Review: "THE WOMAN KING" Delivers a Beat Down for Your Viewing Pleasure

TRASH IN MY EYE No. 53 of 2022 (No. 1865) by Leroy Douresseaux

The Woman King (2022)
Running time:  135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity
DIRECTOR:  Gina Prince-Bythewood
WRITERS: Dana Stevens; from a story by Dana Stevens and Maria Bello
PRODUCER:  Maria Bello, Viola Davis, Cathy Schulman, and Julius Tennon
CINEMATOGRAPHER:  Polly Morgan (D.o.P.)
EDITOR:  Terilyn A. Shropshire
COMPOSER:  Terrence Blanchard

HISTORICAL/DRAMA/WAR

Starring:  Viola Davis, Thuso Mbedu, Lashana Lynch, Shelia Atim, John Boyega, Jordan Bolger, Hero Fiennes Tiffin, Jimmy Odukoya, Masali Baduza, Jayme Lawson, Adrienne Warren, and Chioma Antoinette Umeala

The Woman King is a 2022 epic war film and historical drama from director Gina Prince-Bythewood.  The film is a fictional account of the all-female military regiment, the Agojie, who protected the West African Kingdom of Dahomey during the length of its existence (from approximately 1600 to 1904).  The Woman King focuses on a woman general who must face the ghosts of her past as she leads her all-female band of warriors in a bid to protect their kingdom.

The Woman King opens in 1823 in West Africa in the Kingdom of Dahomey.  The kingdom has a new monarch, the young King Ghezo (John Boyega), who is ambitious and has plans for a better future for Dahomey,which is currently paying tributes to the Oyo Empire.  His kingdom is protected by the female warriors called the “Agojie,” whose notorious and fearsome reputation has led people to call them the “Dahomey Amazons.”

Agojie leader, General Nanisca (Viola Davis), knows that Dahomey is threatened with destruction from Oyo and its allies.  Her enemy is the fearsome Oyo warrior, Oba Ade (Jimmy Odukoya), so she must recruit new warriors to replace the ones who have died in battle.  Among her new recruits is Nawi (Thuso Mbedu), a stubborn girl who was given away by her father.  Nanisca is running out of time as Dahomey's enemies plot against the kingdom.  Also, the threat of European slave traders means that some of her own warriors could end up in barracoons (cages) before they are carried away as slaves.  Meanwhile, Nanisca must face both a ghost and a demon from her past.

The “Dora Milaje,” the all-female “king's guard” of the Disney/Marvel Studios' film, Black Panther (2018), are based on the Agojie.  Since the Dora Milaje kicked ass in the Marvel film, The Woman King had to depict the Agojie as ass-kickers, and the film does.  The action choreography is quite good – martial arts, historical war epic, and superhero movie good.  The Woman King, in some ways, is similar to films like Braveheart (1995) and Gladiator (2000).  The Woman King manages to be quite the crowd-pleaser by having the female warrior kill their enemies, which includes plenty of white men involved in the slave trade.

I am not surprised that The Woman King reminds me of another Marvel film, last year's Black Widow (2021).  The fight choreography in The Woman King sometimes resembles the techniques used by the character, Natasha Romanoff/Black Widow.  Also like Black Widow the film, The Woman King delves into how much it costs the Agojie to be warriors.  Via Nanisca, we see how hard these women work and how much they sacrifice.  As Nanisca, Viola Davis gives her best performance since her Oscar-winning turn in Fences (2016), if not her best performance ever.  Davis' muscular performance makes Nanisca gritty and determined and that defines the rest of the Agojie.  It also defines this film because producers Maria Bello and Cathy Schulman had to show grit and determination as they tried to convince studios to finance this film.

The Woman King also has the distinction of being one of those rare films in which every performance is outstanding – from the largest to the smallest roles, in addition to Viola Davis' superb turn.  John Boyega is surprisingly regal as King Ghezo.  As Nawi, Thuso Mbedu nearly steals this entire film, and as her quasi-paramour, Malik, Jordan Bolger is a light-skinned Mandingo … and his acting is good, too.  Lashana Lynch and Sheila Atim fairly leap off the screen as Nanisca's lieutenants, Izogie and Amenza, respectively.

Director Gina Prince-Bythewood and her cohorts deliver a film that is an absolute blast.  The mix of historical and alternate history feels uplifting, and it's totally fine for us to cheer and celebrate the battles and who gets killed in them.  Thank you, Maria Bello (who should have been Oscar-nominated for her performance in the film, The Cooler) and Cathy Schulman for getting this started.  Thank you, Viola Davis for leading all these goddesses in one of 2022's best films, The Woman King.

9 of 10
A+
★★★★+ out of 4 stars

Friday, September 16, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

----------------------

-----------------------

Comics Review: "GOOD ON BOTH SIDES" is Good Cover to Cover

GOOD ON BOTH SIDES – A (TH)INK ANTHOLOGY #5
KEITH KNIGHT PRESS/Microcosm Publishing

CARTOONIST: Keith Knight
ISBN: 978-0-9788053-5-7; paperback; 6" x 7.5" x 0.4" (June 2022)
128pp, Color, $20.00 U.S.

Good on Both Sides is a new collection of the socio-political, single-panel comic strip, (th)ink.  Debuting in 2000 on the now defunct website, Africana.com, (th)ink is the creation of Keith Knight, a cartoonist, comics creator, and musician.  Knight is also the creator and an executive producer on the recent Hulu series, “Woke.”  (th)ink currently appears in several outlets, including the Nib, Daily KOS, Antigravity, and The Funny Times.

Good on Both Sides, the fifth (th)ink paperback collection, takes its title by paraphrasing Donald Trump's moral equivalency after the 2017 “Unite the Right” rally in Charlottesville, Virginia.  It covers (th)ink episodes published during the early years of Donald Trump's masquerade as the 45th President of the United States.  Knight captures the absurdity of the time under an absurd leader and chronicles and depicts everything that made non-white supremacists cringe.

THE LOWDOWN:  In a sense political cartoonists are a dime a dozen.  The truth is that I have a hard time finding many that are really bad at their chosen professions.  What makes Keith Knight different?

I first became acquainted with Knight's work in late 2006 when I received a copy of Are We Feeling Safer Yet? (2007), the second (th)ink collection.  Sadly, I lost touch with him and had not thought of him until I heard about his Hulu TV series, “Woke,” last year.  I recently reconnected with him to request a copy-for-review of Good on Both Sides.  On the back cover of this book is a quote from Dawn Tol, part of which reads, “Keith Knight has never been more overtly Black.”

That is what makes Knight different from other political cartoonists.  He is Black.  Yes, there are other African-American political cartoonists (Walt Carr, David G. Brown), but for now, we are talking about Keith Knight, who is from a particular tradition.  That tradition involves Coloreds, Negroes, Afro-Americans, African-American, etc. who do not bite their tongues, metaphorically or otherwise, for the sake of propriety and for the feelings of good White folk and cautious, fretting Black folk.

I had forgotten just how screwed up the first half of Trump's occupation was … because the second half turned into … well,you know.  Knight's commentary via political cartoons is both incisive and relentless.  I won't say that he is “unapologetic” because apologizing is irrelevant in the context of what Knight does.  It isn't just Trump that is wrong with this country; it is also the rotten culture and society.  Honestly, much of that rot comes from White racism, supremacy, and privilege:  those that perpetuate it; those that enjoy the advantages while letting someone else do the dirty work; and those who benefit and give nominal lip service in criticizing it.

In Good on Both Sides, nothing and no one is spared.  Warts and all, Klan robes and hoods:  Knight reveals the stains without a thought for decorum.  Political commentary, words, pictures, or cartoons need that, especially when so many commentators want us to “turn down the temperature.”  Knight is the triple truth, Ruth.

Good on Both Sides isn't all about Trump.  As I said, there were plenty of awful people during that time who deserve Knight's punches.  Knight also offers several nice memorials and tributes to such luminaries as W.E.B. Du Bois, Dick Gregory, and Josephine Baker, to name a few.  I am not crazy about everything in Good on Both Sides, but it's close.  I could have read another hundred pages just to see what Knight has to say about the time period this collection covers.

