Precious: Based on the novel Push by Sapphire
I read the book Push only two months ago, in anticipation of the film based on this written work. The story, while compelling, was appalling to say the least. There was no way that I would ever finish reading it if I didn’t read it straight through without stopping. So that’s what I did and I couldn’t get the images out of my mind for a week. My feelings of sorrow for the story’s main character Precious stayed with me for quite some time. I was not sure that I would be able to sit though the entire film if it was a true reenactment of the book.
Director Lee Daniels, and screenwriter Geoffrey Fletcher tried their best to create moments where the audience could exhale as we watched the miserable life of Claireece Precious Jones unfold before our eyes, and let the obvious sounds of abuse and neglect pollute our ears. This is something that the novel does not do for the reader. There are no moments of relief, no fantasy scenes created for your imagination, no stopping the misery on almost every page of this story. Daniels’ attempt at lightness in the film does little to shield you from this modern day horror story.
The monstrous behavior of Precious’ mother Mary, played by Mo’Nique, is even more shocking on the big screen. Reading about the ugly tirades, near fatal attacks and fierce verbal abuse that she would regularly unleash on her only child alienated me from this woman. The film further removed me from her character, for she is portrayed an overgrown monster of a woman, unfit to be a mother and detached from any sense of civility.
You will, however, root for Precious with every fiber of your being while sitting through this film. She suffers through her young life in an unimaginable way. The audience quickly learns that Precious cannot read or write, does not understand what is going on in her classes so that at 16 years old she is still in the 7th grade, has been repeatedly raped by her father since the age of 3 years old, has one baby with Downs Syndrome (a term that Precious cannot even articulate in her ignorance), and is pregnant again—both children produced through these regular rapes of which her mother is fully aware. Her school principal is the one who will unexpectedly lead Precious to a window of opportunity, although she is initially viewed and treated as another person out to victimize this young girl. Even though you want her to get out of this situation, it is hard to believe that Precious can ever overcome this terrible existence and you leave the theater wondering what really happened to her in the end.
Gabourey Sidibe gives a brilliant performance as the role of 16 year-old Precious (ten years her real life junior), as does Paula Patton as Precious’ savior, Ms. Rain. Both of these ladies play roles that will tug at your heartstrings throughout the entire film.
Mo’Nique is very convincing as the inhumane Mary. Although there has been a huge “Oscar buzz” around her performance, Mary is never humanized in the film. There is no moment where you can empathize with this woman. The film offered no explanation for her lack of basic humanity; instead she is portrayed as a short step up from animal. Though she may be nominated, it will be challenging to select a clip of Mo’Nique’s degrading monologues to win an Academy Award. On the other hand, I would love to see Gabourey take home the Oscar for her interpretation of a young girl who, against all odds, never gives up hope and fights to attain a better life for herself and her children even though she has no idea what “better” looks like up close.
Monday, January 11, 2010
THIS IS IT!
THIS IS IT!
I am one of a privileged group of people who experienced Michael Jackson live in concert over the years (the Victory Tour and The Bad World Tour) up in the mezzanine seats. It had been nearly 20 years since I’d been able to feel the frenzy that flows through one’s body when Michael Jackson is performing live. So when I heard the news that he was getting back on the stage, I was hopeful that all would go well in the 02 Arena and Michael would one day bring his magic back to the the United States, and we would once again experience the thrill of his presence. Then June 25, 2009 came and that hope was dashed to pieces, my heart broken and the magic gone. But not forever.
The announcement of an upcoming Michael Jackson concert documentary film, This Is It!, revived my dream—somewhat. I believed seeing him on a giant IMAX screen, watching him move, hearing him sing, seeing the passion in all of his facial muscles as he performed, would bring back the chills I’d been missing since he’d left the world stage. This week, that dream became a reality.
This Is It is arguably the most anticipated film of this year. The film follows Michael Jackson at work in the final days before his death through behind-the-scenes video shot between March and June of this year. As I watched This Is It!, I was once again fascinated by this great talent. There he was right in front of me—singing, dancing, grunting as only Michael can—and I was frozen with admiration. The thrill was back, only now I wasn’t in the mezzanine—I had a front row seat.
