Wednesday, December 12, 2012

Django Unchained

 
Django Unchained: 
A film about Life, Liberty and the Pursuit of Vengeance



Thank you for taking a break from your routine day to see what Gilchrist says about Django Unchained.

I know there will be many people who will assume that Django Unchained is simply your run of the mill slave movie, told from the perspective of a White man.  But it is so much more than that.  I am typically not a fan of Tarantino’s films but found Django Unchained to be both interesting and entertaining with surprisingly humorous moments.  It would have to be in order to get me to stay and watch for almost three hours.  If you are brave enough to put your preconceived ideas aside to actually go to the theater to see this film, you will find that Django Unchained is a love story wrapped in a Tarantino R-rated action flick, focused on a black man set in the mid-1800s when slavery in America was a booming business.   I am reluctant to call this a slave film.  So, without spoiling the film for you, I will give you some tales from Django Unchained to look forward to should you venture out to see it.

While the writer touches on some of the lesser known, but equally brutal horrors of slavery, (Mandingo death fights, “R” branding, being ripped to shreds by dogs, etc.) he does not portray the bulk of these slaves in the typical docile, ignorant and obedient manner that is so common with Hollywood films.  Though the synopsis describes Samuel L. Jackson’s character as the ‘trusted house slave’ he actually regularly smart mouths his master “Sam Jackson-style” without any apparent repercussions whatsoever.  Django looks white people in the eye during the entire film and shows no fear in their presence.  He also spends the bulk of the film dressed very differently from typical slaves and he knows how to ride a horse, which is unique because black people were not allowed to actually ride on horses during slavery times.  Hildie, played by Kerry Washington, speaks German and has a fire in her that keeps her hungry for freedom. 

He also portrays the white people in this film differently from typical slave films.  Quite often, Hollywood will create slave masters and other whites in these movies to be seen as dignified, intelligent and well bred.  In Django Unchained there is an overwhelming amount of stupidity and foolishness flowing from the white characters in this film, which causes them to be repeatedly outsmarted by Django and his partner Schultz.  His attempt to create funny scenes is successful, though some may still feel uncomfortable with the humor in this film.

Dr. Schultz, played by Inglourious Basterds Christoph Waltz, and Leonardo DiCaprio are both filled with their own individual eccentricities, which they each wear proudly for all to see.  But their very opposite peculiarities are what lead to the big showdown of the film. 

Of course, it wouldn’t be a Quentin Tarantino film if there wasn’t a giant bloody mess leaving a trail of corpses behind.  Also true to form is his overuse of the “N” word throughout the film.  I counted hearing it over 100 times before the bloody showdown begins, which is at least 45 minutes prior to the end of the movie.  But at the same time, he brilliantly allows Hildie to communicate her entire story in less than 25 lines.  Quentin stumped me with that one, I must say. 

Django and Hildie are fully triumphant in this film and I’m sure I have ever seen that in a film about black people set in the mid 1800s.  They actually ride off into the sunset, happy and victorious (okay—that’s a spoiler but I couldn’t help myself). 

Overall, I highly recommend seeing this film, if only to see it’s cinematic beauty and some amazing, not-to be missed performances throughout the project.  The title of this piece is actually taken from one of the movie’s more recent tag lines: “Django—Life, Liberty and the Pursuit of Vengeance” which is an accurate description.  While it will always be challenging for black people to see depictions of themselves on the screen from the years prior to the Civil War, these stories really happened and it is a big part of our history, like it or not.  Django Unchained plays with these circumstances in a way that allows the title character and the love of his life to be seen as nothing short of heroic, honorable and exceptional.

My personal commentary is this:  If you view this film with an open mind, you will remember that folks like Django paved the way for us to have people like the real Jamie Foxx, and women like Hildie are the ancestors of ladies like Kerry Washington who is simultaneously portraying Olivia Pope, inspired by a fixer named Judy Smith.  The blood, sweat and courage of people like Django and Hildie allows all of us to decide who we are and what we become in this United States of America.  So don’t hate their stories, not matter who writes/distributes them, no matter how much it may sting or how hard it is to watch.  It’s our history and only we could have descended from people with that kind of strength, integrity and power. 

