Black Cinema T.V

Mo’Nique Wins The Oscar!!!

2010-03-07T19:57:00.001-08:00

Mo'Nique started her speech saying, "First, I would like to thank the Academy for showing it can be about the performance and not the politics."

She cited Hattie McDaniel, Tyler Perry and Oprah Winfrey, among others, and ended by saying, thank you "to my amazing husband Sidney for showing sometimes you have to forego what's popular in order to do what's right. And baby, you were so right. God bless us all."

As she walked off stage, reports USA TODAY's Anthony Breznican, she grabbed hold of stage manager of Valdez Flagg and said softly, "Can you just hold me?" And the two hugged in silence for a long time.

HOLLYWOOD MEETS" THE HOOD ON THE DANGEREOUS STREETS OF BROWNSVILLE,BROOKLYN.

2010-02-28T13:21:00.000-08:00

The police warning was as straight-forward as they come. If director Antoine Fuqua and the crew of “Brooklyn’s Finest” insisted on filming in Brownsville, Brooklyn, they would be on their own. The neighborhood, just east of Crown Heights, is among the city’s most crime-ridden: gang members reportedly control the streets, prostitutes work the corners, drug dealers infest the housing projects.

The neighborhood is so violent that a few years ago, the military created a training program at the local hospital because its emergency room most closely resembled that of a war zone. About half of the patients had either been stabbed or shot.

Don Cheadle (left) plays an undercover cop, while Richard Gere is an officer who’s about to retire in “Brooklyn’s Finest,” directed by Antoine Fuqua.

But Fuqua, who also made the Oscar-winning “Training Day,” wanted an authenticity for his police drama that could only be found in the Van Dyke projects, the run-down collection of public housing units that spawned Mike Tyson and members of the Wu-Tang Clan. So in the summer of 2008, Hollywood came to Brownsville — for what was among the first, and quite possibly one of the last, times.

“Putting actors in real environments surrounded by real people is what gets me excited,” Fuqua says. “Shooting in the buildings of the projects, not in Canada somewhere where someone says, ‘That’s not New York.’ I get passionate about being in it.”

“Brooklyn’s Finest,” opening Friday, spins out three parallel storylines that collide bloodily in the third act. Don Cheadle is an undercover cop who’s dug himself into a drug-dealing network run by Wesley Snipes. Ethan Hawke is a young narcotics detective desperate to beg, borrow or steal enough money to buy a new house for his expanding family. And Richard Gere is a weary beat cop one week from retirement who’s forced to train eager rookies.

“I know there was all this talk that Brownsville was going to be dangerous, but yeah, that’s kind of anywhere,” Cheadle says. “You just have to know where you are and treat people with respect.”

To ensure fewer problems, the production hired local gang members and the Nation of Islam for security. Money was also spread around to certain factions in the neighborhood.

“Money makes everyone feel better,” says Fuqua, who was raised in a Pittsburgh housing project. “Guys are struggling, they’re hungry, so you give them some money.”

The moves worked. Fuqua says he and the cast never felt in danger. Word is, rival gangs even called a truce for the duration of the shoot. About the worst thing that happened was someone stole one of the production’s massive air conditioners.

“Everyone was real respectful,” Fuqua says. “Anyone who came around and was possibly dangerous, they saw the Nation of Islam cats there, so they behaved a certain way. And the gang members were standing next to the Nation of Islam working, so [troublemakers] knew not to do anything stupid.”

Not only did the rougher factions of Brownsville rarely cause problems, they proved to be an asset to the filmmakers. One scene in the film, which details a drug dealer’s apartment-based operation, was the result of a tour Fuqua got from a real hustler.

The cast also received guidance.

“I had people coming up to me and saying, ‘What you’re playing? I’m that real cat,” Cheadle says. “I’m like, ‘Oh, good. Can we sit down? I’ve got this scene coming up.’” The actor consulted the man on everything from slang to whether his wristwatch was right.

During another scene in which a drug dealer is shot in a drive-by, the extras (made up mostly of neighborhood residents) were ordered to duck and scatter when the guns went off.

“This guy comes up to me and says, ‘That ain’t how it would go down,’” Cheadle says. “I said, ‘What would happen?’ He said, ‘If there’s a dude who drives by our neighborhood and shoots at us, there’s no running or ducking. I’d get my burner out, and we’d go post up.’ So I said, ‘That’s what we should do.’”

In the reworked scene, onlookers pull out guns and chase the car.

Some of the movie’s authenticity can also be credited to its writer, Michael C. Martin, a former East New York resident who sold the screenplay while working as a subway signalman.

The sale ran him afoul of his MTA bosses, who tried to have him fired for what they claimed was a second job. Martin quit about a month after pre-production began. During his MTA disciplinary hearing, however, it became clear just how powerful the allure of show business was.

“One supervisor was being all serious, following protocol. The other was going on about, ‘Did I meet Ellen Barkin? How tall is Richard Gere?’” he says.

Martin wrote the first draft over three months while recovering from injuries he got from a car accident. The impetus came from his then-roommate, a police academy student.

“He saw a woman selling porn to underage kids and made a citizen’s arrest. He thought it was the right thing to do,” Martin says. “But he got chewed out [by his superiors] and told he should mind his own business. It broke his spirit in a way.

“Every police officer thinks they’ll put a badge and uniform on and change the city. Then they face this harsh reality,” he says. “I wondered if I could make a cop movie that didn’t have that typical cop-movie thing. It was more about the cost of being a police officer.”

And as the gritty “Brooklyn’s Finest” demonstrates, the cost is high.

Brooklyn's Finest Movie Review

2010-02-24T19:16:00.000-08:00

Not likely to go over too well with New York City Mayor Bloomberg and his tourism bureau, is the tabloid cinema crooked cop thriller and ghetto housing project horror spree looking worse than an Afghan war zone on a bad day, Brookyln's Finest. A kind of followup to the biased class trumping race lurid lowlife abyss in which Precious self-loathingly wallowed, this reverse Stockholm Syndrome crime caper intimates police corruption as basic byproduct of the bad company they keep during working hours. In other word, blame it on the inner city.

Directed with a heavy hand, as in sledgehammer, by Antoine Fuqua (Training Day) and penned by transit worker turned screenwriter Michael C. Martin, Brooklyn's Finest follows three cops from the crime ridden 65th Precinct on their daily rounds, during one fateful, explosive week about to go down at a local public housing project. Narcotics detective and tattooed bad dad Sal Procida (Ethan Hawke) has just hit the confession booth after one in a series of secret executions of neighborhood drug dealers. Less into booking perps than blowing their faces off and stealing their cash, Procida tends to rationalize his behavior because he can't afford to support his seven children and a wife pregnant yet again with twins, on a cop's salary. Not clear if he stops off at the church to blame God for not helping him make ends meet, or protest the lack of divine contraceptive intervention.

And on another side of town, jaded veteran bachelor cop Eddie Dugan (Richard Gere), about to retire in a week, can't decide whether to blow his brains out or blow some cash on a visit to a sex den and his favorite pretend girlfriend hooker. And in a too much information graphic sex scene that may have Gere's phone ringing off the hook with porn industry audition offers, he nudges his compliant sex slave for hire who draws the line at cuddling, with detailed instructions on how to satisfy his demanding libido, that are more akin to a driving school instructor announcing directions. At the same time, Dugan switches it up to itinerant knight in shining armor, on the hunt for a missing young girl possibly being held in bondage as a genuine sex slave.

Then there's Clarence 'Tango' Butler (Don Cheadle), an undercover cop who's been role playing with the street gangs in and out of prison for so long, that he's succumbing to a major identity crisis. Deeply into guy bonding with major player druglord Caz (Wesley Snipes), Butler is too conflicted to entrap Caz for good even though offered a big promotion in return, when not pressured to man up and do so by his nagging dragon lady supervisor, played as a snarling venomous viper by Ellen Barkin.

Fuqua presents a Brooklyn's Foulest portrait of ghetto life where there's plenty of sympathy to go around for bad behavior by the police, but not a single mitigating factor motivating the despised inner city underclass. So what we're left with basically, is Brooklyn as a generic macho cesspool, and where the women tend to range from brainless bimbos and breeders to brainiac bitchy bosses with advanced degrees.

Brooklyn's Finest: The borough as a hotbed of sluts, shooters, slaughter and sleaze, not necessarily in that order.

Overture Films
Rated R
1 star

Lebron James In “More Than A Game” - Hit Theaters October 2

2009-08-27T00:05:00.000-07:00

Five talented young basketball players from Akron, Ohio star in this remarkable true-life coming of age story about uncommon friendship in the face all too common adversities. Coached by a charismatic but inexperienced player’s father, and led by future NBA superstar LeBron James, the “Fab Five’s” improbable seven-year journey leads them from a decrepit inner-city gym to the doorstep of a national high school championship. Along the way, the close-knit team is repeatedly tested—both on and off the court—as James’ exploding worldwide celebrity threatens to destroy everything they’ve set out to achieve together. MORE THAN A GAME combines a series of unforgettable one-on-one interviews with rare news footage, never-before-seen home videos and personal family photographs to bring this heart-warming and wholly American story to life. Lionsgate and Harvey Mason Media in association with Interscope Records present a Harvey Mason Media Production in association with Galley Boy and Spring Hill Productions a film by Kristopher Belman. MORE THAN A GAME is written by Kristopher Belman & Brad Hogan and directed by Kristopher Belman. The film features LeBron James, Sian Cotton, Dru Joyce III, Willie McGee, Romeo Travis and Coach Dru Joyce II.
“More Than A Game” Trailer w/ “Stronger” by Mary J. Blige

Melvin Van Peebles Introduces New Protege At Book Signing

2009-08-14T21:39:00.000-07:00

Melvin Van Peebles Introduces New Protege At Book Signing

By News One August 11, 2009 4:09 pm

Emerging multi-talent, Caktuz..?13 & legendary father of Black American Film, Melvin Van Peebles (Sweet Sweetback's Baadasssss Song) were spotted together in New York City recently, engaging a store full of eager fans at one of their book signing appearances for the graphic novel adaption to Van Peebles new film Confessions OfA Ex-Doofus-Itchy-Footed Mutha. (Published on Akashic Books www.akashicbooks.com).

The line stretched out the door of the small Revolution Books (146 W 26th st.) Store. Fans of all ages awaited their specialized autographed copy of Van Peebles latest effort in the American graphic novel genre. The room grew quiet as Van Peebles introduced his partner in the book's creation and protege, indie recording artist, Caktuz..?13.

Caktuz..?13, an artist whose list of accomplishments rival most well known artists (art, Music, Fashion, film, etc), illustrated the 60 page story closely with Van Peebles over 6 months. "It was a pleasure, working with Caktuz..?13," says Van Peebles about his new protege'. "It was one of the best experiences I've had. 1st, because the gentleman is talented and 2nd, he tries to get into the mind of the narrator. Very important in communicating ideas back & forth to one another. "

Caktuz..?13, an award wining graphic illustrator, fashion designer, and actor, isn't just making the rounds with Van Peebles. 'Mr. Multi' will be releasing his sophomore project God'z Porno. The EP, a homegrown version of southern hip-hop he calls Carolina Bluez, will be put out through a joint venture with Block Starz Music & his own AMAS Multi-Media label. After working with such artists as Kardinal Offishall & Akon, dead prez, MOP, Bilal, and more, he is regarded by many to be a rising breath of fresh air in today's music. With a cult following of passionate fans, and a successful European tour, completed earlier this year, Caktuz..?13 has plans to head back out this fall to South Africa & Japan.