Keith Knight's political cartoons are timely, and many are timeless.  The timeless ones will always have bite, but the timely will cut like a knife for years to come.  And Good on Both Sides is just plain funny.  I laughed a lot, and I practically always need that from political cartoons.  I encourage you, dear readers, to get a copy of Good on Both Sides.  Maybe if enough of you read it, someone will get the notion to shortlist Mr. Knight for a Pulitzer Prize.

I READS YOU RECOMMENDS:  Fans of great political cartoons and of Keith Knight's work will want to read Good on Both Sides.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


You can buy copies of Good on Both Sides at indie book stores or at the following online shops: here or https://keithknight.bigcartel.com/product/pre-order-good-on-both-sides-the-new-th-ink-collection and here or https://microcosmpublishing.com/catalog/books/1446.


Find Keith Knight on the Internet:
https://keithknightart.com/
https://kchronicles.com/
https://twitter.com/KeefKnight
https://www.patreon.com/keefknight
https://www.instagram.com/iamkeithknight/?hl=en
https://keithknight.bigcartel.com/
https://microcosmpublishing.com/catalog/books/1446
https://www.facebook.com/keithknightcartoonist/
https://www.gocomics.com/thekchronicles


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------------------

Comics Review: "DARK BLOOD #5" is Simply So Much Fun to Read

DARK BLOOD #5 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Moisés Hidalgo
COLORS: A.H.G. with Allison Hu
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Ernanda Souza
24pp, Colors, 3.99 U.S. (December 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Moisés Hidalgo and Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange powers.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #5 opens in 1955 – the Night of the Variance.  But this night feels the weight of a time a decade earlier when World War II servicemen, Avery and Henderson, two pilots of the Red Tails, face injustice masquerading as justice in Austria.  Oh, how it resembles the same process of injustice in the United States.  What happened that night may have laid the groundwork for Avery's situation now.

What Avery discovered about himself six weeks before the Night of Variance seemed like a good thing, but this night, there is horror and there must be a reckoning.  As Avery's condition continues to manifest and become more intense, is his search for answers merely going to lead him to something far worse?

THE LOWDOWN:  In Dark Blood, television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers a comic book that flows through multiple genres, including science fiction and fantasy, horror, and history.  It has layers and subtexts.  There is metaphor and symbolism and history made reality.  Morgan presents her readers with a beautiful and complex work.

On the other hand, I see the art of Moisés Hidalgo, who has been the regular artist on this series since the third issue.  I read his signs and graphics and symbolism, and I realize that Dark Blood #5 is just so much fun to read.  I feel like a kid again discovering something every time I read a new comic book or new issue of a favorite series.  Even if I were too ignorant to figure out the layers behind this story, Hidalgo turns this tale into a wild adventure of mad scientists, Nazis, and rotten cops.  It is pure escapism, and ain't nothing wrong with that.  Hell, Dark Blood #5 is the magic and the mystery of the Golden Age of Comics before busybodies ruined this outsider art form with the “Comics Code Authority (CCA) in 1954.

A.H.G.'s beautiful colors on Hidalgo's art makes this vintage mode (so to speak) feel so real.  I hope the upcoming final issue of Dark Blood also has a touch of escapist entertainment in it.  I also hope that it isn't the end...

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Comics Review: "DARK BLOOD #4" is Hungry Like the Wolf

DARK BLOOD #4 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Moisés Hidalgo
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Jonboy Meyers
24pp, Colors, 3.99 U.S. (October 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna and Moisés Hidalgo; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #4 opens in 1955 – the Night of the Variance.  Avery is on the run with Sheriff Wright closing in on him.  Avery is certain that the police have blamed him for an accidental death that occurred behind the diner where he works.  His younger brother, Theodore “Theo” Aldridge, is waiting for him, and li'l bro will be shocked by what Avery has to reveal.

Those revelations include what happened ten years ago in World War II – behind enemy lines – when Avery had an encounter with ... werewolves.  Can Avery clear his name and find out what's really happening to him?

THE LOWDOWN:  I thought that the term “Nazi werewolves” was merely some B-movie or cheap sci-fi/horror trope.  Though Pocket, the reading list service, I discovered Lorraine Boissoneault's article for Smithsonian Magazine that detailed the World War II guerrilla fighters referred to by that name.

In Dark Blood, television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers a comic book that flows through multiple genres, including science fiction and fantasy, horror, and history.  It is a reality-based drama that treads the borders of the fantastic the way Rod Serling did in his legendary TV series, “The Twilight Zone.”

On the other hand, Dark Blood #4 throws readers into the thrill of the hunt, as two similar kinds of human wolves hunt Avery, ten years apart.  In this way, Morgan reminds us that there are thrills, chills, and action flowing in Dark Blood.  Like EC Comics' famous war comics titles, Frontline Combat and Two-Fisted Tales, Dark Blood drops readers behind enemy lines into the treachery and menace of war.  In 1955, as Avery eludes his pursuers, fans may be reminded that there is nothing like the thrill of watching an unsuspecting person wander into the Twilight Zone and end up being hunted.

In Dark Blood #4, Moisés Hidalgo, who also drew issue #3, delivers the kind of comic book storytelling that will have readers burning through the pages, and rereading much of the it.  The naturalism of his illustrative style keeps the story from being constrained by time.  What happens is more important than when it happened, making the story feel timeless.  In a sense, what occurs in Dark Blood #4 is always an occurrence – to one person and another, at one time and another.

A.H.G.'s beautiful colors on Hidalgo's art brings forth the power of this story, and for me, it's like riding lightning through Avery's (mis)adventures.  As usual, Andworld Design's lettering throws gasoline on the fire.

So, dear readers, at least you who need a change from what you read every month, here it is.  Like Rodney Barnes and Jason Shawn Alexander's Killadelphia (Image Comics), Dark Blood is the … new blood your imaginations need.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Comics Review: "DARK BLOOD #3" Races with the Devils

DARK BLOOD #3 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Moisés Hidalgo
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Christian Ward
24pp, Colors, 3.99 U.S. (September 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna and Moisés Hidalgo; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #3 opens in 1945, ten years before the Variance.  In Alabama, Emma Aldridge, Avery's wife, feels the penetrating eyes of a member of the local wolf pack, also known as a police officer, specifically Officer Wright.  Meanwhile, near the Austrian border, Avery and a fellow pilot race for safety with another kind of wolf pack, in the form of a Nazi commandant and his soldiers, nipping at their heels.

Ten years later, back in the present, it is the “Night of the Variance.”  Once again, Emma evades a wolf, while Avery runs away from one.  As he did a decade before, Avery will once again have to decide when he should stop running and turn around and start fighting.

THE LOWDOWN:  The indignities that Avery Aldridge suffers in Dark Blood #2 are familiar to me because I have experienced some of them and others were told to me via first hand or second hand accounts.  A theme that runs throughout Dark Blood, thus far, is the notion that Black people are often being hunted.  Sometimes, even being watched is a form of being hunted; the difference is that the hunter hunts with his stare or gaze.

Television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers in Dark Blood a comic book that flows through multiple genres, including science fiction and fantasy, horror, history, and reality-based drama, to name a few.  As a television writer, she knows how to deliver action, suspense, and thrills along with the character drama.  And Dark Blood #3 offers the thrill of the hunt.

This third issue finds husband and wife, Avery and Emma Aldridge, living and surviving on the razor's edge more than once, over two time periods.  It would not be inappropriate to compare this issue's hunters, Alabama law enforcement and Nazi military personnel to one another.  After all, one was the teacher of codified racism, and the other was the student.  [I'll let you, dear readers, figure out which was which.]

Morgan delivers Dark Blood's most taut thrills and fraught drama, thus far, and this time she has a different artist as her creative partner.  Moisés Hidalgo, who drew a few pages of Dark Blood #2, returns to draw Dark Blood #3's dark nights of pursuit to life.  Hidalgo's compositions seem inspired by the surreal madness of Steve Ditko's comics and also the impressionism and and wild-eyed emotions of Japanese manga.  Here, Hidalgo makes the reader feel, as if he refuses to allow the reader to experience Morgan's story only in a rational way.  His art wants us to be fearful, desperate, and even irrational.  While reading this issue, I believed that I had to feel this story if I was really going to have a chance of understanding the characters' plights.