Now, back to work (but post comments first)!


Read the IMDB synopsis here

Saturday, August 18, 2012

Sparkle--Not The Bright Light It Could Have Been




Let me start with a declaration of unwavering support for the Brock/Akil team and full disclosure of my general dislike of classic movie remakes.  When I initially heard about the probability of the Sparkle remake, I actually had high hopes for the project.  After all, it’s one of my favorite black films and I wanted a younger generation to see and enjoy it.  The original casting choice of Aaliyah in the title role was brilliant.  Her on screen persona was just as sweet, petite, talented and bright as the original Sparkle, Irene Cara.  It seemed like a remake that might actually work, especially if the rewritten screenplay stayed close to Joel Schumacher’s original story. 

By the time I attended the press screening this past Wednesday, my expectations for the film were significantly lower than they were when I’d first learned of the project.  This classic film about a single mom, raising three beautiful, talented daughters during our civil rights era, had already turned into something completely different months before its release.  It had turned into Whitney Houston’s swan song, as her life had met a tragic end shortly after the completion of the film. Whitney was also an icon from a particular era of black entertainment.  She, too, will remain a classic.  And apparently, as one of the film’s producers, she decided against sticking with certain details of the story—details that made Sparkle the gem that it has been since it’s 1976 debut.

In this almost totally brand new story, we see a single mom, who is clearly well-off  (not a struggling domestic worker) and now living in a big house in the suburbs of Detroit (instead of the two room apartment in Harlem), having no financial issues raising her three daughters alone, a much stricter Christian than originally written.   While it is always great to see upwardly mobile onscreen images of us, the story of Sparkle is rooted in this family’s struggle, which is completely lost in the new version.   This, along with the casting choices (which I’ll elaborate on later) is troubling to me.  The struggle that originally drove Sister into the murderous hands of Satin, Sparkle to choose secular music over the church choir and Delores to deal with any of this show biz nonsense, is missing from this remade version.  Had I not seen the original version, I wouldn’t be able to emotionally connect to these three girls and their desire to be stars.  The remake feels like an incomplete story to me, leaving out a huge part of what it was that made these characters who they were and what made them do what they do, the way that they do it.

There were interesting casting choices as well, some of which I did like quite a bit.  The role of the middle sister, Delores, played brilliantly by Tika Sumpter, was expanded so that she was a fuller character than in the original film.  That, I must say, was a pleasant surprise.  Tika took the role of the strong, intelligent, confident sister to a new level and I loved it.  Although this mom is totally different from the character played by Mary Alice, Whitney Houston is very convincing as the no nonsense matriarch of this family.  Derek Luke kept Stix just as charming as in the original and Mike Epps actually humanized the despicable Satin Struthers.  But the rest of the casting is questionable for me. 

Make no mistake—all of the cast members are eye candy give a good performance with the material they had to work from.  Unfortunately, the formerly lovable Levi does not exist in this version.  Instead, Omari Hardwick was handed a character that initially appears to be simple minded, unfocused and lost.  This Levi quickly becomes unlikeable and insignificant to the story, which is disappointing because Levi was the catalyst for several developments in the original.  Equally distracting is the gorgeous Carmen Ejogo, who was not a good casting choice for the role of Sister.  This is was painfully evident as the camera pans Ejogo’s somewhat curve-less body during her sexually charged stage performances.  Much of Sister’s appeal to her audience (both on the set and in the theater), and her men, was Lonette McKee’s sassy, sensual curves, along with that beautiful face.  The same moves that looked effortlessly sexy on McKee ended up just looking desperate on Ejogo.  I’m not critiquing Ejogo’s acting ability—she is convincing as a troubled, confused young woman of the 60s.  Casting her as Sister is simply a visual casting faux pas.  Visually, Jordin Sparks looks more like the original Sister, much more than she bears any resemblance to Sparkle. 