When asked a question about passing the torch, Van Peebles said, "well he was already well past being an apprentice when I met him. A protege seemed like the next step. He was open to that. If I had to pass the artistic torch I couldn't think of a more capable or enlightened person to pass it to." The elder statesman finished by saying " I am very proud of Caktuz..?13. I think he's gonna be one of the most remarkable multi-talented artists of his time".

Van Peebles' new film has already received rave reviews from magazines such as Variety, and got a standing ovation at the Tribecca Film Festival this past year. Doofus is set to premiere in NYC Aug. 21st at Cinema Village.

Sony OK'd to Produce Michael Jackson Pic

2009-08-13T18:52:00.000-07:00

Sony Pictures Entertainment has received court approval to bring Michael Jackson to the big screen in a film based on more than 80 hours of rehearsal and behind-the-scenes footage from the late singer's planned "This Is It" London concert series. The film is set for release on Oct. 30th.

According to the deal, Sony will share revenue with AEG Live, the producer of the canceled concerts, after paying a reported $60 million for the film rights.

The deal was negotiated last month by Sony Pictures and its sibling unit, Sony Music Entertainment, with the Michael Jackson Estate and AEG Live, producer of the late singer's planned London concert series.

Director Kenny Ortega ("High School Musical"), who was directing the concert series, is in negotiations with Sony to produce and direct the movie. "The world will see what our team was so fortunate to experience, which was the full commitment, passion and creativity that Michael put into the project," Ortega said in a statement.

Along with the rehearsal and behind-the-scenes footage, Sony obtained the rights to include some 3-D sequences that were going to be shown on video screens during the "This Is It" concerts. The film will be a career retrospective featuring footage from Jackson’s last rehearsals, as well as interviews with friends and collaborators, according to a statement from AEG.

Jackson, 50, died on June 25 in Los Angeles, just three weeks before the "This Is It" concerts at London's O2 Arena were to begin. The LA coroners' office has said the autopsy on Jackson's body is now complete, however results will not be announced until a police investigation is complete.

Fantasy Casting The Inevitable Michael Jackson Movie

2009-06-28T20:21:00.000-07:00

It's absolutely inevitable. Only hours after the King of Pop's unexpected demise, Hollywood's major television networks were scrambling to fill their airwaves with Michael Jackson related programming. Tonight for instance, TV Land is dragging out the old made for TV movie The Jacksons: The American Dream. It's only a matter of time before the movie industry gets in on the act. The Michael Jackson biopic is coming, it's not a question of when, it’s only a question of how badly they'll screw it up.

Will they focus on his earlier life, his brilliance as a musician, his success in spite of an abusive father… while glossing over all the really weird stuff at the end? Whose version of the truth will Hollywood subscribe to? Michael's hazy fantasy of never-ending youth or the world we saw from the outside, of inappropriate behavior and spiraling excess? Or perhaps most importantly, who will they cast to play him?

Before Tinsel Town botches it, we're stepping in preemptively to give them a little friendly advice. If you have to make a Michael Jackson movie Hollywood, then consider these casting choices before you do it.

Free Willy & Final Years Michael
Casting late-life Michael Jackson is all at once easy and complex. There's no shortage of talented, high-profile, proven, age-appropriate African American actors who might be willing to take on the role (assuming you want to cast a black actor that is). Some of them can even sing and dance. A few like Chris Tucker have, in fact, actually built their entire life around doing some sort of Thriller-era Michael Jackson impersonation but sorry Chris, we can do better. Whoever lands it will have to be able to play Free Willy Michael right on through creepy guy who engages in inappropriate contact with minors on national television Michael.

LIKELY TO GET THE PART: Eddie Murphy
It has to be Eddie Murphy, doesn't it? Sure they'll have to slather him in freakish prosthetics but if Robert Downey Jr. can get away with blackface then Eddie can certainly pull off whiteface. He has the right build (or close enough), he can sing (sort of), he can dance (or at least simulate it), and by the time they start casting this thing he'll be ready for another one of his twice a decade dips into serious movie making. Eddie will smell Oscar and lobby for this part hard knowing that his usual competition, the likes of Jamie Foxx, Denzel Washington, and Will Smith lack either the physical build or the musical chops to pull of the part. Plus Eddie's no stranger to prosthetics. If he wants to play MJ, he'll land it. It just makes sense.

BETTER CHOICE: Crispin Glover
Sure he's white but so was Michael, sort of, by the end. Nobody captures freakish insanity better than Crispin and in the last decade, in the public eye at least, that seemed to be all that was left of the man. Jackson's journey is almost Howard Hughes' like in nature and there's nobody better than Crispin for walking around with Kleenex boxes for shoes. Would he do it? Probably not, he's more interested in bizarre filmmaking projects that no one wants to see, and of course there's no way Hollywood hires anyone who's not a big name, bankable star for this part. Still, if you've seen Willard or even paid attention to the few moments he shows up on screen in the Charlie's Angels movies, then you know there's no one more perfect than Crispin Glover to portray Michael Jackson at his lowest of lows. Insanity is Crispin's reality.

Thriller Michael
This is the tough one. The temptation here will be to cast someone who can play both Thriller era Michael and late-life, crazy Michael. Yet they're such completely different people, it's hard to imagine that working. Sure you could digitally de-age Eddie Murphy and dress him up like Captain EO and yeah, maybe you can spray paint Crispin Glover and teach him to moonwalk, but I say you're better off going with someone else entirely and I feel certain (for no particular reason) that Hollywood will agree with me.

LIKELY TO GET THE PART: Damon Wayans Jr.
You've probably got a bad feeling about this. Me too. Damon Wayans Jr. is the son of Damon Wayans Classic and he's already started climbing the Hollywood ladder as the one of the leads in the early year parody flop Dance Flick. He's a comic, which means he probably already has an MJ impersonation (don't all comedians?), he's a martial artist, snowboarder, and apparently he can dance. He's one of a dozen names which could easily end up with the role (and if Denzel Washington is somehow involved in producing then get ready for Derek Luke) but to me, he seems like exactly the kind of talent sleazy Hollywood producers might go for.

BETTER CHOICE: Andre 3000
Sure he's getting a little long in the tooth, but shave off his beard and Andre will instantly lose a few years. He's got the build, he's got the moves, and even though he's yet to really prove it I've long had this sneaking suspicion that Andre could, if he really put his mind to it, actually act. Look it was either Andre 3000 or My Name is Earl's Crabman. Andre is the right decision.

Little Jackson 5 Michael
This is the easiest Michael to cast. Throw a net over Los Angeles, scoop it up, and then pick out the cutest black kids at your leisure. If they can sing that's a bonus, but you're probably better off casting for cute factor and then hiring a eunuch to do voice over. Or better yet, just play MJ's old tracks. It's not like you're going to find someone who can sing “ABC” better.

LIKELY TO GET THE PART: Jaden Smith
He's Hollywood's official cute kid poster boy and even though he doesn't exactly look the part, at least he’s already halfway to the hair. Plus his dad's Will Smith who, if you play your cards right might sign on as a producer or, whatever it is he does whenever Jaden's got a new project.

BETTER CHOICE: Bobbe J. Thompson
I really have no good excuse for casting the foul mouthed, trash-talking kid from Role Models in this movie, or in any movie. I'm pretty sure he can't sing and he definitely looks nothing like Michael. I wouldn't however bet against him having awesome dance moves but mostly I'm casting him for my own amusement and because he's probably not going to take any of that shit from his Dad. Let's rewrite history a bit. Have Michael kick Joe Jackson in the nads. That asshole has it coming for what he did to him.

10th Annual Hollywood Black Film Festival Announces Jury and Audience Choice Award Winners

2009-06-14T23:06:00.000-07:00

With 102 films and 6 days of deliberation, jury and audience choice award-winners were announced Sunday for the 2009 Hollywood Black Film Festival (HBFF). Actress Vanessa Bell Calloway announced the winning films during the festivals invitation-only Filmmaker and Storyteller Awards brunch, held at Life on Wilshire.

"We are so pleased to be able to present awards to these filmmakers who have displayed an amazing array of cinematic talent and vision," said Tanya Kersey, Founder & Executive Director, HBFF. "The 2009 Hollywood Black Film Festival award-winners reflect the full breadth of talent, diversity, and evolution of independent black film."

"Our filmmakers this year displayed an extraordinary range and depth to their storytelling, and I am pleased to know that HBFF continues to garner a well deserved reputation as being the premiere festival for discovering and showcasing the next generation of talented Black filmmakers," added Kersey. "We are thrilled at how the Hollywood Black Film Festival has continued to grow in attendance, local and national awareness and acclaim from filmmakers, writers and directors."

The winners receive prizes courtesy of Kodak, Writers Boot Camp, Entertainment Partners, Final Draft, Baseline Studio Systems & Film Tracker, Showbiz Software and Urban Network. In addition to product prizes and in keeping with the festival’s motto: “ACCESS. OPPORTUNITIES. DEALS.” The winners also receive a series of meetings with agents, managers, development, acquisition and distribution executives. Over 44 meetings have been scheduled for the filmmaker and storyteller winners.

Director Lucky Ejim’s feature film THE TENANT took the top audience prize at the 10th Annual Hollywood Black Film Festival. Sponsored by Indieflix the Audience Choice Award winner took home a cash prize in addition to prizes from Entertainment Partners, Baseline StudioSystems and Showbiz Software. In the film, Obinna, an African refugee, faces imminent deportation from Canada. His landlord, a dying retired immigration officer offers to stop the deportation if he convinces his estranged daughter to reconcile with him. In 30 days he has to turn the wheels of hate to one of love.

In the narrative feature film category, BLUE, directed by Ryan Miningham took top honors. BLUE tells the story of a prize fighter who struggles to put his dark past behind him as love seems to altar his course and makes him face his redemption while preparing for the fight of his life.

The Short Film winner was (MIS)LEADING MAN written and directed by Morocco Omari. (Mis) Leading Man is an exploration of what happens to a common man caught inside of the media fishbowl as a result of getting everything that he could ever dream of. Keith Holland seemingly has everything. He’s a coveted A-list actor with all of the rights and privileges that accompany that position, but realizes that it comes hand in hand with a price that he didn’t factor in. Nothing can prepare him for the fine print that comes with celebrity, or the duality of the media.

Llewellyn Smith’s documentary HERSKOVITS AT THE HEART OF BLACKNESS earned first place honors in the documentary category. HERSKOVITS is story about 20th century anthropologist Melville J. Herskovits, who 're-defined' black history, making it possible for a people formerly despised as “Negroes” to pride themselves as African-Americans. Herskovits himself was a white American of Jewish ancestry but he acquired the power to re-make the historical understanding of black people, and in the process engaged in conflicts with black scholars and elite institutions of the day. Rarely seen archival footage, provocative animation, photo re-enactments and scholars' commentary propel the story.