Once again, I must praise A.H.G.'s coloring for Dark Blood.  I read comiXology's digital editions of Dark Blood when I am reviewing the series, and A.H.G.'s colors look gorgeous in this format.  The coloring makes Dark Blood's interiors look like pages from a vintage comic book, so Dark Blood seems to be not a comic book about the past, but a comic book from the past.  It is like a memento from a time capsule, a story that has been waiting for us.

Strangely, Dark Blood #3 confirms what I have been thinking since I started reading this series.  Dark Blood is the comic book that some comic book readers need and have needed for a long time, though some may only discover this later via a Dark Blood trade paperback.  So, once gain, I highly recommend Dark Blood.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

----------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Comics Review: "DARK BLOOD #2": Ain't Nothing Like the Real Thing, Baby

DARK BLOOD #2 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART: Walt Barna with Moisés Hidalgo (pp. 10-12, 19)
COLORS: A.H.G.
LETTERS: Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Taurin Clarke
24pp, Colors, 3.99 U.S.(August 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #2 opens six months before the Variance and reflects that which occupies Avery's oft-troubled mind.  He thinks of his wife, Emma, and their daughter, Grace Emmadell.  We see his life in “Vale Junction,” a small Black community where everyone knows him and loves Emma's “Vale Junction Book Mobile.”  Even his wartime experiences, especially from a particular time in Austria, circa 1945, flits in and out of Avery's memories.

However, reality intrudes after an altercation leaves Avery hurt.  Dr. Carlisle, a white university doctor, is the unlikely bystander who steps in to help, offering Avery immediate first aid.  As luck … would have it, Dr. Carlisle also operates a clinic “right outside of town on the old Rickman Farm” where he offers free medical care.  But nothing is really free...

THE LOWDOWN:  The indignities that Avery Aldridge suffers in Dark Blood #2 are familiar to me because I have experienced some of them and others were told to me via first hand or second hand accounts.  I admire a writer who can take such things and transform them into drama.  When a writer takes reality and inflicts it on make-believe people in a way that hits the audience in the soft spots (the heart, the soul, the mind), that is some mighty powerful storytelling.

Television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers in Dark Blood a comic book that is both science fiction-fantasy/horror and historical or reality-based drama.  She makes the Jim Crow world in her corner of Alabama truly an awful place, but at the same time, she presents in Vale Junction a Black community permeated with love and possibilities.  And that was the world that Black Americans lived not that long ago.

There are times when Avery suffers the insults of White people, and I can feel the hoary ghost of Nat Turner scratching at every window of my soul.  A documentary film or a work of journalism in our world would take Avery's experiences and attempt to engage our intellect.  Great drama takes those same experiences and engages our soul and ensnares our imagination.  It is through such mighty and imaginative drama that Morgan makes Dark Blood work as serialized fiction, a kind of fantastic fiction born in our reality based histories.

By page design and panel composition, artist Walt Barna brings the compelling drama of Dark Blood #2 to life.  With each panel, he is like a photographer working the right angles and capturing the perfect moments as he builds this chapter/issue.  There are also some beautifully drawn pages by guest artist Moisés Hidalgo.  Of course, A.H.G.'s gorgeous colors shift with the winds of Avery's memories, as well as with the linear jooks of Morgan's narratives.  So I credit the colors with forcing me to pay attention to the graphics throughout Dark Blood, especially this second issue.

After reading the first issue, I thought that LaToya Morgan, Walt Barna, A.H.G., and Andworld Design were off to a most excellent start, offering something that had great promise.  Dark Blood #2 aggressively delivers on that great promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

-----------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Comics Review: "DARK BLOOD #1" is Hot Blooded

DARK BLOOD #1 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Walt Barna
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Dan Mora; Valentine De Landro; Marcus Williams; Javan Jordan; Mico Suayan; Felix Icarus Morales with Robert Nugent; David Sanchez with Omi Remalante; Karen S. Darboe; Ingrid Gala; Marco Rudy
24pp, Colors, 3.99 U.S.(July 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s "The Walking Dead," "Into The Badlands").  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on an Black World War II veteran who discovers that he has strange new abilities.

Dark Blood #1 opens in Alabama, 1955.  It's night.  Avery Aldridge, also known as “Double A,” is leaving his job at the diner, “Hardy's Eats.”  In the alley, he has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful, grown-ass man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

THE LOWDOWN:  As I much as I love the original Star Wars movies and a number of classic Walt Disney animated features (Peter Pan), my all-time favorite movie moment occurs in 1967's In the Heat of the Night.  Involuntarily assigned to a homicide case in Sparta Mississippi, Philadelphia police detective Virgil Tibbs (played by Sidney Poitier) is interviewing a suspect, a local and powerful rich white man named Endicott (Larry Gates), when Endicott slaps him in the face.  Tibbs slaps him right back.  The first time I saw Tibbs slap Endicott, it took my breath away … and it still does.

Television writer-producer LaToya Morgan (AMC's "TURN: Washington's Spies") offers a sci-fi/horror spin on Tibbs' slap as the spine of the first issue of her new comic book, Dark Blood.  This time, the confrontation is longer, and Avery Aldridge's response is made a bit more complicated, partly because he seems unstuck in time.  Morgan does everything to tell her readers a lot by whetting their appetites for more, because they don't know the half of it, and she makes that “it” intriguing.

For all that I am intrigued by Dark Blood #1's story and concept, this first issue is also a showcase for the art team of illustrator Walt Barna and colorist A.H.G.  Barna's compositions are some of the most convincing period art that I have seen in a modern comic book in years.  Barna's Alabama, 1955 looks so “old-timey” that I could believe that it is something Barna drew at least half-a-century ago.  Barna's aerial sequences depicting Aldridge's time as a Red Tail reminds me of the comic book art one might find in EC Comics' legendary war comic book, Aces High (1955).

A.H.G.'s colors are gorgeous and also from a time machine.  If I didn't know better, I would say he hand-colored this comic book and manually separated those colors in a back office at a NYC-based comic book publisher – in days gone by.  Seriously, his colors shimmer, but are also earthy, and they make the storytelling's time periods look and feel authentic.

And I always enjoy Andworld Design's lettering, which is always stylish in a way that brings immediacy and power to the drama.  So LaToya Morgan, Walt Barna, A.H.G., and Andworld Design are off to a most excellent start, and Dark Blood #1 sparkles with promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

--------------------

NatGeo to Air "Rise Again: Tulsa and the Red Summer" Fri., June 18th

National Geographic Documentary Films Partners With Acclaimed Director Dawn Porter in Search of Justice and Peace 100 Years After the Tulsa Massacre in New Feature Documentary RISE AGAIN: TULSA AND THE RED SUMMER

Award-Winning Journalist DeNeen Brown Chronicles the Investigation of a Mass Grave in Oklahoma, Reporting on the Early 20th Century's Reign of Racial Terror and Legacy of Violence in the Two-Hour Special To Premiere On National Geographic Friday, June 18, at 9 p.m. ET/PT and Available To Stream on Hulu the Next Day, Juneteenth, Saturday, June 19, 2021

Get a first look at YouTube.

WASHINGTON--(BUSINESS WIRE)--National Geographic Documentary Films is partnering with acclaimed filmmaker Dawn Porter ("The Way I See It," "Good Trouble: John Lewis") and Trailblazer Studios on a feature documentary that sheds new light on a century-old period of intense racial conflict. RISE AGAIN: TULSA AND THE RED SUMMER comes one hundred years from the two-day Tulsa Massacre in 1921 that led to the murder of hundreds of Black people and leaving thousands homeless and displaced. The film will premiere on National Geographic on Friday, June 18, 2021, at 9 p.m. ET/PT. It will also be available to stream on Hulu the next day, Saturday, June 19, 2021, commemorating Juneteenth, when the last enslaved Black people in Texas received news of their emancipation, and will air globally in 172 countries and 43 languages.

Award-winning Washington Post journalist and Oklahoma native DeNeen Brown is at the heart of the film, reporting on the search for a mass grave in her native state. Digging into the events that led to one of the worst episodes of racial violence in America's history, Brown reveals insights into racial-conflict incidents that erupted in the early 20th century. Between 1917 and 1923, when Jim Crow laws were at their height and the Klu Klux Klan was resurging across the nation, scores of Black homes and businesses were razed, and hundreds of Black people were lynched and massacred with impunity.