The movie captures the essence of who Michael was as an artist and as a man. It was inspiring to watch Michael direct Michael Bearden playing keyboards; his interaction with vocal director Dorian Holley; his playfulness with dancer Mekia Cox and his raw, passionate duet with Judith Hill. Equally as enchanting was watching Michael move again. His performance of Billy Jean has always been legendary. But I could literally hear the gasps, the pants, the loss of breath as the audience watched the updated version of this MJ classic. It was easy to forget that he was a 50 year-old man on that stage, as he held his own with the 20 year-old dancers, singers and musicians. At one point in the film, I realized that we were watching the talent of a great teacher, and his cast of students performing with him were filled with as much awe and admiration as all of his fans. They were visibly soaking in his genius, clearly feeling the privilege of being a chosen mentee of this master of the stage, cheering at the end of each set. Rare is the opportunity to see this type of brilliance up close.
This Is It! will not disappoint Michael Jackson fans in any way. To his old fans, I say “You will leave the theater smiling, singing and happy.” To his new fans, I say “Go experience the power of his gifts again.” And to everyone, I say “Take the young ones you know to see this film and watch with glee as they sit on the edge of their seats,” just as my nephew and son did when I took them.
I am one of a privileged group of people who experienced Michael Jackson live in concert over the years (the Victory Tour and The Bad World Tour) up in the mezzanine seats. It had been nearly 20 years since I’d been able to feel the frenzy that flows through one’s body when Michael Jackson is performing live. So when I heard the news that he was getting back on the stage, I was hopeful that all would go well in the 02 Arena and Michael would one day bring his magic back to the the United States, and we would once again experience the thrill of his presence. Then June 25, 2009 came and that hope was dashed to pieces, my heart broken and the magic gone. But not forever.
The announcement of an upcoming Michael Jackson concert documentary film, This Is It!, revived my dream—somewhat. I believed seeing him on a giant IMAX screen, watching him move, hearing him sing, seeing the passion in all of his facial muscles as he performed, would bring back the chills I’d been missing since he’d left the world stage. This week, that dream became a reality.
This Is It is arguably the most anticipated film of this year. The film follows Michael Jackson at work in the final days before his death through behind-the-scenes video shot between March and June of this year. As I watched This Is It!, I was once again fascinated by this great talent. There he was right in front of me—singing, dancing, grunting as only Michael can—and I was frozen with admiration. The thrill was back, only now I wasn’t in the mezzanine—I had a front row seat.
The movie captures the essence of who Michael was as an artist and as a man. It was inspiring to watch Michael direct Michael Bearden playing keyboards; his interaction with vocal director Dorian Holley; his playfulness with dancer Mekia Cox and his raw, passionate duet with Judith Hill. Equally as enchanting was watching Michael move again. His performance of Billy Jean has always been legendary. But I could literally hear the gasps, the pants, the loss of breath as the audience watched the updated version of this MJ classic. It was easy to forget that he was a 50 year-old man on that stage, as he held his own with the 20 year-old dancers, singers and musicians. At one point in the film, I realized that we were watching the talent of a great teacher, and his cast of students performing with him were filled with as much awe and admiration as all of his fans. They were visibly soaking in his genius, clearly feeling the privilege of being a chosen mentee of this master of the stage, cheering at the end of each set. Rare is the opportunity to see this type of brilliance up close.
This Is It! will not disappoint Michael Jackson fans in any way. To his old fans, I say “You will leave the theater smiling, singing and happy.” To his new fans, I say “Go experience the power of his gifts again.” And to everyone, I say “Take the young ones you know to see this film and watch with glee as they sit on the edge of their seats,” just as my nephew and son did when I took them.
Terrence Blanchard: Choices
Terrence Blanchard: Choices
As I entered Carnagie’s Zankel Hall to see one of the living legends of jazz perform selections from his newest CD, I felt that I’d made the correct choice for that evening. When the lights dimmed in the auditorium and the musicians walked out onto the stage and started playing, that feeling became even stronger. Michael Olatuja, the bass player from Brooklyn, by way of London then Nigeria; Kendrick Scott the drummer from Houston, Texas; and Fabian Almazan, the Cuban pianist from Miami, all found their rhythm as they waited, with the rest of us, for the leader of their group to emerge.
Then out walked the jazz trumpeter, Terrence Blanchard along with his Brice Winston who would accompany him on Tenor Saxophone. The next sound I heard was the voice of one of my favorite speakers/educators, Dr. Cornel West, after which Terrence begins to blow his horn. The correctness of my choice was validated as I accompanied him on a musical journey filled with the amazing culturally rooted rhythms of New Orleans jazz. This was my 90 minute trip through the intricately, soul-inspiring sounds of Choices.