In the student film category, the award was presented to THE SECOND HALF written by Andrew Chang and directed by Ralph Jeffrey Elmont. In the film, Delroy, a night janitor in a high school, meets and mentors Harlan, one of the school's basketball stars, and is forced to confront his own past to save Harlan's future.

1 OUT OF 10, directed by Q, won in the music video category.

The 1st place winner in the HBFF Storyteller Competition was GOOD MOTHER written by Cassie Henderson of Tallahassee, FL. In GOOD MOTHER, a single mother diagnosed with breast cancer decides to commit a crime so that she can get healthcare in prison. BORN TO PITCH written by Robyn Hatcher of New York City took 2nd place honors. BORN TO PITCH is about Mamie “Peanut” Johnson who became the first woman to ever pitch major league baseball. A member of the Negro League’s Indianapolis Clowns, this film follows Mamie’s first season on the road with the Clowns where she realizes her life long dream to play professional baseball but faces losing her marriage, her child and her dignity. 3rd place went to FAR AWAY FROM HERE written by Dapo Adeshiyan of Piscataway, NJ . In FAR AWAY FROM HERE, when the soul-singing girlfriend of a rising star lawyer becomes an overnight sensation, their ten-year relationship is put to the test as her fame continues to rise, and his career begins to falter.

The HBFF Storyteller Competition was designed to promote and support new talent and continue the festival’s pledge of creating opportunities for talented black screenwriters. As the main goal is to give new screenwriters industry exposure and help introduce them to Hollywood, in addition to the prize packages, the three finalists will have their scripts distributed to a number of studios and production company executives.

“The diverse storytelling styles of this year’s Storyteller Competition semi-finalists is impressive,” said Alexia Ryan, HBFF Storyteller Director. “We are pleased to be able to bring these talented, diverse voices to the attention of Hollywood’s leading talent buyers.”

Festival attendees enjoyed a whirlwind of six days hustling to see films, attending panels and workshops at the adjunct Infotainment Conference, and partying into the wee hours of the night. HBFF 2009 ran June 3-8 in Beverly Hills, CA.

Good Hair, Premiere's on big screen

2009-05-22T00:34:00.000-07:00

The HBO Films documentary "Good Hair," co-written and produced by Chris Rock and Nelson George, will finally arrive in US theaters this year after world rights were picked up by Roadside Attractions and Liddell Entertainment.

Roadside will release the film domestically in the fall, reports Variety. Lionsgate will handle home video and other domestic ancillary rights, while HBO retains pay cable rights.

The documentary also stars Rock as he shares hair recollections with such celebs as Maya Angelou, Nia Long, Raven Symone, Ice-T and the Rev. Al Sharpton. Stories of how hairstyles impacted their lives and self-esteem helped Rock formulate an answer to a question posed by his daughter.

"Good Hair" was directed by Jeff Stilson, a writer and co-producer of HBO's "The Chris Rock Show

Common in the new A-team Movie

2009-05-18T23:23:00.000-07:00

The question of who will play Mr. T's role of B.A. Baracus in the upcoming "A Team" film appears to have been settled, as Fox is reportedly interested in casting rapper/actor Common.

When John Singleton was attached to helm the project last year, there were rumors that his preference for the mohawked role was Tyrese Gibson, whom he had directed in "Baby Boy" and "2 Fast 2 Furious."

Ice Cube, who starred in Singleton's first film "Boyz n the Hood," was also said to be actively pursuing the role.

But now that Joe Carnahan has taken over the director's chair, word has it that he's looking to bring in his own man Common, who starred in his film "Smokin' Aces."

The rapper/actor tells Moviehole.com that the role would be "so exciting."

10 Modern day Classic Movies

2009-05-12T13:54:00.000-07:00

1. Lady Sings The Blues(1972) - Pop superstar, Diana Ross made her acting debut in this film, which chronicled the life of jazz great, Billie Holiday. While the film is mostly fiction, with a few facts thrown, Diana Ross received The Golden Globe, The Caesar, (French equivalent of the Oscar) and was nominated for the Academy Award for Best Actress. Liza Minnelli won that year for Cabaret. This film was released in 1972, at the height of popularity of ‘Blaxplotation’ films such as Foxy Brown and Cleopatra Jones. It’s popularity demonstrated that a serious drama starring Black folk could be commercially successful. While Ross is no Billie Holiday, she does some of the best vocal work of her career in this film.
Director: Sidney J. Furie
Stars: Diana Ross, Billy Dee Williams, and Richard Pryor.

2. Shaft(1971) - Directed by noted writer/director, Gordon Parks, this effort was as popular for the music, as it was for it’s script, which was considered innovative at the time. Shaft was the first Black Hero of modern day film - A private investigator who dressed well, lived well, was intelligent, yet streetwise and cool at the same time. It was a big risk to take at a time when most were being portrayed as “cool pimps”, “ mack daddies”, and shady characters whose morals were questionable. It, like Lady Sings The Blues was released during the height of popularity of Blaxplotation films.
Director:Gordon Parks
Stars: Richard Roundtree, Moses Gunn

3. In The Heat of The Night(1967) - A Norman (Fiddler On The Roof, The Thomas Crown Affair, Agnes of God, A Soldier’s Story, The Hurricane, Moonstruck, Rollerball, And Justice For All, etc., etc.) Jewison film. My God, what a resume! The story of a Black New York City detective passing through a small southern town, who is held as a suspect in the murder of the town’s most prominent citizen. He is later detained to assist in the solving of the crime, which of course he does admirably. The local sheriff is a ‘redneck’, and most of the other White citizens, with the exception of Lee Grant, who plays the victim's widow, all seem to be as dumb as stumps. (Somehow, it gives us comfort, to believe all racists have low IQ’s, which is most often not the case.) Not only is the plot engrossing, but watching the dynamics of the relationship between the sheriff and the detective change, is totally hypnotic. It is evident with each scene that you are watching two terrific actors at the top of their game. Rod won the Oscar; Sidney wasn’t even nominated. Quincy Jones did the score.
Director: Norman Jewison
Stars: Sidney Poitier, Rod Steiger, and Lee Grant.

4. Sparkle(1976) - This is one of those films most often included in the DVD or VHS collections of many African Americans, while most Whites will say, “Sparkle?” This film chronicles the rise of 3 sisters from ghetto obscurity to superstardom. It examines their relationship, and the pitfalls success inevitably brings. It features a very popular score by Curtis Mayfield actually sung by the 3 actresses who portrayed the sisters. All songs were later re-recorded that year by Aretha Franklin on her album of the same name.
Director: Sam O’Steen
Stars: Irene Cara, Lonette Mckee, Dwan Smith, and Phillip Michael Thomas

5. The Color Purple(1985) - Nominated for 11 Academy Award, this is another one of those films that is a “must have” for collectors of Black film, and one that you will also find in the DVD/VHS collections of many African American. The film is an adaptation of a Pulitzer prize winning novel by Alice Walker. It explores the life of one woman, as played by Whoopi Goldberg, and the trials and tribulation she suffers as she grows into her own, emotionally, mentally and spiritually. It is probably the only role in which Whoopi was not just being Whoopi, and you get to see her really act! This film earned Whoopi her first Oscar nomination. Not just good, but GREAT performances were given by all. Quincy Jones co-produced, as well as composed the score.
Director: Steven Spielberg
Stars: Whoopi Goldberg, Oprah Winfrey, Danny Glover, Adolph Caesar, Rae Dawn Chong, and Margaret Avery

6. Glory(1989) - An historical account of the all Black 54th regiment - Comprised of free northern Blacks and runaway slaves who fought and nearly all perished during the Civil War. It was nominated for 5 Academy Awards, winning 3, including 1 for Denzel Washington for Best Supporting Actor. The story and acting are riveting. It is an eye-opening study of the relationship between blacks and whites in the military, and in America as a whole, during that era.
Director: Edward Zwick
Stars: Denzel Washington, Matthew Broderick, Morgan Freeman, and Andre Braugher

7. Boyz In The Hood(1991) - A coming of age story of a Black youth growing up in South Central Los Angeles. A realistic portrayal of the gangs, the violence, and the relationships that shape and alter one boy's life. This prompted a whole rash of movies in this genre, which is still to this day being imitated.
Director: John Singleton
Stars: Cuba Gooding jr., Laurence Fishburne, Morris Chestnut, Ice Cube, Regina King and Nia Long

8. Malcolm X(1992)- Based on the novel, The Autobiography of Malcolm X as written by Alex (Roots) Haley, it chronicles the life of Malcolm and his rise from street hustle, drug addict and pimp, to spiritual leader of The Nation of Islam. This film is probably Spike Lee’s best work to date. He refrained from his usual cute camera tricks, and concentrated on the story. The result is awesome. 'X' earned Denzel Washington another Academy award nomination for Best Actor.
Director: Spike Lee
Stars: Denzel Washington, Angela Bassett, Delroy Lindo, Al Freeman jr., and Theresa Randle.

9. Soul Food(1997) - A true and positive depiction of Black middle class family life. It realistically gives an accounting of the relationship between mothers and daughters; sibling rivalry, and the struggle to keep the family intact. The story revolves around a time honored tradition most Blacks are familiar with - Sunday dinner. Great movie, produced by singer/songwriter Kenneth (Babyface) Edmonds and his wife Tracey. Great soundtrack, which spawned hits by Mary J. Blige, Brandy, and others.
Director: George Tillman jr.
Stars: Vanessa L. Williams, Viveca A. Fox, Nia Long, Michael Beach, Mekhi Phifer, and Irma P. Hall

10. Waiting to Exhale(1995) - The Adaptation of Terry McMillan’s novel of the same name, it was labeled a ’man-hating’ film by quite a few brothers, disturbed by the way their images were portrayed. It’s the story of 4 middle class Black women, and the trials and tribulations they endure in their quest for meaningful intimate relationships, as well as a true-to-life exploration of their relationships with each other. I personally thought it was pretty balanced, showing both negative and positive images of Black men in a realistic way, and wasn’t at all offended.
....and another great soundtrack, which boosted movie ticket sales.
Director: Forest Whitaker
Stars: Whitney Houston, Angela Bassett, Lela Rochon, Gregory Hines, Loretta Devine, Michael Beach, and Wesley Snipes.

Mos Def Convinces Next Day Air Co-Stars To Ban 'N' Word

2009-05-06T12:30:00.000-07:00

Mos Def banned the use of the 'N' word on the set of his new movie Next Day Air in a bid to urge his co-stars to use less controversial terms to "express" themselves.

The rapper/actor stars alongside Donald Faison, Mike Epps and Wood Harris in the funny crime caper, about a drug shipment which is delivered to the wrong address.

And Mos Def convinced his African-American co-stars to make sure language in the film and on the set was respectful at all times - by outlawing the racially-charged word.

Harris says, "It was something that was very important to us. It was our way of making a statement that we can express ourselves without using the N-word. But it wasn't just in the movie that we banned the word. We also banned it on set. No one could say it. At first it was difficult, but we really stayed on top of each other. By the end of... filming, I don't know if it was something that even came up. We just didn't say it, and had no desire to. I hope that other people will start trying to find new ways to express themselves as well."

