D.C.GIRL@THEMOVIES

THE JEM MOVIE'S SHANA AND COLORISM

noreply@blogger.com (Ms☆Go) — Thu, 01 May 2014 17:11:00 +0000

from a decidedly brown-skinned black girl with a big bouncy purple fro to a beige biracial "safely black" girl with straight hair

This strikes close to home for me, because this was my favorite cartoon show growing up.

For those who aren't familiar, Jem was a show about a young woman who lived a double-life as the head of a charity organization called The Starlight Foundation and the lead singer of the pop-rock group Jem and the Holograms.

The group was made up of lead Jerrica Benton/Jem, her sister Kimber, Shana (a black woman of Jamaican heritage), Aja (Asian-American of possible Japanese/Chinese heritage), and later Raya (a Mexican woman).

Here's what was amazing about this group. Aside from the lead and her sister, NONE of the members of the group were white.

There was representation for every little girl, whether you were Asian, Latina, Black or White.

Heck, even Jerrica's boyfriend (and my first childhood crush) Rio wasn't white.

This was before the politically correct era and it's subsequent backlash. That, I think, has a lot to do with the whitening of both Shana and Aja in this supposedly enlightened era.

from awesome 80's diversity realness...

...to safely "diverse" visual homogeneity

Whether it be a subconscious or purposeful act, both characters of color were cast to be more "white-friendly", despite the fact that the original incarnation got to be popular just fine without it.

Both actors cast, Hayley Kyoko and Aurora Perrineau, respectively, are biracial, with white parental ancestry.

Because full-blooded Black and Japanese American actors would be just too much for the white American mainstream to handle, apparently. :-/

This is not only erasing women of color, who don't have the extra-"palpability" of obvious whiteness in their bloodlines, but it insults white audiences. It assumes that white audiences have the same tolerance for POC as the recently publicly-shamed, Clippers' owner Donald Sterling.

We live in the year 2014, a future that seems to be stubbornly avoiding enacting all the social advances that has been written on paper for decades.

I am saddened but not amazed by not only the lack of progress, but by the fact that this is emblematic of the fact that in terms of race, we've actually gone backwards in some respects.

Sure, Lupita is People Magazine's Most Beautiful Woman, but I wonder if, like the penalties placed upon Sterling, if it's just about soothing public perception vs. actually solving any of the ills behind it.

Lupita still doesn't have a mainstream leading role on her imdb page and Sterling was more demonstratively racist BEFORE this recording happened, actually keeping Black people and Mexicans out of housing. And he would have received a Lifetime Achievement Award from the NAACP, as well.

Mine is the bitterest of laughs.

I guess, I should not have expected any better considering the lack of involvement from series creator Christy Marx.

Still, it would have been nice to see Hollywood take some actual steps in the 21st century, instead of simply giving it lip service.

Just listen to the heartbreak in this fan's voice:

The BlackGirlNerds tweeted Aurora Perrineau about the issue, but as is too common with my fellow lighter-skinned and biracial black girls, she simply didn't get it.

She took it as being about her own acceptance of her blackness and not what the true issue is, colorism.

Aurora, listen.

We get that it's hard out there for any woman of color in the industry trying to work, but there comes a time when you have to take a stand for your darker-skinned sisters.

The fact of the matter is Acceptable Blackness™ is a thing white Hollywood often uses in lieu of casting dark-skinned black actresses. It is a form of whitewashing that is divisive and unfair.

It's putting the lighter-skinned blacks in the house while the darker-skinned blacks remain in the field. Both are still slaves, no doubt, but lighter-skinned/mixed is deemed worthy of visibility.

If you are truly proud of your black side, then you should have empathy for those sisters who have it much harder than you.

You should be able to see that being used as a pawn in white Hollywood's game is the last thing you want to do.

I get that opportunities are scarce for people of color in Hollywood, yes even for a benefactor of nepotism, such as yourself...but please, this simply isn't the right foot to get off on.

I'll understand if you keep the role, but I'll be pretty damned disappointed that your parents didn't raise you with better racial awareness.