Brown's reporting highlights the revived call for justice for victims and survivors. Following a 2018 investigative report, Brown explores the current new anti-racism movement in the context of the Tulsa Massacre and the Red Summer. With access to family members of those killed, city officials, archeologists and historians, the film reveals the decades-long effort by descendants and community members to find the victims' bodies and unearth truths that have been suppressed for nearly a century. RISE AGAIN: TULSA AND THE RED SUMMER also untangles the role the media played in covering events at the time in order to reveal the full extent of the nation's buried past.

"I'm interested in following the evidence where it leads while giving a voice to those directly affected by the tragic events in Tulsa and throughout the Red Summer. This is the time to tell this story, which is not only about Black victims but also about Black resistance. There is so much our society is currently reckoning with, but seeking the truth about the damage wrought by unchecked mob violence against the Black community is a starting point. Sadly, the racism motivating the Red Summer has not been eradicated. It is clear, we must acknowledge these wrongs if healing is to begin," said Dawn Porter.

DeNeen L. Brown added, "In Tulsa, there is an increased urgency to properly honor Black people who were murdered during the 1921 Tulsa Race Massacre. Black activists in Tulsa have been working for years to bring national attention to this horrific chapter in U.S. history, in which as many as 300 Black people were killed by white mobs, and the prosperous Black community of Greenwood was destroyed. This year, as the city recognizes the 100th anniversary of the massacre, Tulsa finds itself at a point of inflection to learn from its horrific history and bring justice to survivors and descendants who have been denied true justice for too long."

Also being covered in a future issue of National Geographic Magazine, the excavation of a possible mass grave in Tulsa will continue early 20th century calls from Black newspapers, which reported on the Red Summer era seeking justice for the dead. The excavation is just one part of the effort to reckon with the past.

National Geographic Documentary Films' RISE AGAIN: TULSA AND THE RED SUMMER comes on the heels of its highly successful docuseries CITY SO REAL, continuing to shed light on social justice and racial equality in America. The banner's most recent films, REBUILDING PARADISE, from director Ron Howard, debuted at Sundance 2020, and THE CAVE, from director Feras Fayyad, was nominated for an Academy Award® for Best Documentary Feature in 2020. National Geographic Documentary Films previously released the Academy Award-, BAFTA- and seven-time Emmy® Award-winning film FREE SOLO; the Sundance Audience Award winner SCIENCE FAIR; Emmy winners LA 92 and JANE, both of which were included in the top 15 documentaries considered for an Academy Award in 2017; and duPont Award winner HELL ON EARTH: THE FALL OF SYRIA AND THE RISE OF ISIS.

RISE AGAIN: TULSA AND THE RED SUMMER is produced by Dawn Porter's Trilogy Films and Trailblazer Studios in association with National Geographic Studios. Porter serves as producer and director, with DeNeen Brown as contributing reporter and Lauren Capps as story producer. For Trailblazer Studios, Jeff Lanter and Ashleigh Di Tonto are executive producers. For National Geographic, Christine Weber is executive producer, and Courteney Monroe is president, Content.


About National Geographic Documentary Films:
National Geographic Documentary Films is committed to bringing the world premium, feature documentaries that cover timely, provocative and globally relevant stories from the very best documentary filmmakers in the world. National Geographic Documentary Films is a division of National Geographic Partners, a joint venture between Disney and the National Geographic Society. Furthering knowledge and understanding of our world has been the core purpose of National Geographic for 132 years, and now we are committed to going deeper, pushing boundaries, going further for our consumers … and reaching millions of people around the world in 172 countries and 43 languages every month as we do it. NGP returns 27 percent of our proceeds to the nonprofit National Geographic Society to fund work in the areas of science, exploration, conservation and education. For more information, visit natgeotv.com or nationalgeographic.com, or find us on Facebook, Twitter, Instagram, YouTube, LinkedIn and Pinterest.

About Trilogy Films:
Trilogy Films specializes in creating award-winning, feature-length documentaries that elevate important issues and spark necessary conversations. Led by filmmaker Dawn Porter, Trilogy has produced content for some of the globe's largest content brands and distributors, while earning several of the industry's highest honors, including a Peabody Award for the 2016 documentary Trapped and Independent Spirit Award nomination for her 2013 film Gideon's Army. Recent projects include John Lewis: Good Trouble (Magnolia Pictures), about the late Congressman John Lewis and The Way I See It (Focus Features), about photojournalist Pete Souza, who served as Chief Official White House photographer for President Barack Obama and as an Official White House photographer for Ronald Reagan. Trilogy Films is currently producing an Apple TV multi-part documentary series with Oprah Winfrey and Prince Harry that focuses on mental illness and wellbeing.

About Trailblazer Studios:
Trailblazer Studios is an Emmy-winning entertainment, production, post and sound facility. Based in Raleigh, N.C., Trailblazer's nearly 20,000 sq. ft. facility boasts a soundstage, production offices, edit suites, picture finishing, sound mixing and other related services. Most recently, the company announced a first-of-its-kind television endeavor with Reuters to adapt its highly acclaimed, award-winning investigative series The Body Trade. Trailblazer, which delivered nearly 100 hours of original programming in 2020, is currently producing several announced blue-chip, natural-history and premium-documentary series for several networks, including National Geographic, OWN, Discovery and PBS. The company also assists clients with delivering content to HBO, Netflix, Amazon and numerous film festivals, including Sundance, Full Frame and Tribeca.

----------------------

MTV Signs Deal with Courtney B. Vance and Angela Bassett; Deal Includes "Tulsa Race Massacre" Series

 
MTV Entertainment Studios and Bassett Vance Productions Tap Award-Winning Writer Nathan Alan Davis for Limited Series on the Tulsa Race Massacre

On the centennial anniversary of the tragedy, the dramatic adaptation will be executive produced by Courtney B. Vance and Angela Bassett as part of overall deal with MTVE

NEW YORK--(BUSINESS WIRE)--MTV Entertainment Studios and Bassett Vance Productions today that Award-winning playwright Nathan Alan Davis will write a scripted original limited-series inspired by the Tulsa Race Massacre of 1921, considered the single worst incident of racial violence in American history.

    “As storytellers - together with Courtney, Angela and Nathan - we have the privilege of shining a light on a devastating event in our history that is important, necessary and still resonates 100 years later”

A century after the devastating event that left hundreds of Black people dead and entire homes and businesses destroyed, the series will be the first dramatic adaptation devoted to telling the story of Greenwood district in Tulsa which at that time was the wealthiest Black community in the United States and known as "Black Wall Street.”

“As storytellers - together with Courtney, Angela and Nathan - we have the privilege of shining a light on a devastating event in our history that is important, necessary and still resonates 100 years later,” said Nina L. Diaz, President of Content and Chief Creative Officer at MTV Entertainment Group. “This partnership underscores our shared commitment to raise diverse voices and create content our global audience is yearning for that is both timely and telling.”

“Angela and I have always had a deep appreciation for history, especially when it comes to stories that are rooted in the Black community. We look forward to working on this series with MTV Entertainment Studios that will explore an important slice of American history as we look to reflect on events that changed the lives of countless Black families in Tulsa, Oklahoma one hundred years ago,” said Courtney B. Vance, principal at Bassett Vance Productions. “We are excited to work with Nathan because his vision directly aligns with the story that Angela and I want to tell. Although the series will revisit the Black pain and tragedy that took place on May 31 and June 1, 1921, it will also importantly introduce to many the stories of the extraordinary, entrepreneurial people who built Black Wall Street and all that this community accomplished.”

Davis added, “I am honored to be partnering with Courtney, Angela, MTV Entertainment Studios and their extraordinary teams in this vital endeavor. Exploring the history of Tulsa’s Greenwood District as a limited dramatic series affords us a precious opportunity and a deep responsibility. I greatly look forward to crafting a story that will not only shed light on the people of Black Wall Street, but give fresh life to the spirit, ideas, hopes, fears, and dreams that motivated them.”

