“Red Tails” Soars into Box Office

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Domestic Total as of Jan. 24, 2012: $21,415,663. Red Tails holds #2 spot at Box Office.

By Sylvia Obell, Managing Editor

“Red Tails” is an extraordinary tale of courage, bravery, and strength that is inspired by the equally extraordinary story of the Tuskegee Airmen.

During United States’ involvement in World War II the Tuskegee Airmen were formed as the first African-American aerial combat unit. Unlike the 1995 HBO movie “The Tuskegee Airmen”, “Red Tails” is set in 1944 Italy when WWII is already in full swing.

Despite the fact that these men heeded the call to serve their country, they still had to deal with the prejudice laws and attitudes of the very nation they were fighting to protect.

The story centers on the unit’s plight to prove that African-Americans did not lack the courage, discipline, and intelligence to be fighter pilots, as was the belief at that time.

Three major things stick out about “Red Tails.”

Let’s begin with the outstanding group of black men that made this movie. Behind the scenes were some of the men responsible for the most controversial African-American shows. Anthony Hemingway (“The Wire”) directed the film and the screenplay was written by “Boondocks” creator Aaron McGruder, and John Ridley.

Big names like Terrence Howard, Cuba Gooding, Jr., Tristan Wilds, Nate Parker, Ne-Yo, Method Man, and more created an outstanding ensemble of African-American actors.

Each brought so much personality to their character; you couldn’t help but get attached. If Nate Parker didn’t have you convinced he was a force to be reckoned with after “The Great Debaters”, he confirms it in “Red Tails.” I found his performance quite compelling, and boy can that man give a speech. If you didn’t have goosebumps after his “We Fight, We Fight, We Fight,” chant then something is wrong with you.

Though Parker was amazing, in my opinion, the standout performance goes to David Oyelowo. The new face did an amazing job playing the arrogant and disobedient, yet loving and loyal Joe “Lightning” Little.

The next thing that stood out was the beautifully put together story. You’ll laugh, cry, feel anger and joy, but most of all you’ll leave the theater feeling inspired. Allow me to speak as a black woman for a moment. Movies like this make me proud to be part of such a strong people.

The film reminds my generation why we need to be proud of who we are. It reminds us to look at the generations of our grandparents and great-grandparents with admiration and respect for all they did.

It inspires us to create a history that can leave our grandchildren feeling equally as proud.

All of these sentiments had me leaving the theater wondering why I’m not able to leave a movie feeling this way more often.

It’s not like African-Americans don’t have tons of amazing stories to tell. Which leads me to the last thing that stuck out about the movie: the ironic parallels between the actual movie and the history of the Tuskegee Airmen. Both had to overcome adversity despite being almost 70 years apart.

The movie tells the story of how the Tuskegee Airmen proved to the entire U.S. Air Force that black men were not only equally capable of fighting in combat, but that they could be exceptional.

They had to fight for the opportunity to get real missions and once they got them those brave men met every challenge that was assigned by “lighting up the scoreboard,” as Terrence Howard’s character so confidently put it.

Then, 70 years later “Red Tails” executive producer George Lucus has to take the huge risk of funding and releasing the movie entirely on his own because no Hollywood studio would believe in an all African-American cast.

It is a sad truth that shows how others view our star power as a race when it comes to motion pictures. This weekend was, in essence, “Red Tails” first “fighter mission.”

Like the Tuskegee Airmen, the movie has everything to lose if it doesn’t exceed Hollywood’s already low expectations for it. If this movie doesn’t “light up the score board” it can be ages before we see another big-budget African-American movie.

That being said, I encourage all ages and all races to go see this film. The story of the Tuskegee Airmen is something everyone should know as well as enjoy.

-Smobell@ncat.edu and follow us on Twitter @TheATRegister

RED TAILS opens in theaters January 20, 2012

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When I watched the trailer, I cried. Thanks to George Lucas for producing the second WWII film about blacks in the military in grand Hollywood fashion (see Spike Lee’s Miracle at St. Anna for the first). Next maybe we can produce a film about black women in the military during WWII, based on people like Anna Russell Jones. Here is the trailer for RED TAILS.

Directed by Anthony Hemingway, Red Tails is the story of the black pilots of the experimental Tuskegee training program are courageously waging two wars at once — one against enemies overseas, and the other against discrimination within the military and back home. Racial prejudices have long held ace airman Martin “Easy” Julian (Nate Parker) and his black pilots back at base — leaving them with little to do but further hone their flying skills — while their white counterparts are shipped out to combat after a mere three months of training. Mistakenly deemed inferior and assigned only second-rate planes and missions, the pilots of Tuskegee have mastered the skies with ease but have not been granted the opportunity to truly spread their wings. Until now.
As the war in Europe continues to take its dire toll on Allied forces, Pentagon brass has no recourse but to reconsider these under-utilized pilots for combat duty. Just as the young Tuskegee men are on the brink of being shut down and shipped back home, Col. A.J. Bullard (Terrence Howard) awards them the ultimate chance to prove their mettle high above. Undaunted by the prospect of providing safe escort to bombers in broad daylight — a mission so dangerous that the RAF has refused it and the white fighter groups have sustained substantial losses — Easy’s pilots at last join the fiery aerial fray. Against all the odds, with something to prove and everything to lose, these intrepid young airmen take to the skies in a heroic endeavor to combat the enemy — and the discrimination that has kept them down for so long.

