I’ve talked before about his cinematic oratorical punch, and in a riveting, landmark speech on racial division today in Philadelphia, Senator Barack Obama tackled head-on the incendiary statements of his former pastor that have been dominating recent headlines — rejecting the content of his divisive statements, but diagnosing a generations-long “racial stalemate” with personally felt clarity, civility and clear-eyed perspicacity. “I can no more disown [Reverend Jeremiah Wright] than I can disown the black community,” Obama said. “I can no more disown him than I can my white grandmother — a woman who helped raise me, a woman who sacrificed again and again for me, a woman who loves me as much as she loves anything in this world, but a woman who once confessed her fear of black men who passed by her on the street, and who on more than one occasion has uttered racial or ethnic stereotypes that made me cringe.”
Sometimes honesty meets challenge, but very rarely, it seems, in the political sphere. Cannily dialing down his affected and slightly exaggerated preacher’s cadence — doubtless a source of discomfort anyway for some unswayed downmarket white voters — in a sign of deference to the subject matter, Obama spoke difficult truths to both blacks and whites alike, perhaps in a way for which he alone on the national scene is uniquely qualified, but certainly in a way that was brave.
Nuanced, shaded and roundly unpatronizing, it was a speech that, radically, acknowledges such a thing as fair reaction, and then makes a case for hard-work healing and higher discourse. Part of the home-stretch wrap comes via this assertion: “For we have a choice in this country. We can accept a politics that breeds division, conflict and cynicism. We can tackle race only as spectacle, as we did in the O.J. trial, or in the wake of tragedy, as we did in the aftermath of Katrina. Or as fodder for the nightly news. We can play Reverend Wright’s sermons on every channel, every day and talk about them from now until the election, and make the only question in this campaign whether or not the American people think that I somehow believe or sympathize with his most offensive words. We can pounce on some gaffe by a Hillary supporter as evidence that she’s playing the race card, or we can speculate on whether white men will all flock to John McCain in the general election regardless of his policies. We can do that. But if we do, I can tell you that in the next election, we’ll be talking about some other distraction. And then another one. And then another one. And nothing will change.”
In talking about inequalities passed along from earlier generations, Obama strings together grievances, anger and fear, connecting the dots of the unspoken and obvious in a manner that is at once breathtaking and infuriating — the latter because it makes you realize, if there were any doubt, just how much of the political oxygen is self-serving, power-grab pap. I don’t need to read or hear Senator Hillary Clinton’s response to know that she just got H-bombed, in this news cycle and for many to come. Just the little picture of her on MSNBC and other news sites — with the blurbed, lift-quote phrase “It’s an important topic,” from her deemed-necessary response — tells you everything you need to know. Clinton is a politician to her core. Shrewd, intelligent and a master of her craft, yes, but a politician nonetheless — someone who never could or would lean forward into incoming fire like this, and deliver a heartfelt, unblinking call for unity and elevation. That is the opposite of her essence, which is brokerage and willful division. For more, the full text of Obama’s speech is available here.
Daily Archives: March 18, 2008
Trailer Watch: Tropic Thunder
The reign of its amusing but hardly revelatory teaser trailer was brief, but the full-length trailer for Tropic Thunder has gone online, and it’s a nice, streamlined thing; it sells the movie’s concept with grace and a muscular confidence, plus features a crazy-eyed Nick Nolte to boot. Particularly amusing, for those perhaps worrying about it, are the segments selling Robert Downey, Jr. as a hotheaded Australian actor who undergoes a “controversial procedure” (i.e., he darkens the pigment of his skin) to play an African-American member of the film’s “band of brothers” platoon. Downey, to one of his fellow soldiers, after being called out for quoting the theme song to The Jeffersons: “Just because it’s a theme song doesn’t make it not true…”
Anthony Minghella Dead at 54
Oscar-winning director Anthony Minghella is dead at 54, from a hemorrhage, after what is being described as a routine operation on his neck. It’s a completely different situation, but one in its own way every bit as shocking as the death of Heath Ledger.
In 1996, Minghella’s The English Patient won nine Academy Awards, and it remained his signature piece, for better of worse; he got trapped in the gauzy-lit lock-box, it seemed. Those who found The English Patient sludgy and unrewarding might have taken out those feelings — though not completely undeservedly — on Minghella’s somewhat thematically similar adaptation of Charles Frazier’s bestselling Cold Mountain, starring Nicole Kidman, Jude Law and Renee Zellweger. For those interested in reaching a bit deeper into Minghella’s canon, check out 1990’s underrated Truly, Madly, Deeply, and of course The Talented Mr. Ripley, which to me is his most uniformly involving work.