This is the first project from Bassett Vance Productions as part of the deal made with MTV Entertainment Studios in 2020. Having served as a writer for projects such as BET's American Soul and Facebook Watch's Sorry For Your Loss, this marks Davis's first run as a show creator after receiving multiple awards for his produced plays, including Nat Turner in Jerusalem, Dontrell Who Kissed the Sea and The Wind and the Breeze. He previously provided a take on the Tulsa Massacre for his play, The High Ground, which is slated to premiere at Arena Stage in Washington D.C.

Meghan Hooper White, EVP and Head of Original Movies and Limited Series and VP, Original Movies and Limited Series, Amal Baggar will oversee the project for MTV Entertainment Studios. Bassett and Vance will executive produce the series, along with Dwayne Johnson-Cochran and Lynnette Ramirez for Bassett Vance Productions.

Davis is repped by ICM and managed by Literate. Bassett Vance Productions is repped by Darrell Miller, Fox Rothschild LLP. Bahareh Kamali brokered the deal for MTV Entertainment Studios.

--------------------

Review: "JUDAS AND THE BLACK MESSIAH" is Divine *

TRASH IN MY EYE No. 36 of 2021 (No. 1774) by Leroy Douresseaux

Judas and the Black Messiah (2021)
Running time:  125 minutes (2 hours, 5 minutes)
MPAA – R for violence and pervasive language
DIRECTOR:  Shaka King
WRITERS:  Will Berson and Shaka King; from a story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
PRODUCERS:  Ryan Coogler, Charles D. King, Shaka King, and Mark Isham
CINEMATOGRAPHER:  Sean Bobbitt (D.o.P.)
EDITOR:  Kristan Sprague
COMPOSER:  Craig Harris
Academy Award winner

DRAMA/HISTORICAL

Starring: Daniel Kaluuya, LaKeith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Algee Smith, Darrell Britt-Gibson, Lil Rel Howery, Dominique Thorne, Martin Sheen, Amari Cheatom, Ian Duff, Robert Longstreet, Nicholas Velez, and Terayle Hill

Judas and the Black Messiah is a 2021 drama, historical, and biopic from director Shaka King.  The film is a dramatization of the betrayal of Chicago Black Panther Party leader, Fred Hampton, by FBI informant, William O'Neal.  Judas and the Black Messiah was eligible for the 2020 / 93rd Academy Awards due to an eligibility window extension granted by the Academy of Motion Picture Arts and Sciences because of the COVID-19 pandemic.

Judas and the Black Messiah opens in 1968.  Nineteen-year-old petty criminal William “Bill” O'Neal (LaKeith Stanfield) is arrested in Chicago after attempting to steal a car while posing as a federal officer.  Bill is looking at hard time in prison, over six years, but he is approached by FBI Special Agent Roy Mitchell (Jesse Plemons) with a special offer.  Agent Mitchell can have O'Neal's charges dropped if he works undercover for the bureau.  Bill is assigned to infiltrate the Illinois chapter of the Black Panther Party (BPP) and to spy on its leader, Chairman Fred Hampton (Daniel Kaluuya).

Bill begins to grow close to Hampton, as the Chairman works to form alliances with rival street gangs, such as “The Crowns.”  Hampton extends the BPP's community outreach through the Panthers' “Free Breakfast for Children Program.”  By 1969, Hampton's persuasive oratory skills eventually help to form the multiracial “Rainbow Coalition,” which unites the Panthers with the “Young Lords,” a Puerto Rican militant group, and “The Young Patriots,” a militant group comprised of poor and displaced white people.  Still, Hampton even finds time to fall in love with party member, Deborah Johnson (Dominique Fishback).

Hampton's rise and success makes the FBI determined to stop him before he becomes what J. Edgar Hoover (Martin Sheen), Director of the FBI, calls a “Black Messiah.”  Meanwhile, a battle wages in Bill O'Neal's soul.  Will he help the FBI destroy Fred Hampton?

Judas and the Black Messiah may have received all its awards for the year 2020, but this powerful dramatization of a pivotal moment in the history of the Civil Rights movement is already one of 2021's best films.  What the writers of this film have created is a condemnation of racial injustice, mostly in the form of the local (Chicago Police Department), state, and federal law enforcement (FBI) and also in the form of the courts and prisons (especially Menard Correction Center, the prison where Hampton was incarcerated).

However, the writers also present, both in subtle ways and in obvious strokes, the racial injustice that comes from the economic deprivation and social inequality that ordinary black people suffer.  Director Shaka King shows it in the two worlds in which the traitorous Bill O'Neal travels.  The first is Agent Roy Mitchell's comfy home and the fancy restaurants where Mitchell meets Bill, and the second is the world of rundown buildings and impoverished neighborhoods where Bill is a thief, a Panther, and a two-faced, self-serving coon who has a prison sentence over his head, which leads him to be a traitor.

Bill O'Neal really isn't a “Judas” anymore than Fred Hampton is really a “messiah,” black or otherwise.  Yes, Shaka King does play some of this film, especially its last act like a mystery play or Biblical allegory, retelling and reshaping the story of the betrayal of Jesus Christ at the hands of Judas Iscariot.  O'Neal and Hampton seems like people swept up by the tide of events that was the postwar Civil Rights movement.  Their story is tragic, but Judas and the Black Messiah seems to ask us two questions:  What now? And where do we go from here?  The questions are not related to the late 1960s so much as they are being asked of us at the dawn of the third decade of the twenty-first century.

As Bill O'Neal, LaKeith Stanfield gives a layered and multifaceted performance.  Even when Stanfield plays Bill as angry or desperate, he creates multiple layers to that anger and desperation in each scene.  Before the credits, Judas and the Black Messiah presents some archival footage of the real William O'Neal, and seeing that made me believe that Stanfield made a Meryl Streep-like transformation in creating a fictional O'Neal that was, in some ways, very much like the real person.

I can see why Daniel Kaluuya won the “Best Supporting Actor” Oscar for his performance as Fred Hampton.  Kaluuya embodies the hope and the lost potential that people now look back and see in Fred Hampton.  In the last act, Kaluuya truly makes Hampton seem messianic.  And that is worth an entire shelf full of awards.  I would be remiss if I did not mention how deliciously and wickedly great Martin Sheen is as J. Edgar Hoover, Director of the FBI, thirsting for Hampton's blood.

Judas and the Black Messiah continues the run of important African-American films confronting the legacy of racism in the United States, films like If Beale Street Could Talk and BlacKkKlansman, both from 2018.  It goes without saying that this is an important film for those interested in the history of the Civil Rights Movement.  Judas and the Black Messiah is for you, dear readers, if you want  to see American films that electrify the important chapters in the American story.

9 of 10
A+

Saturday, May 22, 2021


NOTES:
2021 Academy Awards, USA:  2 wins:  “Best Performance by an Actor in a Supporting Role” (Daniel Kaluuya) and “Best Achievement in Music Written for Motion Pictures-Original Song” (H.E.R.-music and lyric, Dernst Emile II-music, and Tiara Thomas-lyric for the song “Fight for You”); 4 nominations: “Best Motion Picture of the Year” (Shaka King, Charles D. King, and Ryan Coogler); “Best Original Screenplay” (Will Berson-screenplay by/story by, Shaka King-screenplay by/story by, Kenny Lucas-story by, and Keith Lucas-story by), “Best Performance by an Actor in a Supporting Role” (LaKeith Stanfield), and “Best Achievement in Cinematography” (Sean Bobbitt)

2021 Golden Globes, USA:  1 win: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Daniel Kaluuya) and 1 nomination: “Best Original Song - Motion Picture” (Tiara Thomas-lyrics, H.E.R.-music/lyrics, and D'Mile-music for the song “Fight for You”)

2021 BAFTA Awards:  1 win: “Best Supporting Actor” (Daniel Kaluuya); 3 nominations:  “Best Supporting Actress” (Dominique Fishback), “Best Cinematography” (Sean Bobbitt), and “Best Casting” (Alexa L. Fogel)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

---------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

Comcast Announces Premiere of "Twenty Pearls: The Story of Alpha Kappa Alpha Sorority, Incorporated®"

Comcast Announces Exclusive Premiere of Twenty Pearls – A Documentary Examining the Storied History of Alpha Kappa Alpha Sorority, Incorporated® – On Its Newly Launched Black Experience on Xfinity Channel

Narrated by Phylicia Rashād

Watch the Trailer Here.

