than The Help." Max Gordon reflects on the truths that Hollywood can't talk about openly, and the dangers involved in sugarcoating the past.
The SF Signal Mind Meld feature poses science fiction related questions to a number of SF luminaries and the scientist, science writer or blogger. Subjects have included the best women writers in SF, taboo topics in SF, underated authors and the most controversial SF novels of the past and present. The also cover lighter topics, such the role of media tie-ins, how Battlestar Galactica could have ended better (bonus Geoff Ryman) and the realistic (or otherwise) use of science on TV SF shows.
Call her Madame. Among the old-timers, the story went like this: a woman known to everyone as Madame came to California from Kentucky with her children and her husband. But once they were in the Gold Rush State, her husband left her. Desperate to find work, she introduced herself to a movie director named D. W. Griffith. He not only cast her in his movie, but the two became friends for life. And with this woman, called Madame Sul-Te-Wan, what we now call Black Hollywood began -- as a new book by historian Donald Bogle explains. (more inside)
Dutchman is a movie (originally a play) which "mirrors the difficulties of life for an African American male through the clash between a white woman and a black man sharing a subway car in NYC." And I don't mean to belittle that, but ... has anyone else noticed similarities between Shirley Knight (2)(3), the lead actress in Dutchman, and Heather Graham? Do today's actors and actresses try to achieve success by directly copying actors and actresses from the past? (I know they study them, but this almost borders on plagiarism, if that's possible)