Starring: Cuba Gooding, Jr., Terrence Howard, Bryan Cranston, Brandon T. Jackson and Nate Parker.

Gender Watch: a reprint from Thompson on Hollywood

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GENDER WATCH: The Telling Ignorance of THR’s Directors Roundtable

Featuresby Sophia Savage | November 17, 2011 | 2 Comments

THR Roundtable, “Pariah,” “We Need To Talk About Kevin,” “Circumstance”

We don’t blame Women and Hollywood for being outraged at THR‘s careless and condescending approach to their 2011 Directors Roundtable. While we agree that Michel Hazanavicius (“The Artist”), Steve McQueen (“Shame”), Bennett Miller (“Moneyball”), Mike Mills (“Beginners”), Alexander Payne (“The Descendants”) and Jason Reitman (“Young Adult”) are well worth interviewing, there are plenty more who could easily be sitting there with THR’s Matthew Belloni and Stephen Galloway — including several women.

At the same time as THR’s Directors Roundtable should be thoughtfully curated, it should be representative of the year in film–whether it’s an Awards publicity tool or not. Consider this specific portion of the roundtable:

THR: You’re all men, and only one of you, Steve, is a minority — why is that?
McQueen: I must be in America.
Mills: Yeah, why isn’t there a woman here? My wife could be sitting here.
THR: Name a female director who made a major film this year.
Mills: Miranda July ["The Future"].
Payne: Lynne Ramsay ["We Need to Talk About Kevin"], Andrea Arnold ["Wuthering Heights"].
THR: OK, but you’re talking about small films that have been little seen in America.
McQueen: I mean, the question could be different. The question could be, “Why aren’t there more black directors?” because there are obviously more women directors than black directors.
THR: So what’s the answer?
McQueen: I have no idea. I mean, it’s opportunity, isn’t it? That’s what it’s about — opportunity. And access, because some people just give up. I’m always astonished by American filmmakers, particularly living in certain areas, when they never cast one black person, or have never put them in a lead in the movie. I’m astonished. It’s shameful. How do you live in New York and not cast a black actor or a Latino actor? It’s shameful. It’s unbelievable.
Reitman: Not stepping into that.
Miller: I don’t know.

First of all, the questions are uninformed and presumptuous. The directors themselves are better versed in the films of 2011 (too bad they couldn’t have interviewed each other).

Then, after getting three examples of women who’ve directed quality films this year (Women and Hollywood adds to that list with Maryam Keshavarz – “Circumstance,” Dee Rees – “Pariah,” Larysa Kondracki – “The Whistleblower”;  and so can we: Céline Sciamma – “Tomboy,” Julia Leigh – “Sleeping Beauty,” Sarah Polley – “Take this Waltz,” Andrea Arnold* – “Wuthering Heights”), THR contradicts and justifies itself by calling these “small films” that have been “little seen.” Perhaps, but as of right now the general public also hasn’t seen “The Artist,” “The Descendants,” “Shame” or “Young Adult,” which could also be called “small films.”

While McQueen may be a minority among these six directors, the focus of each of their films is on white characters, and only “Young Adult” features a female protagonist (and she’s a raging bitch). “Tomboy” focuses on a young girl who wants to be a boy; “Circumstance” is about female sexuality and sexism within the Iranian culture; “Sleeping Beauty” looks at the objectification of women; “Kevin” deals with an ugly side of motherhood; “Pariah” looks at race and female sexuality, “Wuthering Heights” is a gothic period romance with a black man replacing a white male protagonist. Not only are these films dealing with more diverse subject matter than the films of the six roundtable directors – they are all significantly more threatening to the comfort of white males, which is why they are dismissed as “small” and “little seen.” “The Artist” is about a man’s ego, “Shame” is about a man’s addiction to sex, “Moneyball” is about changing the rules of baseball, “The Descendants” is about a wealthy landowner (with some Hawaiian blood) seeking revenge on the guy who banged his cheating wife, and “Beginners” is about a man who’s trying to figure out how to grow up and deal with his dying gay Dad.

Let’s open our eyes. If the media is a filter through which the public digests the culture, we should serve a full buffet. Otherwise we’re part of the problem.

*”Wuthering Heights” played Venice, Toronto, and many other fests. While not being released this year, it is worth mentioning as the follow up to Arnold’s “Fish Tank.”