PHILADELPHIA--(BUSINESS WIRE)--Comcast NBCUniversal is excited to announce the exclusive premiere of the documentary film Twenty Pearls: The Story of Alpha Kappa Alpha Sorority, Incorporated®, Friday, March 26, 2021 on its newly-launched Black Experience on Xfinity Channel, available on X1, Flex, and on-the-go with the Xfinity Stream app.

    “This is an extraordinary time to look back at our past to serve our future”

From award-winning filmmaker Deborah Riley Draper, produced by Coffee Bluff Pictures, and narrated by Phylicia Rashād, Twenty Pearls closely examines the founding and legacy of the first Black sorority, Alpha Kappa Alpha Sorority, Incorporated®, which is now regarded as one of the most significant and influential Black organizations in history. The documentary tells a powerful story of sisterhood. In 1908, nine Black women enrolled at Howard University made one decision that would change the course of history. These college students created Alpha Kappa Alpha Sorority, Incorporated®. For over 113 years, the sorority has influenced many of the most famous watershed moments in history.

Through narration, interviews and rarely seen archival materials, the audience will see the sorority’s impact on World War II, NASA, Civil Rights, Women’s Rights and Historically Black Colleges and Universities (HBCUs) culminating in the historic election of America’s first Black and South Asian woman Vice President. Twenty Pearls features interviews with members of the sorority including Vice President Kamala Harris, Miss Universe Ireland 2019 Fionnghuala O’Reilly, Smithsonian Secretary Lonnie Bunch III, Anna Eleanor Roosevelt Fierst, great-granddaughter of First Lady Eleanor Roosevelt, International President and CEO of Alpha Kappa Alpha Sorority, Incorporated® Dr. Glenda Glover and many more.

Watch the Twenty Pearls trailer here.

“This is an extraordinary time to look back at our past to serve our future,” said filmmaker Deborah Riley Draper. “A future where Black women are centered. Helming this documentary love letter to the founders of Alpha Kappa Alpha, the generations of women that followed in their footsteps and to all Black women everywhere is an honor. This is an important history for all of us to know and understand.”

“We’re thrilled to work with award-winning filmmaker, Deborah Riley Draper, and Alpha Kappa Alpha Sorority to bring this exclusive premiere to the Black Experience on Xfinity channel, furthering our company-wide mission of investing in and showcasing authentic Black stories and culture,” added Keesha Boyd, Executive Director, Multicultural Video & Entertainment, Xfinity Consumer Services. “We launched this channel to help facilitate the discovery of stories like Twenty Pearls, while providing a platform for emerging Black content creators.”

“Telling our own story is essential to preserving our history and uplifting the culture,” said Alpha Kappa Alpha International President and CEO Dr. Glenda Glover. “Alpha Kappa Alpha Sorority, Incorporated’s remarkable 113-year journey which began on the campus of Howard University is punctuated by stories of history makers, ceiling breakers, public servants and ordinary women who have changed the course of American history. Through this beautifully written and narrated odyssey, this film highlights in undeniable ways the vision, courage, tenacity, determination and power of Black women while putting to bed the age-old questions about the relevance of Historically Black Colleges and Universities and the Divine Nine sororities and fraternities.”

Black Experience on Xfinity is a first-of-its-kind destination of Black entertainment, movies, TV shows, news and more. It features high-quality content from many of Xfinity’s existing network partners, at no additional cost, while investing millions of dollars in fostering and showcasing emerging Black content creators. The channel is the only one of its kind endorsed by the African American Film Critics Association (AAFCA), the world's largest group of Black film critics that gives annual awards for excellence in film and television. Available at home on Xfinity X1 and Flex, and on-the-go with the Xfinity Stream app, the Black Experience on Xfinity will entertain, educate and uplift, featuring Black actors, writers, producers and directors. At home, Xfinity subscribers can visit channel 1622 or simply say “Black Experience” into the Voice Remote to instantly enjoy the ultimate in Black storytelling.

Visit https://www.xfinity.com/learn/digital-cable-tv/black-experience to learn more about the Black Experience on Xfinity and other Black programming available on X1, Flex, and the Xfinity Stream app. Visit www.aka1908.com to learn more about Twenty Pearls, which premiered on March 26 on Xfinity and is free for subscribers, and will be available nationwide, on demand, starting on March 30, 2021.


About Comcast Corporation:
Comcast Corporation (Nasdaq: CMCSA) is a global media and technology company that connects people to moments that matter. We are principally focused on broadband, aggregation, and streaming with over 56 million customer relationships across the United States and Europe. We deliver broadband, wireless, and video through our Xfinity, Comcast Business, and Sky brands; create, distribute, and stream leading entertainment, sports, and news through Universal Filmed Entertainment Group, Universal Studio Group, Sky Studios, the NBC and Telemundo broadcast networks, multiple cable networks, Peacock, NBCUniversal News Group, NBC Sports, Sky News, and Sky Sports; and provide memorable experiences at Universal Parks and Resorts in the United States and Asia. Visit www.comcastcorporation.com for more information.

About Alpha Kappa Alpha (AKA) Sorority, Incorporated®:
Alpha Kappa Alpha Sorority, Incorporated® began as the vision of nine African-American college students on the campus of Howard University in 1908. Since then, the sorority has flourished into a globally-impactful organization of more than 300,000 college-educated members bound by the bonds of sisterhood and empowered by a commitment to service that is both domestic and international in scope. As Alpha Kappa Alpha has grown, it has maintained its focus in two key areas: lifelong personal and professional development of its members and galvanizing its membership into an organization of respected power and influence which is consistently at the forefront of advocacy and social change that results in equality and equity for all citizens of the world.

About Coffee Bluff Pictures:
Coffee Bluff Pictures is an award-winning production company committed to creating film, television and books with beautifully complex, diverse characters that enhance cultural and socially conscious dialogue. The company’s work includes 2017 NAACP Image Award nominee Olympic Pride, American Prejudice, fashion cult classic Versailles ‘73: American Runway Revolution and Twenty Pearls. Coffee Bluff Picture’s recent short film Illegal Rose has garnered awards on the film festival circuit and has film and television projects in development and production. Recognized by critics globally for its incredible storytelling and ability to find unseen and unheard voices, Coffee Bluff Pictures is changing the independent film landscape. For more information visit www.coffeebluffpictures.com.

-----------------

#28DaysofBlack Review: "HARRIET" and Cynthia Erivo Are Magnificent

[A powerful historical Black woman deserves to have her story told powerfully.  Harriet Tubman, the face of the Underground Railroad, gets that in director Kasi Lemmons' 2019 film, “Harriet.”]

TRASH IN MY EYE No. 21 of 2021 (No. 1759) by Leroy Douresseaux

Harriet (2019)
Running time:  125 minutes (2 hours, 5 minutes)
MPAA – PG-13 for thematic content throughout, violent material and language including racial epithets
DIRECTOR:  Kasi Lemmons
WRITERS:  Gregory Allen Howard and Kasi Lemmons; based on a story by Gregory Allen Howard
PRODUCERS:  Debra Martin Chase, Gregory Allen Howard, and Daniela Taplin Lundberg
CINEMATOGRAPHER:  John Toll
EDITOR:  Wyatt Smith
COMPOSER:  Terence Blanchard
Academy Award nominee

BIOPIC/DRAMA/ACTION/HISTORICAL

Starring:  Cynthia Erivo, Leslie Odom Jr., Joe Alwyn, Clarke Peters, Vanessa Bell Calloway, Vondie Curtis-Hall, Jennifer Nettles, Janelle Monáe, Omar Dorsey, Tim Guinee, Zackary Momoh, Henry Hunter Hall, Deborah Olayinka Ayorinde, and Rakeem Laws

Harriet is a 2019 biographical film and historical drama from director Kasi Lemmons.  The film is a fictional depiction of the life and work of Harriet Tubman (1822-1913), a black woman who was an American abolitionist, a suffragette, and the most famous conductor on the Underground Railroad.  Harriet the movie tells the story of the runaway slave who transformed herself into one of America's greatest heroes by helping to free other slaves.