WILL.I.IAM: THE X-MEN ORIGINS WOLVERINE INTERVIEW

2009-05-04T23:52:00.000-07:00

William James Adams, aka Will.i.Am, was born on March 15, 1975 in the City of Los Angeles where he attended the Fashion Institute of Design and Merchandising.

But by the time he got around to launching his own clothing line ("i.am") in 2005, the talented Renaissance man had already found fame as front man for Black Eyed Peas, the multiple Grammy-winning hip-hop group with hits like "Let's Get It Started" and "My Humps."

A versatile musician, Will not only plays various keyboards, the bass and drums, but also sings and raps as well.

Besides Black Eyed Peas, he's produced several successful solo projects, plus he has collaborated with a number of other artists, including Sergio Mendes, Usher and Flo Rida.

Perhaps his most important cultural contribution came during the run-up to the presidential election, when he released " Yes We Can ," the Emmy-winning song which ostensibly served as the Obama campaign's unofficial theme song. Will made his first foray into acting last fall when he provided the voice of Moto Moto in the animated feature Madagascar: Escape 2 Africa.

Here, he talks about all of the above, and about X-Men Origins: Wolverine (out this Friday) where he co-stars opposite Hugh Jackman as John Wraith.

Will.i.Am: Hi Kam.

Kam Williams: Thanks for the time, Will. By the way, is this you or just a hologram of you?

WiA: No, this is really Will.

KW: I remember when you were interviewed by Anderson Cooper as a hologram on Election Night.

[http://www.youtube.com/watch?v=deoOTqT-SMI]

WiA: Yeah, it's wild being a hologram back then and now being teleported in X-Men Origins.

KW: I believe that your song "Yes We Can," played a pivotal role in getting young voters excited about Barack Obama and that it helped him become President of the United States. How do you feel about his first 100 days in office?

WiA: So far, he's done great! People are enthusiastic about America like they haven't been in a very long time. He's passed the Stimulus Bill… the Stem Cell Research Bill… he's closed Guantanamo Bay. Base on that, this dude has overachieved already. It's really too early to be judging him, but I'm super thrilled that he won, and I think he's doing a phenomenal job so far. The people judging him now are the doubters who think there's a possibility that he's going to fail. We can't afford that. It's all psychological. If he fails, that means we've failed, too, to since he's in the White House because of us. If we're going to judge him now, then we have to judge ourselves also, and ask, what have we done since his inauguration?

KW: Attorney Bernadette Beekman asks what inspired you to write "Yes We Can?"

WiA: My passion. I was inspired by his speech, and by all the invisible freedom fighters from the past who you never read about in school.

KW: Did you think it would help Obama become president?

WiA: No, I wrote it basically so teachers could teach his speech in school. I wasn't thinking, "I'm going to write this song to make Obama our president." That's not logical. I was thinking, "I'm going to write this song so we would have a politician's words being taught in schools." That was something I could do that would have an immediate effect.

KW: That's brilliant, Will!

WiA: Thank you. That was the real reason I did it, although there was the possibility that this dude could become our president once he was already being taught to the kids.

KW: As for X-Men, what a spectacular screen debut you're getting to make by being a part of such a popular film franchise.

WiA: Yeah, it's more than spectacular. It's unbelievable, and kind of crazy, if you ask me.

KW: Did you base your approach to playing John Wraith on anybody?

WiA: I modeled him after my cousin, Earl. He used to be a very, very bad, bad man. He's done some bad, bad things, but he's also a very approachable, likable, huggable kind of guy. He has some bad friends who've done bad things, too, but he has a conscience.

KW: How would you describe your character's relationship to Logan, aka Wolverine?

WiA: He and Wolverine are close buddies. They go off into the world, and mess up things, but he has a heart, and knows when enough is enough.

KW: What was working with director Gavin Hood like?

WiA: Working with him was incredible. First of all, I love his movies. He's very talented and very endearing as far as making you feel comfortable about tapping into all the emotions you need to deliver. He pulls the best out of you, and that's awesome.

KW: And how was it acting opposite Hugh Jackman?

WiA: Hugh Jackman is the nicest guy on Earth. I was like, "Dang, dude," he was so super nice.

KW: Are you planning to make more movies?

WiA: I would love not only to do more work as an actor, but to write and direct.

KW: You're an incredibly accomplished Renaissance man who has made a mark in a number of fields. But you started out in fashion. Is it still your first love?

WiA: Yeah, I love fashion. It is my love.

KW: I know you were born in Los Angeles, but where are your parents from?

WiA: My folks are from Mississippi.

KW: "Realtor to the Stars" Jimmy Bayan wants to know, where in L.A. do you live now?

WiA: [Sings to the tune of Hollywood Swinging] Hollywooooooooooood!!!!!

KW: Is there any question no one ever asks you, that you wish someone would?

WiA: It's more the opposite. I've been asked a lot of questions I wish people wouldn't.

KW: The Tasha Smith question: Are you ever afraid?

WiA: Afraid about what?

KW: The Columbus Short question: Are you happy?

WiA: I'm happy every day of my life.

KW: The Teri Emerson question: When was the last time you had a good belly laugh?

WiA: Last night.

KW: The bookworm Troy Johnson question: What was the last book you read?

WiA: Can I be honest.

KW: Of course.

WiA: I've never really read a book.

KW: Why not?

WiA: I can read pretty well, but my attention span is really short. When I read, the first paragraph is great, the second is great, but by about the third paragraph or so, I'm just reading the words and it's no longer sinking into my mind.

KW: What has been the biggest obstacle you have had to overcome?

WiA: I'm going through that right now.

KW: The Rudy Lewis question: Who's at the top of your hero list?

WiA: I have many heroes. When it comes to molding my character, my grandma, Sarah Cain, is my biggest hero. We call her Nanny. And my mom, Debra, of course, too. But aside from my family, my biggest hero is Quincy Jones, by far.

KW: A big fan of yours, Marcia Evans, loves those CDs you made with Sergio Mendes. [http://www.youtube.com/watch?v=Zh307IdQ4cw] She wants to know, how you liked working in Brazil.

WiA: I loved working there. Brazil is one of my favorite places on the planet.

KW: Marcia was also wondering what you think of the Brazilian culture.

WiA: I love the culture because black people in Brazil are Brazilian, whereas in America, black people are black. The Brazilians have graduated and have accepted pigment, so they all just celebrate Brazilian-ness. I'm not saying we need to abandon our origins, but Brazilians are from Africa, too. America is almost there. Most of us don't know what part of Africa we're from anyway.

KW: I recently read a book by a sister who went back to Africa to find her roots and came back feeling more American than African.

WiA: Interesting. Brazil has faced the same issues we have, but the difference is that they were conquered by the Portuguese. Sergio Mendes taught me a whole lot about African culture and how we've evolved from slavery. He pointed out that the Portuguese didn't strip their slaves of their culture, so the Brazilian people were able to grow together as a nation, avoiding what America is suffering from.

KW: What advice do you have for anyone who wants to follow in your footsteps, like my son who is majoring in music in college?

WiA: I would say just to continue to make music and to share it on the internet. That's the future, in just making it and sharing it.

KW: Thanks again for the interview Will, and best of luck with all your endeavors.

WiA: Thank you so much, dude.

The Taking of Pelham 123

2009-04-03T11:36:00.000-07:00

Eddie Murphy to Play Richard Pryor

2009-03-12T17:27:00.000-07:00

A new movie about Comic Legend Richard Pryor is in the works, and Eddie Murphy is being attached to the project. Writer-Director Bill Condon from Dreamgirls fame is behind the project, and he is pulling for Murphy. The two worked together on Dreamgirls. In a recent poll on our WDAS website asking who should play Pryor, readers expressed their hopes of Steve Harvey portraying the late great comedian.

Brooklyn's Finest Emerging Film Maker

2009-02-24T18:19:00.000-08:00

A couple weeks ago I sat down with " Ahsaan Mitchell," a Brownsville native, who filmed a behind-the-scenes documentary about what happens to a neighborhood like Brownsville when a big Hollywood production moves in for the summer. His is an amazing story: part luck, part imagination, part determination. Most of all it’s about grabbing on to an opportunity and taking full advantage.

Brooklyn’s Finest, starring Richard Gere and Ethan Hawke, took over part of Brownsville, Brooklyn last summer. Blocks of trucks took up residence and big-name actors became a common sight. Ahsaan, in his late twenties, had never shot anything before being hired on Brooklyn’s Finest. He was in development on a film documentary about Brownsville when he stumbled into this amazing opportunity. “I actually got into filmmaking in North Carolina. Blue Ridge Motion Pictures has a training program in Asheville, North Carolina. I have a background in music, and I’ve been on a lot of music video sets and I used to write, that was initially my background. But there was a lot of politics with the music industry that I disagreed with, in terms of the way music was going, so I just left that alone and moved down south, and I started getting really interested in film, so I took initiative and started reading and studying up and found this opportunity to go to this one year training program at Blue Ridge Pictures.”

When the training program was finished, he moved back to New York and went through the Made in NY Production Assistant Training Program, which is a non-profit program run in conjunction with the Mayor’s Office of Film, Theatre and Broadcasting. It trains people from diverse backgrounds for entry-level work on film and television sets. “It’s definitely an entry-level foot in the door, because New York is really competitive, and that was a great opportunity. People from all diverse backgrounds are in the program. People who just graduated from NYU are in the program, so that tells you that the New York film industry is competitive.”

After completing the training program, Ahsaan worked as a production assistant on a lot of commercials, and on the remake of The Taking of Pelham 123 starring John Travolta and Denzel Washington eventually production coordinating and working as a assistant director on a short film. But he was anxious to get to work on his own project, something that had been germinating for some time. After spending a couple of years researching the history of Brownsville, he was in pre-production on his Brownsville documentary when he heard that Brooklyn’s Finest would be filming in the very housing project where he grew up. He sought out the superintendent from the housing projects, hoping that he would be able to get a little footage of the movie being filmed and work it in to his documentary. Little did he know that it would end up leading to a life-changing opportunity.

“Seventy percent of the locations that [Brooklyn's Finest] was shooting in in Brownsville is the Van Dyke Houses…that’s the public housing I grew up in. I knew everybody. I knew the superintendent, I knew the tenant association. So I asked could I talk to the superintendent, his name was Stan Ridges. He was the superintendent of public housing at Van Dyke.” Sadly, Mr. Ridges died in a motorcycle accident, not long after shooting had finished. He never got to see any of the finished movie, and Ahsaan regrets that he hadn’t gotten around to interviewing him on camera.

Mr. Ridges already knew about Ahsaan’s documentary, and he introduced Ahsaan to John Langley, one of the producers on Brooklyn’s Finest. “I actually only wanted to get some footage of them shooting the movie, it wasn’t my intention to get hired on the movie.” But Mr. Langley saw bigger things for Ahsaan and brought him into the fold of the production. “Originally I was just hired to do behind-the-scenes footage, but I pitched them the idea - I wanted to do a social commentary documentary about what happened when this movie came to Brownsville. Considering how Brownsville is, this was really big for a lot of people, and I wanted to capture that. It changed a lot of people’s lives, and I’m one of them.” Ahsaan reflected on his luck for a moment and repeated, “And I’m one of them.”