It is said that Choices is Terrence Blanchard’s first CD to be completed his hometown of New Orleans. The warmth, ambiance and acoustics of the venue pours through each track, channeled through modern compositions and inspired performances by a dynamic sextet which includes Fabian Almazan (piano), Derrick Hodge (bass), Kendrick Scott (drums), Lionel Loueke (guitar) and saxophonist Walter Smith III. Blanchard is a meticulous but selfless leader, allowing the younger artists to shine, exchange ideas and contribute to the open process.
Imprinted with Blanchard's cinematic and swinging style the music is rooted but contemporary; advocating new ideas that include excerpts of a conversation between Blanchard and philosopher, author, and activist, Dr. Cornel West. The combination of eloquent intellectualism and stirring composition forms a thematic imprint. West's insightful words sprinkled throughout the music are like poetry—uplifting, enlightening and provocative; expertly placed within the music as he articulates upon the ideas, questions and choices concerning music, humanity, and spirituality—a jazz dialog for the mind and ear.
The tracks showcase these young artists as distinguished players and scintillating writers, including Smith's sophisticated movements in "Byus," and Scott's Brazilian-tinged "Journey," with seductive vocals provided by singer Bilal Sayeed Oliver (aka Bilal), who in turn gives a riveting performance on his soulful Lament, "When Will You Call." Almazan's "Hugs" shows his adroit pianism with beauty and drama as it pushes the musicians to new heights. In contrast, Hodge's "A New World" takes it to the streets with a funky swagger, as Blanchard and Loueke shred some notes.
Still, Blanchard's consummate imprint and warm tone permeate the recording, and his mirrored tracks "D's Choice" and "Robin's Choice" are masterful—full of emotion, spirit and humanity. Mixing jazz and philosophy within a vibrant setting, the aptly titled Choices, continues to bear the good fruits of his thoughtful decisions.
As I entered Carnagie’s Zankel Hall to see one of the living legends of jazz perform selections from his newest CD, I felt that I’d made the correct choice for that evening. When the lights dimmed in the auditorium and the musicians walked out onto the stage and started playing, that feeling became even stronger. Michael Olatuja, the bass player from Brooklyn, by way of London then Nigeria; Kendrick Scott the drummer from Houston, Texas; and Fabian Almazan, the Cuban pianist from Miami, all found their rhythm as they waited, with the rest of us, for the leader of their group to emerge.
Then out walked the jazz trumpeter, Terrence Blanchard along with his Brice Winston who would accompany him on Tenor Saxophone. The next sound I heard was the voice of one of my favorite speakers/educators, Dr. Cornel West, after which Terrence begins to blow his horn. The correctness of my choice was validated as I accompanied him on a musical journey filled with the amazing culturally rooted rhythms of New Orleans jazz. This was my 90 minute trip through the intricately, soul-inspiring sounds of Choices.
It is said that Choices is Terrence Blanchard’s first CD to be completed his hometown of New Orleans. The warmth, ambiance and acoustics of the venue pours through each track, channeled through modern compositions and inspired performances by a dynamic sextet which includes Fabian Almazan (piano), Derrick Hodge (bass), Kendrick Scott (drums), Lionel Loueke (guitar) and saxophonist Walter Smith III. Blanchard is a meticulous but selfless leader, allowing the younger artists to shine, exchange ideas and contribute to the open process.
Imprinted with Blanchard's cinematic and swinging style the music is rooted but contemporary; advocating new ideas that include excerpts of a conversation between Blanchard and philosopher, author, and activist, Dr. Cornel West. The combination of eloquent intellectualism and stirring composition forms a thematic imprint. West's insightful words sprinkled throughout the music are like poetry—uplifting, enlightening and provocative; expertly placed within the music as he articulates upon the ideas, questions and choices concerning music, humanity, and spirituality—a jazz dialog for the mind and ear.
The tracks showcase these young artists as distinguished players and scintillating writers, including Smith's sophisticated movements in "Byus," and Scott's Brazilian-tinged "Journey," with seductive vocals provided by singer Bilal Sayeed Oliver (aka Bilal), who in turn gives a riveting performance on his soulful Lament, "When Will You Call." Almazan's "Hugs" shows his adroit pianism with beauty and drama as it pushes the musicians to new heights. In contrast, Hodge's "A New World" takes it to the streets with a funky swagger, as Blanchard and Loueke shred some notes.
Still, Blanchard's consummate imprint and warm tone permeate the recording, and his mirrored tracks "D's Choice" and "Robin's Choice" are masterful—full of emotion, spirit and humanity. Mixing jazz and philosophy within a vibrant setting, the aptly titled Choices, continues to bear the good fruits of his thoughtful decisions.
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