Harriet opens in Bucktown, Maryland, the year 1849.  A black female slave named Araminta “Minty” Ross (Cynthia Erivo) is newly married to a freedman, John Tubman (Zackary Momoh).  Minty is a slave on the farm of Edward Brodess, along with her mother, Rit (Vanessa Bell Calloway), and her sister, Rachel (Deborah Olayinka Ayorinde).  Minty's father, a freedman named Ben Ross (Clarke Peters), approaches Edward Brodess about gaining freedom for Rit and the children she bore based on an agreement made by Brodess' father, but Brodess rudely declines.

Shortly afterwards, Brodess dies, and his son, Gideon Brodess (Joe Alwyn), decides to sell Minty down the river, which mean down into the deep south, the worst place for a slave.  Minty suffers “spells” since being struck in the head as a child, but they are also visions from God.  The spell that Minty suffers after Gideon decides to sell her is the vision that Minty believes is telling her to run away before she is taken to the slave auction.

Fearing that she could endanger her husband and family, she leaves them behind and, after a long journey, makes her way to Philadelphia, Pennsylvania.  A year later, Minty has renamed herself Harriet Tubman and makes her first journey back to Maryland.  There, she will either take her first steps to free other slaves, or she will be returned to a cruel fate at the hands of an evil owner.

In Harriet, writers Gregory Allen Howard and Kasi Lemmons fashioned a story that captures the horrors of slavery in a manner similar to that of the 2013 film, 12 Years a Slave.  However, 12 Years a Slave is the tale of a free black man trapped in hell of chattel slavery who is determined to survive until a miracle arrives.  Harriet is the tale of a black woman born into slavery who takes her fate into her own hands and runs through a hell's gauntlet to find freedom.

To that end, Kasi Lemmons as director creates a film that moves that narrative via action and opportunity.  Characters take action and take advantage of the opportunity to gain freedom.  As Harriet says at one point in the film – “God was watching me but my feet were my own.”  Harriet's lead character is a pistol-packing, action movie heroine every bit as stalwart as Captain America and as ruthless as actor Clint Eastwood's most famous roles in Westerns.

Actress Cynthia Erivo, as Harriet Tubman, is the center of this film's holy trinity.  Erivo's Harriet is a force of nature and the wrath of God against slavery.  In the film's quiet moments, Erivo presents Harriet as thoughtful and contemplative, but she maintains the roiling storm within, the elemental forces that drive her to return to the land of slavery time and again to free other slaves.  Erivo seems to transform Harriet's spells and visions into a living thing that devours fear and cowardice and the evil that is slavery.  One can believe that this Harriet was the star of the Underground Railroad, the network of secret routes and safe houses in the United States used by enslaved black people to escape from slave states and into free states and Canada.

Erivo's almighty performance earned her an Oscar nomination for “Best Actress.”  It is a shame that she did not win, and it is a shame that Harriet did not receive more Academy Award nominations than it did.  This film has good supporting performances, an excellent musical score, and costume design that created costumes for the cast that look like the real deal.  However, it is Gregory Allen Howard, Kasi Lemmons, and Cynthia Erivo that drive Harriet into being what may be the best film of 2019.

10 of 10

Wednesday, February 24, 2021


NOTE:
2020 Academy Awards, USA:  2 nominations: “Best Performance by an Actress in a Leading Role” (Cynthia Erivo) and “Best Achievement in Music Written for Motion Pictures-Original Song” (Cynthia Erivo and Joshuah Brian Campbell for the song “Stand Up”)

2020 Golden Globes, USA:  2 nominations:  “Best Performance by an Actress in a Motion Picture – Drama” (Cynthia Erivo) and “Best Original Song - Motion Picture” (Joshuah Brian Campbell music/lyrics and Cynthia Erivo-music/lyrics for the song “Stand Up”)

2020 Black Reel Awards:  6 nominations: “Outstanding Actress, Motion Picture” (Cynthia Erivo), “Outstanding Director, Motion Picture” (Kasi Lemmons), “Outstanding Supporting Actress, Motion Picture” (Janelle Monáe), “Outstanding Cinematography” (John Toll), “Outstanding Costume Design” (Paul Tazewell), and “Outstanding Production Design” (Warren Alan Young)

2020 Image Awards (NAACP):  7 nominations:  “Outstanding Motion Picture,” “Outstanding Actress in a Motion Picture” (Cynthia Erivo), “Outstanding Supporting Actor in a Motion Picture” (Leslie Odom Jr.), “Outstanding Supporting Actress in a Motion Picture” (Janelle Monáe), “Outstanding Breakthrough Performance in a Motion Picture: (Cynthia Erivo), “Outstanding Directing in a Motion Picture-Film” (Kasi Lemmons), and “Outstanding Writing in a Motion Picture-Film” (Kasi Lemmons and Gregory Allen Howard)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: Heroes Abound in "MARSHALL"

[The year after he first played Marvel Comics superhero, Black Panther, the late Chadwick Boseman played real-life hero, Supreme Court Justice Thurgood Marshall, early in his career when he was a defense attorney defending oppressed African-Americans.  There is something about playing both Thurgood Marshall and the Black Panther that makes an actor special.  That is why some of us both mourn Boseman's passing and celebrate his work.]

TRASH IN MY EYE No. 15 of 2021 (No. 1753) by Leroy Douresseaux

Marshall (2017)
Running time: 118 minutes (1 hours, 58 minutes)
MPAA – PG-13 for mature thematic content, sexuality, violence and some strong language
DIRECTOR:  Reginald Hudlin
WRITERS:  Michael Koskoff and Jacob Koskoff
PRODUCERS:  Reginald Hudlin, Jonathan Sanger, and Paula Wagner
CINEMATOGRAPHER:  Newton Thomas Sigel (D.o.P.)
EDITOR:  Tom McArdle
COMPOSER:  Marcus Miller
Academy Award nominee

BIOPIC/DRAMA/HISTORICAL/THRILLER

Starring:  Chadwick Boseman, Josh Gad, Kate Hudson, Dan Stevens, James Cromwell, Sterling K. Brown, Keesha Sharp, John Magaro, Roger Guenveur Smith, Ahna O'Reilly, Jeremy Bobb, Derrick Baskin, Jeffrey DeMunn, Andra Day, Sophia Bush, Jussie Smollett, and Rozonda “Chilli” Thomas

Marshall is a 2017 biographical film, period drama, and legal thriller directed by Reginald Hudlin.  The film's lead character is Thurgood Marshall (1908 to 1993), the first African-American to serve on the Supreme Court of the United States.  Marshall the film focuses on one of the first cases of his career, the State of Connecticut v. Joseph Spell, which concerns an African-American chauffeur accused of raping a white woman in 1940.

Marshall opens in 1941.  Thurgood Marshall (Chadwick Boseman) is an attorney for the “NAACP Legal Defense and Educational Fund,” which he founded.  Marshall travels the country defending people who are accused of crimes solely because of their race.  Upon his return to his New York office, Marshall finds more work waiting for him.  Walter Francis White (Roger Guenveur Smith), Executive Secretary of the NAACP, sends Marshall to Bridgeport, Connecticut.  There, he will defend Joseph Spell (Sterling K. Brown), a chauffeur accused of rape by his white employer, Eleanor Strubing (Kate Hudson), in a case that has gripped the newspapers.

In Bridgeport, insurance lawyer, Sam Friedman (Josh Gad), is assigned by his brother, Irwin Friedman (John Magaro), to get Marshall admitted to the local bar, against Sam's will.  At the hearing for Spell, Judge Carl Foster (James Cromwell), a friend of the father of prosecutor Lorin Willis (Dan Stevens), agrees to admit Marshall, but forbids Marshall from speaking during the trial, forcing Friedman to be Spell's lead counsel.  Now, Marshall must guide Friedman through the trial via notes, but is this case a lost cause when Thurgood and Sam discover that it is rife with lies – on both sides.

Marshall is technically a biographical film, focusing on a specific period in the life and career of future Supreme Court justice, Thurgood Marshall.  Early in the film, however, it is obvious that director Reginald Hudlin has his mind on making Marshall a film that resembles a 1940s film noir with elements of a legal drama and a crime thriller.  The audience can hear that in Marcus Miller's lovely film score and in the way Hudlin stages the action, uses space, and places the actors.