Trenton International Film Festival is back Oct 14th, 15th and 16th

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Trenton International Film Festival: Put these dates on your calendar: Friday October 14th, Saturday October 15, and Sunday October 16th. These are the dates for the region’s best foreign film festival. (Disclaimer, I am the curator). Check out this wonderful film trailer for CHANCE (91 min. 2009, Panama) by Abner Benaim. It is the ultimate answer film to The Help. Two maids decide to take fate into their own hands in order to get their back pay, and the consequences are hilarious in this wonderful film from Central America. Viva la revolution!— Nadine Patterson

Information on other films is here at the official Trenton International Film Festival website. The complete line-up will be announced shortly.

Help! Support Real Movies About Black Folks

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I have not seen the film The Help. I do not plan on spending money supporting a Hollywood fantasy of Southern life in the 1960′s. I would rather promote the work of filmmakers of all colors who portray American history and life in all of its complexity and variance. I need help making my films. Other filmmakers of color and progressive white filmmakers need help making their films. Dreamworks Studios does not need my help in promoting ticket sales for their films. Major black organizations should not help Hollyweird promote or finance the kind of cultural genocide which films like this promote. If you want to see a film about African Americans “in service” I can show Thirty-Eight Twenty to your church or social group. If you want to see decent films about Black folks you can go to Reel Black. If you want to support black and multicultural independent cinema you can click here and make a donation to one of my films Tango Macbeth. You have choices. Don’t choose The Help. Now you know. You can no longer claim ignorance.

It’s a Wrap!

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Harmony Image Productions completes principal photography of TANGO MACBETH at Plays and Players Theater!

We had a wonderful time filming at Plays and Players. I highly recommend it as a location. Thank you to the cast and crew who made TANGO MACBETH possible. And thank you to our community supporters who funded the film. If you are interested in making a contribution you can do that at our official project website www.tangomacbeth.com.

 

Place Philadelphia: Pew Philadelphia Theater Initiative Funds Project with Ain Gordon, Nadine Patterson, and the Painted Bride Art Center

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Painted Bride Art Center

In This Place…. and Place Philadelphia
2011 Company Project Grant
$187,000

Painted Bride Art Center will commission writer/director/actor Ain Gordon to create a new play that unearths a “forgotten” story from Philadelphia’s past. Over the course of an 18-month residency, Gordon will work in collaboration with Philadelphia documentarian/filmmaker Nadine Patterson and do extensive research in this area in order to find the untold or unknown story that will come to be the subject of the play. The two artists will conduct interviews, visit archives, and traverse the city. Community partners including The National Museum of American Jewish History, The Free Library of Philadelphia, Scribe Video Center, and Mother Bethel African Methodist Church will provide Gordon and Patterson with entryways into a diverse range of communities and will host events as the work is developed. Once research is complete, Gordon will write, cast, and direct the show’s production in May 2013. During the residency, Painted Bride will also present one of Gordon’s earlier works, In This Place…, inspired by a Kentucky home once inhabited by freed slaves who disappeared.

Sunday May 15th 4:30pm Open Forum on the Importance of Art & Culture in Our Community

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Painting by Marlene G. Patterson: “Catch of the Day”

Rev. Elliott Waters has invited me to be the inaugural speaker at a series of open forums that will look at the ways in which the Church can engage with artists and communities. Art is for everyday people as we struggle to deal with all that life throws our way. Art allows us to synthesize individual experience in a way that resonates with others. Art reveals and preserves the hidden beauty and talents inside all of us. Art is what defines us as human beings. We are all artists and we all need art. This is an interactive event, so come and share.

Here are two questions I would personally like to throw out to the attendants (thanks to Marlene G. Patterson for her assistance in this).

Questions:

1) How can we develop art and cultural programs that help to create commerce and cultural uplift for folks within the community?

2) How can artists engage with the community in efforts to improve the quality of life within our neighborhoods?

There will be light refreshment. The event, from 4:30pm to 6:00pm on Sunday May 15th, is at the Church of the Annunciation of the Blessed Virgin Mary, 324 Carpenter Lane, Philadelphia, PA  19119. It is at the intersection of Lincoln Drive and Carpenter Lane. The Chestnut Hill West Line (R8) has a stop one block away on Carpenter Lane.

RSVP to: annunciation_rector@verizon.net

For more information, please contact: Reverend Elliott Waters at (215) 844-3059

Now Accepting Resumes for Tango Macbeth Actor/Dancers

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Nadine, Farrah, and Alan in Shakespeare Workshop. Photo by Vera J.

The moment has come. We are gearing up for May Auditions for Tango Macbeth. Please go to our online form here, fill it out, and submit your resume and photo. If we call you in for an audition, be prepared to read/recite Sonnet 127. Go to the film website at www.tangomacbeth.com to learn the sonnet. We will rehearse the film in Philadelphia in June and shoot in July. Ciao!

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