Which brings me to little Ms. Jordin Sparks, who, I must admit, didn’t do a bad acting job.  If I were simply listening to the film, Jordin as Sparkle is very believable.  Visually, however, she, like Carmen, is not right for this role.  The original Sparkle, was a tiny, olive skinned, dreamy eyed girl, who was every bit the baby girl of the family.  Her look, as well as the look of the other two sisters, also silently spoke about the mom’s past relationships. Jordin does not look like the baby of the family, though she is definitely a dreamy eyed girl, nor does she look like the full sister of Delores.  It is understandable though, that of these three women, she would be the one cast as the singer because Jordin Sparks can sing!  The last moments of the film seem to be a showcase for Jordin, as she powerfully belts out two original songs using all of her vocal abilities. 

Sparkle, though filled with some insurmountable issues for me, does have many good points.  The best thing about this film is the soundtrack.  Both the original and the new songs drive the feel of this story.  There are memorable performances from both Whitney Houston and Jordin Sparks.  Ruth Carter absolutely worked her costume design magic in this film.  Additionally, even with all of its obvious departures from the original story, the film still sells the audience on the idea that if you stick to your dreams, stay focused and do the right thing no matter what obstacles you face, everything you want is achievable. 

Sparkle will certainly do well during this first weekend, particularly since it is being billed as Whitney Houston’s final film performance.  I would have enjoyed it more on the small screen, perhaps as an HBO film.  There are sure to be nominations down the line from NAACP Image Awards, Golden Globe Awards, SAG Awards, etc.  There may even be an Oscar nomination for the soundtrack and possibly costume design, both of which would be well deserved.

I got exactly what I expected from this project.  You will, too.  Whatever the issues are, we now have another dramatic story on the big screen, which adds to the black film community’s body of work.  I will continue to be a Brock/Akil fan and supporter of black films. 

But please look out for my list of DO NOT REMAKE films, coming soon.  We have enough original stories of our own to bring to life.  Let’s focus on that, shall we?

Monday, May 14, 2012

Allied Intergrated Marketing Launches Allied Moxy - focused on Black Films

 Finally!  Someone noticed that black films are marketable and decided to create an entire division dedicated to our unique brand of storytelling.  I work with the publicists at Allied Marketing quite frequently during my day-to-day duties and I can tell you that they are a great group of marketers.  So Kim Walters (leading the charge from Los Angeles) and Gloria Jones (holding it down in Chocolate City [Washington, D.C.]) are in pretty good company at the newly formed and launched Allied Moxie.

Now, if they would only send someone would recognize the need for a "Moxy" rep here in the New York area...

Read the article and leave me a comment letting me know your thoughts on the creation of this new division.
 http://www.dmnews.com/allied-integrated-marketing-to-launch-african-american-division/article/240637/

Why Magic Johnson's Aspire Network could beat out OWN

On June 30, 2012 (the day before the BET Awards), Comcast will Magic Johnson's Aspire Network, a 24-hour channel with a focus on what is being called "positive, uplifting images of African Americans." The basic cable outlet will join other channels targeting black viewers, such as BET and TV One, and will offer opportunities for blacks who have struggled to find work in mainstream Hollywood. This launch, along with the upcoming launch of Revolt and El Rey (launching later in 2013) partly fulfill a commitment that Comcast to the Federal Communications Commission (FCC) in connection with its early 2011 acquisition of NBCUniversal.  

Fast Company recently did an article juxtaposing Aspire against the launch of OWN, Oprah Winfrey's "positively focused' network that is struggling to remain alive. The writer give Magic three tips on NOT following in OWN's footsteps.

 Click the link and leave me a comment to let me know your thoughts:
http://www.fastcompany.com/magazine/166/magic-johnson-aspire-oprah-winfrey-own

Thursday, March 29, 2012

The Hunger Games


I was not among the millions who went to see The Hunger Games on opening weekend and throughout this past week. But I wanted to share this article with those who did see it and get some feedback on its content.

I will reserve my own comments and observations for this coming Sunday, after I go see the film.

In the meantime, share your thoughts with me.