The production gave Ahsaan a Sony DSR 500 to shoot with. When producers John Langley and John Thompson found out that Ahsaan didn’t have a computer to edit on, they gave him a powerful laptop and a copy of Final Cut Pro. He got to keep it all.

Ahsaan’s documentary gives a broad overview of the movie’s impact on the neighborhood as a whole, but he also zeroes in on a few key people and follows them throughout. He’s still not done shooting. He wants to do some more follow-up interviews with some of the locals to find out what’s happened to their Hollywood dreams since the movie left. “Some of them continued, and some of them went right back to what they were doing before the movie. Because some of these guys were ‘on the corner’ guys who had no aspirations ever to be in a film. They were cast, and some of them really took off, really shined. Some of them are going toe-to-toe with Ethan Hawke in the movie. It’s a story that needs to be told, because it’s things that people don’t get to see all the time. It’s inspirational.”

Ahsaan said that everyone was excited initially that a movie was filming in Brownsville. It’s not a common filming location. “It was a moment of calm in Brownsville. You have rival factions that stayed calm because it was something positive going on.” But as the production went on, some people started to get tired of it - they wanted their parking spaces back, they wanted free access to their buildings again. It didn’t take long for the neighborhood to become jaded about having stars in its midst (although when Wesley Snipes was on the set, everyone went crazy). But they did appreciate that the production was trying to build a relationship with Brownsville, that the filmmakers weren’t just taking what they needed from the neighborhood and running away. The production is fixing up a neighborhood park, and director Antoine Fuqua formed the Antoine Fuqua Youth Program (Ahsaan in on the advisory board and helped interview the potential participants), which is mentoring three neighborhood kids and teaching them how to be filmmakers. And Ahsaan is keeping on top of things, making sure that the program stays alive, making sure that the production keeps its promises to the kids. “The kids got a chance in December to go up to [the post production studio] where they were editing the movie and see what happens in post production. They’re going to start shooting short films in a couple of weeks.”

I got to view a trailer for the documentary, and at one point someone says that the neighborhood was in neutral during filming. I didn’t know what that meant. Was it luck? Was there some kind of agreement between the gangs? Or did everybody just instinctively realize that something special was happening? “Unfortunately what was going on in Brownsville, prior to them coming with the movie, it was like madness. [And when the movie came] everybody kind-of agreed to be in neutral, because it was an opportunity. Everybody could eat off of this situation - let’s not be warring out here, because we’re gonna be messing it up. There were guys who normally wouldn’t even be on the other side of the neighborhood that was over there because of the movie, and everybody was like ‘It’s cool, it’s cool.”

Granted, everything wasn’t sunshine and roses all the time. The production had the Nation of Islam provide extra security. Within the fold of the movie, everything was cool. But outside of the production, for some people who hadn’t had an opportunity to be involved, it was business as usual. A production assistant got jumped running an errand, passersby sometimes threw things. But for the most part, things were really laid back. “A lot of guys that were in the movie were very influential, and that helped… There was a lot of street politics going on. A lot of people who were ‘known’ in the neighborhood were in the movie.”

I asked Ahsaan if anyone from the neighborhood would be involved when the movie comes out, maybe doing some press or attending the premiere. He wasn’t sure, but he hopes so. The production was in Brownsville for about two-and-a-half months, and he’s hoping that when the movie comes out, the neighborhood gets excited again. In the meantime, besides trying to finish the Brooklyn’s Finest documentary, he’s gone back to work on his original Brownsville documentary.

As we wrapped up the interview, I asked him if he had any final thoughts. “There’s a lot of raw talent that can be mined. People just want an opportunity. You give people an opportunity, you’ll be surprised what you get out of them. Because I don’t think any of the producers thought I was going to do what I did, honestly. They gave me a shot, and the shot was all I asked for. I would have did it for free, that’s the truth. I would have did it for free, just for the shot.”

Ahsaan told me that he hopes to do for Brownsville what Spike Lee did for Bed Stuy. “We have talent. We have stories. We have stuff to talk about. We just needed an opportunity.”

Originally posted on Filming In Brooklyn

Sundance 2009 - Look For Brooklyn's Finest!

2009-01-06T22:05:00.000-08:00

Brooklyn's Finest. There is no shortage of gritty cop movies in the world of cinema; gritty cop movies that are actually GOOD are another matter. This one, starring Richard Gere, Don Cheadle and Ethan Hawke as three very different cops who converge on the same housing project one fateful day, was directed by Antoine Fuqua, whose Training Day was a minor classic. Fuqua has gone astray since then (King Arthur? Shooter?), but perhaps Brooklyn's Finest will be a return to form.

Eddie Murphy To Play Joker!

2009-01-01T11:50:00.000-08:00

Reports earlier this month that Eddie Murphy was cast as The Riddler in the next Batman movie were immediately shot down by Warner Bros. as untrue, but the reporter who announced the news continues to stand by his story.

U.K.-based tabloid The Sun also claimed that "Transformer" star Shia LaBeouf would play Robin and the title of the film will be "Gotham."

Even though Warner Bros., director Christopher Nolan and various executives attached to the franchise have all gone on record saying there has been no casting on the still-untitled film, let alone a script, Sun reporter Gordon Smart claims his story was based on “a reliable contact” close to the film, reports The Guardian.

Smart also claims that the same anonymous source was responsible for another rumor back in 2005 that turned out to be true: the casting of Daniel Craig as the new (at the time) James Bond.

“Everyone had a crack at us when we published that one. I was almost laughed out of conference that day, but it turned out to be spot on," wrote Smart in a recent post on The Guardian's Film Blog. "I wish I had had a bet on it.”

Tracy Morgan Produces"Freshman Roommates"

2008-12-23T22:42:00.000-08:00

30 Rock" actor Tracy Morgan will star in and produce "Freshman Roommates," a comedy feature inspired by the ubiquitous e-mail scams purporting to be sent by a Nigerian prince looking for help in accessing his fortune.

The film for Montecito and Paramount Pictures asks the question what if one of the emails isn't a scam. The story kicks off when a young man answers one such email during a drunken stupor. Soon thereafter, the spoiled son of a deposed African dictator (Morgan) shows up at his door, looking to secure his inheritance.

TJ Miller ("Cloverfield") will co-star in the film, which was written as a starring vehicle for Morgan by standup veterans John Mulaney and Nick Kroll, reports Variety.

Morgan is producing via his Street Life banner. The actor most recently appeared in the Sony comedy "First Sunday" and lends his voice to the Disney CGI picture "G-Force," which opens July 24.

Hollywood studio bosses are racist!!

2008-12-01T00:50:00.000-08:00

Hollywood actor Danny Glover has alleged that Hollywood studio bosses are racist after he failed to secure financial aid for a biopic of revolutionary Haitian leader Toussaint L'Ouverture.According to the New York Post, Glover's project has yet to move forward due to financial woes despite Venezuelan President Hugo Chavez offering half of the $36 million budget to finance the film, reports Contactmusic.com.Glover was reportedly banking on the other $18 million from a distributor, but claims he faced rejection from financiers unsure of producing a film based on L'Ouverture, who helped to abolish slavery in Haiti in the late 1700s."Producers said it is a nice project. A great project in fact, but where are the white heroes?" Glover recently told a Paris film seminar, reports the Pan-African Newswire.He added: "I couldn't get the money here. I couldn't get the money in Britain. I went to everybody. The first question you get is: Is it a black film? All of them agree, it is not going to do good in Europe, it is not going to do good in Japan. Somebody has to prove that to be a lie".

Forest Whitaker to Produce "Brick City"

2008-11-30T21:43:00.000-08:00

The Sundance Channel is teaming with Forest Whitaker to produce "Brick City," a new documentary series that takes an in-depth look at the challenges facing Newark, N.J., and its mayor, Cory Booker.

The film will also follow local citizens and key figures -- from real estate developers to ex-gang members -- as they try to remake the city, working to stamp out violence, poverty and corruption and make improvements in housing, employment and education.

Whitaker, the Oscar-winning star of "The Last King of Scotland," will serve as an executive producer with the series' directors, Marc Levin ("Slam") and Mark Benjamin ("The Last Party"), according to the Hollywood Reporter.

The series, which will take place over the span of about a year so viewers can see whether things change, is scheduled to debut with six half-hour episodes in the third quarter of 2009.

Sundance executive vp/GM Laura Michalchyshyn said Whitaker is a "huge supporter of this project and of Newark," but that it was too early to determine if he might provide voice-over for the series.

"Munsters" remake from the Wayans Bros is finally close to seeing daylight.

2008-11-19T23:51:00.001-08:00

MTV News is reporting that the long gestating "Munsters" remake from the Wayans Bros is finally close to seeing daylight.

Shawn Wayans and the team behind “Scary Movie” and “Little Man” are currently finalizing work on their third draft of the script.

“I'm almost ready. It's almost ready to be shot,” Wayans said during a late night shoot on his newest film, the musical spoof “Dance Flick.” “We had to finish this movie and now we're going through our third polish on ‘The Munsters.'”

The Wayans first announced their involvement in the project four years ago, but Shawn says the film's basic format hasn't really changed all that much in the four years since: they are still placing the family in modern times and they still don't have any plans to star.

“If we do anything, maybe we'll do a cameo, but we're not gonna make The Munsters black all of a sudden,” Wayans laughed. “They're gonna be green, white people just like they were in the TV show. Their characters are still who they were in the ‘50s. It's just in modern day.”