In one of the film's early moments, when Marshall has his back to the camera and is ironing a shirt, I immediately thought of my favorite actor, Humphrey Bogart, and one of his most famous roles, that of Sam Space in director John Huston's The Maltese Falcon (1941).  From that point, there is hardly a setting in which Marshall's life does not seem to be in danger.  Hudlin races his audience through a movie that seems to be shorter than its almost two hours of run time.  Is Marshall a courtroom drama?  Yes, and it is also a courtroom thriller with a mystery at its center.

I do wish the father-son screenwriting team of Michael Koskoff and Jacob Koskoff had given the script  more depth, as the narrative is mostly style and genre.  There is also a lack of depth in the  characterization, and the characters are a bit shallow.  As hard as actor Sterling K. Brown tries, he can't seem to really draw anything from the well of defendant Joseph Spell's soul.  Spell comes across as more of a stand-in than an actual portrait of a man whose life is on the line.

The very talented Josh Gad is able to give a lot of color to Sam Friedman, playing as a subtly wily man who is able to navigate his way between conflicting sides.  Kate Hudson, mostly known for romantic comedies, shows some serious dramatic chops as the trapped suburban wife and alleged victim, Eleanor Strubing.  As usual, Roger Guenveur Smith is spry, this time as the real-life Walter Francis Wright.

Of course, in the wake of his 2020 death to complications of colon cancer, Chadwick Boseman as Thurgood Marshall will be the center of attention in the film, Marshall, going forward.  Despite a lack of characterization in the film's script, Boseman turns Marshall into a relentless paladin, traveling the countryside fighting the forces of white bigotry and racism.  His field of battle is the courtroom, and black men falsely accused because they are black are the people he defends.  Boseman makes me believe that he is a stubborn attorney and hero in an old-fashioned courtroom drama.  He also makes me believe that he is a superhero, almost a year before he became the beloved Black Panther of Disney/Marvel Studios' Oscar-winning film, Black Panther.

Marshall convinces me that Thurgood Marshall was both a heroic lawyer and a superhero.  The film also convinces me that Boseman was the best at bringing the most famous African-American men to life on the big screen.  Plus, Marshall is a really good movie.

8 of 10
A

Monday, February 15, 2021


NOTES:
2018 Academy Awards, USA:  1 nomination: “Best Achievement in Music Written for Motion Pictures-Original Song” (Common and Diane Warren for song “Stand Up for Something”)

2018 Black Reel Awards:  7 nominations: “Outstanding Motion Picture” (Jonathan Sanger, Paula Wagner, and Reginald Hudlin), “Outstanding Actor, Motion Picture” (Chadwick Boseman), “Outstanding Director, Motion Picture” (Reginald Hudlin), “Outstanding Ensemble” (Victoria Thomas-Casting Director), “Outstanding Score” (Marcus Miller-Composer), “Outstanding Original Song” (Andra Day-Performer, Common-Performer, Writer, and Diane Warren-Writer for the song “Stand Up for Something”), and “Outstanding Breakthrough Performance, Male” (Sterling K. Brown)

2018 Image Awards (NAACP):  5 nominations: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Chadwick Boseman), “Outstanding Supporting Actor in a Motion Picture” (Sterling K. Brown), “Outstanding Supporting Actress in a Motion Picture” (Keesha Sharp), “and  “Outstanding Directing in a Motion Picture” (Reginald Hudlin)

The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

---------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: "THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION"

[Stanley Nelson Jr. is an acclaimed and multiple Emmy Award-winning documentary filmmaker (The Murder of Emmett Till, Freedom Riders).  Instead of only relying on academic and official history for his 2016 film, Black Panther: Vanguard of the Revolution, Nelson fashions history from the many stories of many of the individuals involved with the Black Panthers.  When these people are onscreen, that is when this Emmy-winning documentary is at its best, and that is why I think Nelson's film would be even more illuminating as a television series.]

TRASH IN MY EYE No. 4 of 2021 (No. 1742) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Black Panthers: Vanguard of the Revolution (2015)
Running time:  114 minutes (1 hour, 54 minutes)
Rating: Not rated by the MPAA
WRITER/DIRECTOR:  Stanley Nelson
PRODUCERS:  Laurens Grant and Stanley Nelson
CINEMATOGRAPHERS:  Antonio Rossi, Rick Butler, Allen Moore, and Clift Charles
EDITOR:  Aljernon Tunsil

DOCUMENTARY – Race, Politics

Starring:  Elaine Brown, Kathleen Cleaver, Flores Forbes, Emory Douglas, Mike Gray, Jeff Haas, Erika Huggins, Phyllis Jackson, Jamal Joseph, Akua Njeri, Donna Murch, and Marvin X

The Black Panthers: Vanguard of the Revolution is a 2015 documentary film from writer-director Stanley Nelson.  The film uses archival footage and interviews of surviving Panthers and law enforcement officials to chronicle the rise and fall of the Black Panther Party, one of the most controversial and captivating organizations of the 20th century.  The filmed premiered at the 2015 Sundance Film Festival and later received a limited theatrical release in September of that same year.

Originally called the “Black Panther Party for Self-Defense,” the Black Panther Party (also known as the  BPP or “Black Panthers”) was a revolutionary Black organization that was founded in 1966 in Oakland, California.  Considered by some to be a “Black nationalist and socialist organization,” the Black Panthers core practice was to monitor behavior of police officers against Black people and to challenge police brutality in Oakland.  The group also created  a number of community social programs, the best known being the “Free Breakfast for Children Programs” and community health clinics.  The group had chapters in several cities and municipalities in the United States and also an international chapter that operated in the country of Algeria for three years.

The Black Panthers: Vanguard of the Revolution provides a broad overview of the BPP, while specifically focusing on key moments and occurrence's in the group's history.  One of those moments concerns J. Edgar Hoover, director of the Federal Bureau of Investigation (FBI), and his extensive program to destroy the Panthers.  This program (COINTELPRO) included police harassment, infiltration of BPP membership by FBI informants, and surveillance and tactics to discredit and criminalize the Panthers.

I think what best makes The Black Panthers: Vanguard of the Revolution successfully work as a documentary film are the interviews.  There is something about hearing the words of former Panther members; law enforcement that had interaction with the BPP; journalists and reporters who covered them; and historians who continue to study them that brings this documentary's story to life.

Some of the best known Panthers:  Huey Newton, Eldridge Cleaver, and Fred Hampton are seen only in archival footage because they are no longer living.  [Chicago police killed Hampton in what is considered an assassination by many former Panthers and people who study the BPP.]  Another famous Panther, Bobby Seale, is still living, but apparently did not participate in this film.  This archival footage is informative, but I did not take to it the way I did the interviews.

The interviews of living subjects turns The Black Panthers: Vanguard of the Revolution into a kind of oral history.  When oral storytelling is told by someone who is good at it or really has a sense of the story he or she is telling, it brings history and even myths to life, perhaps, even giving them a new life.  At the beginning of this documentary, someone says that the history of the Panthers is unique to individual members, because that history reflects an individual's experience as a member of the BPP – what he or she saw being inside the BPP.  The oral history and interview aspect of this documentary exemplifies that.

I think The Black Panthers: Vanguard of the Revolution is the first step to getting a deeper understanding of the Black Panther Party.  The next thing to do is to make available each history or her-story of BPP members.  That is the flaw in this documentary.  Sometimes, it approaches the sweep of history by sweeping past a lot of it – perhaps, understandably for practical reasons.

Still, The Black Panthers: Vanguard of the Revolution reveals that the story of the BPP is not simply one of Black militants posturing with guns or acting like criminals.  It is more intimate and complex, made of many stories, not just one history.  This documentary is smart enough to recognize that.

8 of 10
A

Thursday, September 29, 2016


NOTES:
2016 Black Reel Awards:  1 nomination: “Outstanding Documentary” (Stanley Nelson-Director)

2016 Image Awards:  1 win: “Outstanding Documentary (Film)”

2016 Primetime Emmy Awards:  1 win: “Exceptional Merit in Documentary Filmmaking” (Stanley Nelson-produced by, Laurens Grant-produced by, Sally Jo Fifer-executive producer, Lois Vossen-executive producer, and Public Broadcasting Service (PBS)

The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

-------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).