Trailer Watch: American Zombie
So I’ve watched it twice, but the trailer for American Zombie, co-directed by Grace Lee and John Solomon, and releasing March 28 via Cinema Libre, does little to advance a positive case for this mockumentary about “high-functioning zombies living in Los Angeles, and their struggles to gain acceptance in human society.” I guess this seemed like a hot idea after Shaun of the Dead and the first, legitimately clever wave of those Geico “Caveman” ads, but there’s not a single moment here — with the arguable exception of the Asian zombie woman talking about her hopes and dreams, then losing her train of thought — that evidences rich, inventive parody, let alone a moment that pops, which is really what an independent flick’s trailer has to have. And what’s with all the hand-held action-cam stuff in the last third of the trailer?
Don’t Forget the Motorcity
Taking its title from a lyric in “Dancing in the Streets,” popularized by Martha and the Vandellas, the three-disc DVD set Don’t Forget the Motorcity (it pains me to type that as one word — it’s like punching the nitpicker in me in the face) offers up a jaw-dropping, treasure chest-like collection of studio promotional videos from the 1970s, ’80s and ’90s. For fans of the catchy Motown sound, it’s an hours-long trip back in time.
The impetus behind this labor-of-love project was producer Ian Levine’s love of the Motown sound, from when he was about 10 years old. By the age of 14 he’d collected every British Motown release, and after a huge run of hits in the 1980s, he went to Detriot and Los Angeles, and recorded over a hundred different artists who were signed to the Motown label in the 1960s and ’70s. The result was a staggering total of over 800 songs, roughly an eighth of which appear here. Sadly, more than half these artists are no longer with us, but this priceless footage remains — much of it never before seen prior to the release of this DVD.
The artist roster is impressive, but most of all deep, eschewing a lot of the obvious hit-makers for singers like C.P. Spencer, Frank Wilson, Frances Nero, Sammy Ward, The Elgins. Big-ticket draws like The Supremes (who offer up “Crazy ‘Bout the Guy”), Mary Wells, the aforementioned Martha Reeves, and The Contours are here, but more as part of the flavoring than the main ingredient. Mary Wilson’s catchy “Oooh Child” is a definite highlight, and The Vandellas’ “Nowhere to Run” will always get me on my feet. Edwin Starr —
who probably has the most songs here, with four — contributes an exceptionally
smooth version of “Back Street,” as well “Where Is the Sound,” “I Have
Faith in You” and “Darling Darling Baby.” Frankie Gaye’s “My Brother” is an emotional cut, and I also quite enjoyed Vee McDonald’s “You’re My Loveline” and The Lovetones’ “Fire Alarm.” Overall, in aggregate, this footage captures the magic of a long-gone era — it’s music to make your feet tap, your hair tingle and your fingers snap. The high feel-good factor makes one feel like they’re driving down the Pacific Coast Highway on a warm, carefree summer’s day, with only good friends and fond memories as their companions.
Housed in a regular Amray case with a snap-hinge tray which holds two of the discs on reverse sides, the three-disc, region-free set runs a whopping 360 minutes in total, and comes with a paper insert that celebrates the artists on display. There are otherwise unfortunately no extras, which is a shame, given the doubtlessly fascinating anecdotes attached to such an undertaking by Levine. To purchase the DVD via Amazon, click here. B+ (Concert) C- (Disc)
Horton Hears a Ka-ching!
20th Century Fox’s Dr. Seuss’ Horton Hears a Who put the box office in a sleeper hold this past weekend, pulling in $45 million in its first three days of release, over $11,300 per screen. Brace yourself, parents, for the eventual adaptation and release of the entire Seuss catalogue. In second place, 10,000 B.C. raked in another $16.7 million, proving the spending power of CGI sabre-toothed tiger enthusiasts and putting the movie’s two-week total at just under $62 million. Never Back Down opened third for the weekend, with $8.6 million. The week’s other wide opener, meanwhile, Doomsday, wasn’t fooling quite as many folks; not screened in advance for critics by Universal/Rogue, it slotted seventh for the same frame, grossing $4.9 million on just over 1,930 screens, for a $2,544/screen average.
Rounding out the weekend’s top 10 were College Road Trip, with $7.8 million (now $24.2 million total); Vantage Point, with $5.4 million (now $59.2 million total); The Bank Job, with $5.1 million (now $13.3 million total); Will Ferrell’s R-rated Semi-Pro, with $3 million (now $29.8 million total); inert bodice-ripper The Other Boleyn Girl, with $2.9 million (now $19.1 million total); and The Spiderwick Chronicles, with $2.3 million (now $65.3 million total). Opening in 274 theaters, meanwhile, writer-director Michael Haneke’s controversial Funny Games grossed just under $511,000, or $1,864 per site.