Calling for Autonomous, Black-Owned Film Companies

2008-10-20T20:15:00.000-07:00

Since the early days of cinema, when the Lincoln Motion Picture Company and Oscar Micheaux existed, we haven't seen an autonomous black-owned and operated film entity in this country, akin to the likes of the Hollywood-based studios and their subsidiaries. As a black filmmaker, I once empathized with the cries of black voices working within the studio system, criticizing it for its lack of diversity. However, the song has become stale, as people like myself, existing outside the system, struggle to understand the apparent lack of vision that some of our well-paid, powerful, influential voices display.
In recent weeks, I've read articles in which black Hollywood elite like Halle Berry, Spike Lee, and Tyler Perry have expressed their frustrations with some aspect of the industry, specific to their race. It seems to me that we've created this unfortunate reality for ourselves, this prison that we've psyched ourselves into, when we clearly have the power to create the kind of truth we yearn for. Instead we wait for a group of devout capitalists to some day realize our plight and intervene accordingly. Almost 70 years ago, Hattie McDaniel, the first black Oscar winner, was quoted as saying, "I'd rather play a maid and make $700 a week than be one for $7," implying that she was arguably without choice. If black film talent (writers, directors, performers) today are still making somewhat similar statements -- post-Civil Rights Movement, post-Blaxploitation era, post Oscar wins for several black performers; at a time when we have unprecedented access to the production resources necessary, distribution channels, and finances; 70 years after "Mammy" in Gone With the Wind -- if we're still expressing similar sentiments, then we have perhaps regressed instead of progressed. It's a thought that is simultaneously numbing and enraging. It baffles me that someone like Robert Johnson chooses to jump into bed with the Weinstein Company and JP Morgan Chase, to form his film company -- Our Stories Films, Inc. -- as opposed to building the entity solo (he's certainly capable), or in cooperation with other able African Americans/Africans, in order to make it an unequivocally black-owned and operated entity, as opposed to one that's dependent on the influence of white-owned establishments. We've risen to the challenge before. In 1973, a film called The Spook Who Sat By the Door was financed through funds raised from black investors. In 1992, when Spike Lee needed money to complete production of Malcolm X, Bill Cosby, Janet Jackson, Oprah Winfrey, and others, collectively came up with approximately $11 million to ensure the completion of the film, since the initial budget approved by Warner Bros. wasn't sufficient. In 1996, the $2.4 million budget for Get on the Bus was financed entirely by contributions from African-American men, including Will Smith, Danny Glover, and Wesley Snipes.
So we've clearly shown the will to mobilize ourselves for a cause, and have done so with some success; it perplexes me why this similar kind of communal effort has not been implemented on a grander scale, and done so more frequently.
An absurd 10 out of the 400 plus films (a paltry 2.5 percent) that have been released this year by the dominant studio system, tell stories primarily about black people, while also being created by black people.
We are still very much the "invisible man" in this powerful medium -- arguably the most influential medium in existence. Cinema informs and educates; and what we learn from the images we see, partially dictates how we relate to each other, especially those whom we rarely interact with. When you're not present, you're not valued, particularly by those in power, who are in positions to create and enforce policies that directly affect us; and when your life is considered unessential, then you're disposable; the victims of Katrina saw this phenomenon play out firsthand.
What I and others like myself are calling for, and trying to crystallize collectively, is a comparable studio that's autonomous, just like any other major/mini film entity -- one that produces, finances, and distributes its own films globally, as opposed to relying on an existing system that's motivated by profit, and has no real incentive to change its modus operandi, nor does it have any allegiance to a single group of people.
We have to become the change that we all say we want to see -- a feat that's more accessible to us than we might realize. It will be a challenge from the beginning, but as long as we don't lose sight of the big picture, it will be a worthwhile effort in the long run. -- Tambay Obenson

Forest Whitaker Directs Louis Armstrong Biopic

2008-10-13T23:12:00.000-07:00

Variety is reporting that Forest Whitaker is on board to direct and star in a biopic of jazz pioneer Louis Armstrong that is named after his signature tune, "What a Wonderful World."

The first big screen project to be authorized by the Armstrong estate, "World" will follow the musician's impoverished early years in New Orleans and primarily chronicle his career as a trumpet virtuoso and improvisational singer.

"Armstrong left a monumental mark on our lives and our culture," said Whitaker, who portrayed jazz great Charlie Parker in "Bird." "He lived an amazing life and, through his art, shifted the way music was played and would be heard after him, not just here in the U.S. but all over the world."

Oscar Cohen, executive of the Armstrong estate and the Louis Armstrong Educational Foundation, began working for the musician in the late '40s as his road manager. He'll serve as an executive producer on the project and has granted the filmmakers exclusive access to his personal accounts as well as to letters and other material in the Armstrong archives.

"What a Wonderful World" will begin shooting in the summer in Louisiana. Whitaker's directing credits include "Waiting to Exhale," "Hope Floats" and "First Daughter." He won an Oscar in 2006 for his role as Idi Amin in "The Last King of Scotland."

Denzel Washington To Star in New Movie.The Hughes Brothers will direct 'Book of Eli'

2008-09-28T12:44:00.000-07:00

Oscar winner Denzel Washington will star in the post-apocalyptic drama "Book of Eli."Set to be produced by Alcon Entertainment and distributed by Warner Bros., "Book of Eli" will be directed by Allen and Albert Hughes ("From Hell").In addition to starring, Washington will also produce along with Joel Silver, Susan Downey and Alcon's Andrew Kosove and Broderick Johnson. Gary Whitta wrote the original story, with rewrites by Andrew Peckham.Washington will play a hero traveling across the devastated American landscape.According to the industry trades, "Book of Eli" will begin shooting in January.Last seen in "American Gangster" and "The Great Debaters," Washington has a remake of "The Taking of Pelham 123" set for release next summer.

MEVLIN VAN PEEBLES" GODFATHER OF MODERN BLACK CINEMA"

2008-09-24T00:44:00.000-07:00

Most of those familiar with Melvin Van Peebles know him as the driving force behind the incendiary 1971 film Sweet Sweetback’s Baadasssss Song. While that revolutionary picture earned Van Peebles the title “godfather of modern black cinema,” the film’s impact extends far beyond blaxploitation genre conventions—Sweetback has proven to be a landmark in both American and independent cinema. Much like the film’s iconoclastic hero (played by Van Peebles himself), a street-smart hustler who single-handedly topples the white Establishment (a.k.a. the Man!), Van Peebles functioned as a virtual one-man studio to make Sweetback. Besides starring in the title role, Van Peebles financed, produced, wrote, directed and scored the picture, which grossed more than $10 million, making it the most successful independent film of its time. What few realize, however, is that filmmaking is but a small part of Van Peebles’ remarkable life. The same dogged, DIY persistence that enabled Van Peebles to make Sweetback is evident in every project he undertakes, artistic or otherwise, and his achievements have in turn inspired legions of like-minded creators, from rap pioneer Gil Scott-Heron to filmmaker Spike Lee. Naturally, by insisting on doing things his way, Van Peebles has stepped on some toes, yet he consistently refuses to back down. “My politics is to win,” Van Peebles declares at the beginning of How to Eat Your Watermelon in White Company (and Enjoy It), a documentary that explores the life and work of this maverick, modern-day Renaissance man. Whether making guerrilla-style films, flying Air Force sorties over the Pacific (ferrying the atom bomb, no less), studying astronomy in Amsterdam, writing novels in self-taught French, composing music (by means of a self-devised notation system), writing musical stage plays (for which he received nine Tony nominations), recording seminal rap albums or trading options on Wall Street, Van Peebles has blazed his own path, making a mark in each endeavor he’s pursued.In How to Eat Your Watermelon… the events of Van Peebles’ life are vividly recounted through interviews with colleagues, contemporaries, critics, family and friends. The film also takes advantage of remarkable archival footage culled from all corners of Van Peebles’ diverse life—ranging from rare interviews on French TV to a hilarious series of opinion pieces culled from his brief foray as a financial-news analyst—to paint a sharp portrait of this unique personality. But How to Eat Your Watermelon… doesn’t merely enumerate Melvin Van Peebles’ artistic glories, nor does it plot a static hagiography of accomplishments; by virtue of original cinema vérité footage shot over the past eight years in the U.S. and France, it constructs a gripping narrative of a restless artist in an often unforgiving world, and reveals that Van Peebles, at age 74, is still a vital creative force who shows no signs of slowing down.How to Eat Your Watermelon… is structured as a conversation, in which an improbably varied cast of characters weaves together a story that constantly builds in intensity and surprise. It’s as if they can’t all be talking about the same person, yet in the absence of a narrator, the audience is repeatedly left to wonder how such dramatic plot turns in the story of one man can be possible. First he’s a grip man on a San Francisco cable car, next he’s writing a book about working on a cable car; then he’s an astronomer in Amsterdam before teaching himself French and publishing five French novels; before long he’s the director of the official French entry in an American film festival—and eventually authoring a book on how to trade stock options on Wall Street. All of these disparate moments coalesce into a story that is nothing short of astonishing. The film comes together gradually as it introduces the “connective tissue” of each episode in Van Peebles’ life: His comfort with the unknown; his ability to create his own working system out of complexities ranging from musical notation to financial analysis; his boundless determination to say something important no matter what the vehicle of expression; his artistic “jujitsu,” by which he confronts the Establishment by using its power against itself.As the story unfolds, a visual mystery is played out as well. At the film’s beginning, we see an unidentified man, his head encased in a massive blue bubble of polyurethane. As the events of Van Peebles’s career unfold, the film periodically returns to two sculptors who are creating a lifelike figure of Melvin for part of an art exhibition paying tribute to blaxploitation cinema. The creation of the sculpture functions as the film’s narrative spine—a vivid metaphorical transitional device linking the distinct chapters in Van Peebles’s life and career. One of the central themes of How to Eat Your Watermelon… is that determination (coupled with talent) trumps adversity every time. As an African-American artist, Van Peebles puts forth a powerful notion about how the battle for true racial equality should unfold, were it to be honest and sincere. In his song “Just Don’t Make No Sense,” Van Peebles takes aim at the presumptions black men in America must face every day: “Frown, you hostile / Smile, you a Tom / Look tired, you on junk / Stumble, you drunk.” Van Peebles typically uses humor to convey his themes, as when he tells the story of how he would spray his office with a watermelon-scented fragrance just before the arrival of “liberal” friends: “They would walk into the office and say, ‘Gee, Mel, what’s that smell? It smells like umm…umm…cantaloupe!’ They were too afraid to say watermelon!”Humorous, serious and incisive, How to Eat Your Watermelon in White Company (and Enjoy It) is ultimately a story about the power of fearlessness.

Will Smith to play The Last Pharoah

2008-09-16T10:02:00.000-07:00

Will Smith to play the Nubian Pharaoh Taharqa in THE LAST PHARAOH

Hey folks, Harry here... Michael Fleming over at Variety is reporting that Randall Wallace (BRAVEHEART guy) is writing a script for Will Smith and Columbia called THE LAST PHARAOH based upon Taharqa's life as pharaoh of Egypt from 690 BC to 664 BC. His father was a Nubian king that conquered Egypt.
According to Fleming the film is focussing on the battles with Esarhaddon, who ruled the Assyrians at the time. It'll be interesting to see how the film is played out, as historically - Taharqa did defeat the Assyrians on their first battle 677, but just a few years later the Assyrians defeated and conquered Egypt causing Taharqa to flee into lower Egypt, where he caused trouble before ultimately being defeated by Esarhaddon's son Assurbanipal before again fleeing and ultimately dying in his homeland of Nubia. The basic structure is there for a BRAVEHEART style story, but this will be a very challenging role for Will Smith - who will need to shed his very modern feel. But this is exactly the sort of project that I'd like to see him stretch to do! Very interesting project!

How Media Portrays Black Men!

2008-09-08T02:17:00.000-07:00

"The Black Image in the White Mind" - a wonderful book and multiple award winner, written by Robert M. Entman and Andrew Rojecki, discusses the effects of life in a segregated society. It offers a comprehensive look at the intricate and subtle racial patterns in the mass media and discusses how these powerful images play a significant role in shaping the attitudes of Whites toward Blacks. White Americans, they show, learn about African Americans not through personal relationships, but through the images shown by the media. In addition, they reveal a subtle pattern of images that communicates a racial hierarchy (with Whites on top) and promotes a sense of difference and conflict. Entman and Rojecki illustrate how the television news focus on black poverty and crime is grossly out of proportion with the reality of black life, how use of black 'experts' is limited to 'black-themed' issues, and how 'black politics' are often distorted in the news. In short, they conclude that although there are more images of African-Americans on television now than ever, these images are often harmful to the prospect of unity between the races. A brief summary of some of their findings are listed below:
A mug shot of a Black defendant is 4 times more likely to appear in a local television news report than of a White defendant
The accused is 2 times more likely to be shown physically restrained in a local television news report than when the accused is White
The name of the accused is 2 times more likely to be shown on screen in a local TV news report if the defendant is Black, rather than White
"Telegenic" figures aren't always the most representative leaders though they are presented as if they were. Some statistics from 1994:
40% of Black adults stated that Jesse Jackson represents Black people "very well"
Only 11% of Black adults stated that Louis Farrakhan represents Black people "very well"
22% of Black adults stated they had "never heard of" Louis Farrakhan
Stories about, or soundbites from, Jesse Jackson on ABC World News: 13 versus stories about, or soundbites from, Louis Farrakhan on ABC World News: 25
The media sowed discord during the affirmative action debate of the 1990s despite the considerable common ground between Blacks and Whites. Reporters often predicted affirmative action would be one of the key issues in the 1996 election because of the "rage" among Whites.
A mere 1% percent of survey respondents named affirmative action as their top priority in voting against a presidential candidate
61% percent of White men ("angry" or not) favored affirmative action programs as is or with reforms
76% percent of White women favored affirmative action programs as is or with reforms
Somehow only 12.5% percent of White "persons on the street" were shown to support affirmative action in a sample of network news, while the percentage shown to oppose was 87.5%
While Black actors are now more visible in films, it is an open question as to how well they are being represented. Compare, for example, how Blacks and Whites are portrayed in the top movies of 1996.
Black female movie characters shown using vulgar profanity: 89%
White female movie characters shown using vulgar profanity: 17%
Black female movie characters shown being physically violent: 56%
White female movie characters shown being physically violent: 11%
Black female movie characters shown being restrained: 55%
White female movie characters shown being restrained: 6% Research findings are reprinted with permission. Copyright notice: 2000 by Robert M. Entman and Andrew Rojecki. This text appears on the University of Chicago Press website by permission of the authors. This text may be used and shared in accordance with the fair-use provisions of U.S. copyright law, and it may be archived and redistributed in electronic form, provided that this entire notice, including copyright information, is carried and provided that Robert M. Entman and Andrew Rojecki and the University of Chicago Press are notified and no fee is charged for access. Archiving, redistribution, or republication of this text (or the rest of the text on the website) on other terms, in any medium, requires the consent of Robert M. Entman and Andrew Rojecki.

Antoine Fuquas Youth Film Program

2008-09-04T00:00:00.001-07:00

Antoine Fuqua, director of Training Day and Shooter, distributed HD cameras to four young people from the Van Dyke housing projects in Brooklyn on the set of his current production Brooklyn’s Finest. The Van Dyke Youth Film Project, a mentorship program designed to inspire kids to make films, is a joint initiative between Fuqua and producer John Langley. The presentation took place on Monday, June 16 at the Van Dyke Community Center in Brooklyn during a break from the production. Fuqua grew up in the projects in Pittsburgh and wanted to give something back to kids growing up in a similar situation.
The youths were chosen from a pool of fifty who submitted essays on why they wanted to make films and tell stories. The four selected – Tyrell Brown, Bryan Martin, Lea-Sym Feyjoo, and Marcus Underwood - range in age from 16 to 19 and will be mentored by Fuqua and the crew of Brooklyn’s Finest over the next three months as they write, shoot, and edit their own films. Also participating in the program is the film’s screenwriter, Michael Martin, a former transit worker. Martin will help mentor the kids on the scriptwriting component of their projects. Brooklyn’s Finest stars Richard Gere, Don Cheadle, Wesley Snipes, Ethan Hawke, and Michael Kenneth Williams.

Hollywood Gets Muslims Wrong, Again!

2008-09-02T20:04:00.000-07:00

Traitor: one who betrays another's trust or is false to an obligation or duty.
Like the protagonist of the movie, Traitor exists with conflicting loyalties and a fleeting sense of fidelity to its honorable yet ultimately porous intentions. The Don Cheadle-headed action/thriller co-written by comedian Steve Martin and director Jeffrey Nachmanoff inelegantly attempts to combine cardboard, blockbuster plot mechanics with the important, philosophical musings of a complicated post 9-11 world.
If anything, this mainstream movie should be commended for having a practicing, religious, African American Muslim as its hero -- one portrayed by a major Hollywood celebrity, no less. Unfortunately, both due to the plot constraints of the movie and today's geo-political realities, this character must reactively and proactively define himself though his actions within yet another "us vs. them" narrative. As such, the quest for a multi-faceted, dynamic Muslim character that is neither a terrorist nor a cab driver continues.
The Muslim and titular "traitor" in question is Samir Horn [Don Cheadle], a Sudanese born, American agent so deep undercover as an Islamic extremist bomb maker that only one government supervisor (Jeff Daniels in a cameo role) knows his true identity. He infiltrates the ranks of a radical movement headed by the mysterious "Nathir," a terrorist group hell bent on striking against infidels (basically, everyone but them). Their mission? To activate sleeper agents -- seemingly ordinary Americans but in reality (gasp -- heartless Muslim terrorists) -- and carry out massive, simultaneous suicide bombings on 50 separate buses.
Is Samir driven by his loyalties to his "brothers" in Islam and so thoroughly entrenched in his covert identity that he will carry out the attacks? Or, will he be loyal to an American government which is simultaneously pursuing him as a high priority terrorist and is also complicit in racial profiling and violence towards the Muslim world?
These timely questions could make for an introspective and layered movie that resonates with the fears and hopes of an international audience. Unfortunately, the filmmakers, or perhaps their Hollywood producers, jettison these aspects of the movie for a streamlined "catch the terrorists before they terrorize us" plot that was already beaten to death by Showtime's Sleeper Cell and every single season of Fox's 24.
Although Traitor aims for a The Departed meets Paradise Lost setup, it fails to work as both a cat-and-mouse thriller and a reflective identity drama. Cheadle underplays his role with a somber anguish that emphasizes Samir's turmoil as he falls rapidly into his "role" as bomb maker and "jihadi" recruiter. But an actor can only work with the solid, creative foundation a director and a script can provide.
The characters in the movie, particularly Muslim ones, become less human as the film progresses and morph into Wikipedia sound bites. You know the type too well: characters who randomly and unrealistically interrupt their speeches with info-tainment, such as explanations of jihad, translations of Quran verses, botched Islamic prayers and inopportune vernacular. This is Hollywood's casual way of placating a skeptical, progressive audience. "See! We did our homework and rented some Muslim advisors! We know all about Quran and Hadith and Sunnah! Right? Great! Ok, let's continue and show Muslims blow up stuff!"
One of Traitor's tragic flaws is Hollywood's century old myopia, placing a shining minority citizen amidst a sea of his depraved brethren. The "Good Darkie" then battles for the souls and minds of the "Evil Darkies." Cheadle's Samir is a devout Muslim whose religious discipline is displayed continuously and even admired by other characters. He prays five times a day; he fasts; he abstains from alcohol and so forth. Meanwhile, every other Muslim character seems transplanted from dated 80's action movies and True Lies.
You have the English speaking, well-coiffed terrorist who poses as an elite aristocrat in Europe, but whose sole purpose is the destruction of the infidels. Then there's the terrorist henchmen, a classic Hollywood staple, which is basically a United Nations coalition of mute, scary looking Middle Eastern, Persian and South Asian men. A young, good-looking French kid eagerly and quickly embraces the jihadi cause after a clichéd and uninspiring recruitment speech. And another major supporting character, Omar (played by perennial "go to terrorist actor" Said Taghmaoui), is a European educated, chess-loving jihadist, who Samir befriends in Yemen.
The beginning of the movie, which focuses on Samir and Omar's friendship while doing hard time in a Yemeni prison shows glimpses of what could have been before the movie became buried under an avalanche of clichés. Omar and Samir discuss theology and spirituality, bouncing off each other's philosophical outlook on life, all while playing chess. They are excellent foils for one another and the movie has fleeting scenes building on their friendship, even though it is eventually uprooted by Samir's betrayal. Instead, Omar becomes yet another substitute terrorist plot device as the movie lapses into "Muslim Bourne Identity" territory.
Speaking of foils, talented actor Guy Pearce portrays an FBI agent named Clayton, who is hot on Samir's trail. In an attempt to show balance, the filmmakers portray Clayton as a Texan (one with a really bad Southern accent), and a highly educated son of a Baptist preacher who studied Arabic and religious studies in college. Aside from giving the movie its necessary cop-who-hunts-terrorist role, Clayton is also a metaphor for the tolerant American who is willing to see beyond race and religion. Clayton's nemesis is his partner Archer, a Dirty Harry, shoot-first ask-questions-later" FBI agent, who lacks cultural awareness and appreciation for the nuances of Islamic traditions.
This is all well intended, but characters need to be independent, living creations, not just convenient messages. When Archer says or does something politically incorrect, Clayton calmly educates him. When Archer lambastes Islam as a religion of terrorism, Clayton reminds him that the Klu Klux Klan rationalized their abhorrent behavior with the Bible and that extremist minorities don't define a religion. And then they continue with the stereotypical plot, hunting down enraged Muslim terrorists. The message of the film is lost due to its inability to define its good intentions with realistic characters and meaningful dialogue, substituted instead with tense chase sequences. This point is highlighted by what is the film's most egregious and unintentional characterization: the depiction of the sleeper agents. For a movie that tries to have its tolerance cake and blow it up as well, the filmmakers dangerously depict an America that is heavily infiltrated with assimilated Muslim American citizens who -- at the drop of a dime -- are ready to carry out suicide, terrorist missions. From a South Asian government official to an unassuming, light-skinned college student to an Arab husband and father to an African-American businessman -- all magically jettison their lives, careers and loved ones as soon as "Nathir" contacts them for a mission.
For those in America ignorant about Islam and Muslims, it reinforces paranoia and mistrust, making it seem like your harmless Muslim neighbors, teachers, friends and lovers are all [cue drum roll and melodramatic music] terrorists! The film's supporters will likely argue that the sophisticated characterization of Cheadle's Samir counteracts this evil.
But is Samir the shining Muslim definitive of the moderate majority, or merely an aberration that exists within the confines of a Hollywood narrative? Traitor aims for the former but unintentionally delivers the latter. Much like the character Samir, it loses itself in an unfulfilling dual identity, one that betrays its noble intentions and refuses to fully commit to its convictions -- either as a mindless action thriller or a thought provoking drama.

See more stories tagged with: muslims, hollywood, film, traitor
Wajahat Ali is a playwright, essayist, humorist, and Attorney at Law, whose work, “The Domestic Crusaders” is the first major play about Muslim Americans living in a post 9-11 America.

Birth of an Industry

2008-09-02T19:31:00.000-07:00

In 1915, D. W. Griffith dropped a blockbuster on America - "Birth of a Nation." Considering the primitive, one-dimensional movies that had been released to that point, the film was an absolute masterpiece; some of the techniques Griffith invented for the film are still in use today. The film cost $110,000 to produce in 1915, with ticket prices of two bucks a head at the box office. It was more than three hours long, compared to the 15-minute shorts most people were used to.
Comparatively speaking, it was all three "Lord of the Rings" films at once with a ticket price of $20. It was the most vile, disgusting racist propaganda piece put together outside of Nazi Germany.
In the film, the "good" blacks were those who stayed on the plantations; the rest were out wandering around jobless, beating up white men and raping white women. The Northerners were happy they did this and encouraged it. The Southerners put together a team of masked Zorros to fight only for what was fair and right for the downtrodden Southern whites. They were called the Ku Klux Klan.
To this day, there are people who hold that this was a semi-historical representation of the acts of the Klan. Bunk.
The first Klan mentioned in the link above is the one that Griffith romanticized; it was made illegal by the federal government as a terrorist group. The rise of the second one mentioned could be directly attributed to the romantic picture Griffith painted of the lost institution.
Not unexpectedly, the black community was alarmed and disgusted by their portrayal in Griffith's film. The almost immediate renewal of violence towards blacks that accompanied the film made it clear that the message of "Birth of a Nation" had to be countered.
Emmett J. Scott, former secretary to Booker T. Washington, took it upon himself to get the opposing view onto celluloid. Raising more than half a million dollars - five times Griffith's budget - partially by selling stock in the venture, Scott envisioned "Birth of a Race." It would be an impassioned cry for tolerance and understanding, a film that would show that there was no difference between blacks and whites, and the suffering of one was the same as the suffering of the other...
Well, that was the idea, anyway.
What idealist Scott didn't realize was that the people who ponied up all that money wanted their money back, and they weren't all that hot on the box-office possibilities of noble black folks. As inevitably as any blockbuster made today, legions of share-owning idea men chimed in with their two cents, with nearly every one of them shying away from controversy that might cost them dollars in the box office. By the time "Birth of a Race" was finally released, the film was the equivalent of a three-hour school play about the history of the world, completely void of hard edges. It died a quick and inoffensive death, and of the three hours of original footage, only ten minutes remain today - usually seen only as a cheap add-on to the video release of the film that inspired it.
On the bright side for Scott, his idealism served him well. When WWI rolled around he was appointed special assistant to the U.S. Secretary of War in charge of Negro Affairs, making sure that the black men in the service got a fair shake. Afterwards, he held positions as secretary, treasurer and business manager at Howard University. He wrote "Scott's Official History of the American Negro in World War I," a reference still used today.
Which is very good and well, but Scott still blew the chance to rebut "Birth of a Nation." Fortunately, there were others who came after to take up the slack.
If "Birth of a Race" did not start - or empower - black cinema, it did mark the point at which black cinema was widely recognized as a necessary extension of the black American community. With no high-flown expectations of changing whites' attitudes or fighting the Hollywood machine, black cinema began to serve the black community in the same way Hollywood served the whites - by providing drama, comedy and entertainment to serve their respective audiences

HATTIE McDANIEL

2008-08-22T13:40:00.000-07:00

McDaniel came to Hollywood in the late 1920’s after being born and raised in Wichita, Kansas. She struggled upward from roles in road companies being cast as everything from “colored Sophie Tucker” to the “female Bert Williams”- to appearances on radio and then finally parts in the movies. She was often criticized because of her stereotyped characters, she answered her critics by saying, “Why should I complain about making seven thousand dollars a week playing a maid? If I didn’t, I’d be making seven dollars a week actually being one!” Her comment gave a vivid picture of the options made available to black performers in the early 1900’s. McDaniel played the fussy, boisterous, big bosomed maid time and time again, using the stereotyped figure to display her remarkable talent for pure comedy. With distinctive aggressiveness and her stupendous sonic boom of a voice, she created rich, dazzling characterizations. She was typed as a mammy. A powerfully built woman that was one of the screen’s greatest presences. Hattie accomplished some amazing achievements during her reign. In 1936 she appeared in 11 films a few of them were: The First Baby, Show Boat, Hearts Divided, High Tension and Star for The Night. This didn’t stop in 1937 McDaniel appeared in 7 more films. The next great highlight in Hattie’s life perhaps became one of the greatest highlights in African American cinema. This highlight was in 1939 when she became the first African American to win an Academy Award. She won this award for being Best Supporting Actress in the excellent film Gone With The Wind. Up until this point audiences was unaware of what a great performer she was.

Urbanworld Social NetWorking

2008-08-20T14:14:00.000-07:00

Social Networks: The new little black book. by Adam Root, Creative Director in charge of Urbanworld.org
August 19, 2008
Before the contact databases, PDA’s, and Rolodex™ there was the little black book. Loaded with all your powerful and often secret contacts, or the names and phone numbers of your girl friends. The little black book was a valuable resource. However it was static- nothing more than a container of information. Today software such as ACT™, Salesforce.com™, or Mircosoft™ CRM are only containers of information.
Social networking is a dynamic alternative to the little black book. According to comScore Networks membership rates on Myspace is increasing at an average annual growth rate of 512% giving you the ability to connect with over 225 million users today. Rival Facebook is increasing at 550% per year followed by Linked-in at 182% per year.
Professional social networks provide an opportunity for an advertising vertical. Plaxo has the Plaxo Pulse, Linked-In has Network Updates. At a basic level the Pulse and Network Updates are status updates similar to a micro-blog tool such as Twitter. However the potential exists to use the available services to inform your connections about product discounts, blog posts, and other information related to your business.
At Urbanworld we have already created a platform for you to market your film. At My Urbanworld, you can post blogs, upload video, and message other film makers in the community.
So what are you waiting for? Join the integrated media revolution, and watch your business grow.
Not sure where to get started? Friend me up on twitter and I’ll show you how.

Being black in Hollywood still ,exception not the rule

2008-08-19T23:32:00.000-07:00

By Nicole SaidiCNN

(CNN) -- Will Smith has made epic blockbusters a Fourth of July tradition, and Denzel Washington is one of the most recognized faces in show business.

But according to some iReporters who watched CNN's "Black in America," these well-known actors' roles are not typical of how black people are shown on TV and in the movies.
Brad Bailey of Los Angeles, California, was one of the many viewers of the two-part documentary who continued the dialogue on iReport.com. The overwhelming response prompted CNN to initiate deeper explorations into the issues touched during the show.
Bailey held a viewing party at his home with friends who have been involved in acting and film production. He concluded that while he thought the documentary covered about as much ground as a special can, one of the issues remaining to be addressed was the image of blacks projected into theaters and living rooms.
Bailey says there aren't enough black roles on TV and in movies, which deprives people of all races from seeing black people in non-stereotypical roles or having their appearance become a normal, everyday aspect of filmmaking. Actors, too, struggle when they can't fit narrowly prescribed roles. iReport.com: See stories about being black in America
He cites a lack of black screenwriters as contributing to underrepresentation of blacks on television.
"For me, I think it's about who creates these roles," Bailey said. "I've only been successful when it came to roles that were specifically designed for being black."
Bailey himself has been on multiple sides of the same coin. He's auditioned for roles in the past as well as made his own projects. Now, he's moved to a documentary focus.iReport.com: Watch the discussion that went on at Bailey's viewing party
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Blacks have a harder time fitting into roles than most people in an already-tough acting market, he said.
The Yale and Princeton graduate recalls one occasion when he auditioned for a role as an Ivy League "secret society type." He figured he'd have a good shot since he'd been in a secret society himself. He didn't get the role and noticed that it was given to a blond-haired white man.
"They were looking for the stereotypical version of what Ivy League was 50 years ago," Bailey said.
Still, no one ever came out and said why the choice was made, and he can only assume the reason behind the selection.
"Nobody ever says that directly," Bailey said. "They sort of go around it in coded language in order to say that."
He said he's had trouble auditioning for roles in which he would be dating a white person or married to a white person because directors look to match couples who look alike. People aren't used to interracial couples, but he thinks this image would change if people saw it more often.
"Maybe just seeing those pictures up there, maybe they won't react so strongly to it," he said.
Robyn McGee of Long Beach, California, singled out black women as a misrepresented group in film and television. Female film roles are prone to stereotype, she said.iReport.com: See how McGee feels about black female stereotypes
She conceded that Smith's appearances in diverse films such as "Independence Day," "Men in Black," "I Am Legend" and "Hancock" were groundbreaking. Notably, Halle Berry won an Oscar in 2002 and Jennifer Hudson did so as well in 2007. But she said these examples of achievement are unique and must be built upon.
"Frequently, black women are still portrayed as loud, bossy or fat," she said. "The Pine Sol lady in commercials is a throwback to this mammy stereotype."
McGee wrote a book about black women's body images in 2005 and says she takes great interest in the subject of their appearances in film and TV.
She sent a photo of herself with her family and asked fellow iReporters, "Why are black women portrayed on TV, the movies, in magazines and online as loud, angry and desperate for love?"
Music videos of the 1990s influenced a new interpretation of women on TV in roles she characterizes as "hypersexual gold diggers."
These images, as well as portrayals of young black men, contribute to an identity crisis for teens in search of role models, says Beto Mario Lopez of Oakland, California.
Lopez said actors like Smith and Washington have carved a niche for themselves, but they don't speak to younger audiences the way TV and hip-hop culture do. Teens may feel like they have to act a certain way to fit in, when they might otherwise prefer a different style, he said.
"Kids are growing up today thinking you have to be hip-hop," Lopez said. "You've got regular 16-year-olds ... they're taking it too far with what you see on television."
He wishes more diverse filmmaking was available and said Spike Lee's comments in the special struck a chord. During his appearance in "Black in America," Lee said he has an easier time obtaining funding for projects including black stereotypes than for films that tackle more nuanced subject matter.iReport.com: Watch Lopez talk about Spike Lee's interview and the perils of filmmaking
Young black males need to look at the media and see something with which they can identify, he said. Instead, he feels black men are portrayed in a negative light.
"You think, 'Oh look, there's another stereotype of a black going through problems.' "
Bailey said the importance of film imagery can't be ignored. He feels people are used to seeing black people as policemen, for example, but not necessarily in other capacities.
Everyone needs to see diverse representation in films for their own education, he said, and this need spreads beyond the United States.
"Hollywood starts these trends, but in these instances popular culture reacts to them," Bailey said. "Those images that are projected on screen are projected to the rest of the world."

The Roots Of Black Cinema

2008-08-19T21:42:00.000-07:00

THE ROOTS OF BLACK CINEMA
"Only when you attempt the impossible do you test the resources of God."

OSCAR MICHEAUX
Did you know the first all black cast film was made in 1919 (“The Homesteader”) by filmmaker great Oscar Micheaux? Micheaux was the first man to produce a full-length, eight-reel, all-Black film, and the first Black to write and publish a best-selling novel--with a circulation of over 55,000. Micheaux stated:
I'm tired of reading about the Negro in an inferior position in society. I want to see them in dignified roles...Also, I want to see the white man and the white woman as the villains...I want to see the Negro pictured in books just like he lives...
Micheaux is a true African American film and literature pioneer. Did you know Cicely Tyson was the first dark complexion African American actress that became a mainstream reoccurring star which broke barriers for various actresses today (being dark was not one of Hollywood’s standards for a leading role in television and film in the early 1900’s)? Even though Hattie McDaniel won an Oscar for her supporting role in “Gone With The Wind” in 1939 Hollywood still wasn’t ready to embrace dark complexion actors and actresses until much later. These accomplishments by Blacks were often excluded from history books and classrooms but AACG seeks to educate our youth and adults of all races and creeds about these achievements.