As for the men behind this project, Scooter Bruan, Jason Blum and John Chu? If you're going to care so little for the product, extending that disdain to the creators, canon, and fans...

Realize this.

You are sabotaging your own wallets. If you actually make a quality product with care for the canon and creators on top of simply capitalizing on the brand name...You might actually have a surprise hit on your hands.

A franchise and a revitalized brand instead of the path you're going down right now, a quick ~~sleazy~~ easy buck.

It's the difference between fifty million and five hundred million, capice?

P.S.

You know something is seriously wrong when you can't even use the actors' un-altered skin colors in your publicity image:

Yeah, that white background
pumped to 11th power-glow to make Shana
sorta/kinda' look like she could be brown is totally subtle.

*sigh*

Hollywood keeps Hollywoodin'.

5 ROLES LUPITA NYONG'O COULD PLAY IF HOLLYWOOD GOT ITS ACT TOGETHER

noreply@blogger.com (Ms☆Go) — Sat, 08 Mar 2014 20:16:00 +0000

With her beauty, talent, and her ability to convey genuine down-to-earth wisdom and humble gratitude, Lupita Nyong'o is the belle of the ball right now.

Her out of the box Oscar win, her lithe delicacy, fashion-sense, and regal bearing brings to mind a young Audrey Hepburn.

It would be a shame if Hollywood squandered her potential, simply because they have no clue what to do with an actor of her promise, who is also a dark-skinned African woman instead of a white girl...

Hell, one look at Hollywood's recent track record, proves that while they love to pat themselves on the back for noticing promise; -for initially lavishing praise upon their black Oscar-winning Cinderellas, NOT A SINGLE one has gotten the kinds of opportunities her win would likely have garnered if she had been white.

Monique, Jennifer Hudson, Octavia Spencer...NONE have gotten mainstream leading roles. NONE have been given any star vehicle opportunities.

Just one look at Lupita's imbd page, showing all zero of upcoming roles, proves just how likely this is, even for the stunning Lupita.

Now, a rather ignorant argument could be made by the largely white-male group running things, that it's simply *too hard* to fit such an "exotic"-looking woman into mainstream Hollywood.

I, of course, know that's bullshit. Media shapes perception just as much as they adhere to it.

I'm going to prove it with five awesome star-vehicle roles, she could EASILY play if Hollywood weren't so terrified of stepping away from the status quo (in other words, if they weren't racist).

#1 ANYANWU - Octavia Butler's Patternist Series

As you know, I really, REALLY see a *lot* of potential in Ms. Butler's Hugo-Award-winning books for the next great sci-fi franchise. Not only do they avoid the typical non-inclusive pratfalls of so many other sci-fi franchises (ALWAYS using white males to embody allegories about oppressed underclasses *Oblivion, X-Men: First Class- with so much cruel irony), but they are just plain awesome books full of original ideas and wonderfully imaginative settings and characters.

This particular character is a powerfully evolved immortal African woman who can shape-shift.

#2 RENIE SULAWEYO - Tad Williams' Sword and Thorn Series

I am actually not personally familiar with this character, but I heard Ms. Nyong'o's name mentioned twice in wishlist casting in this role from a good friend of mine who's tastes I trust and from the white fanboys over on reddit.

In my mind, that means she's probably born to play this character.

#3 MARTHA WASHINGTON - Frank Miller's comicbook series

Comicbook movies are hot right now and...

Just look at this character:

Enough said.

#4 SUSY HENDRIX - Wait Until Dark

We all know that Hollywood loves to exploit properties that already have a brand and this one, I think, is a perfect low-risk star vehicle for Lupita.

She plays a role originated by an actress, whom many are reminded of when they see her.

She's vulnerable, but not helpless.

And it would be a real-showcase for her chops; an opportunity for her to show why the audience should root for her.

#5 NYASHA - John Steptoe's Mufaro's Beautiful Daughters

An adaption of this tale, one on the same scale as all the reboots and reimaginings of Eurocentric fairytales, that are hot right now would be amazing, if done right.

Can you imagine what Lupita could do with a Mufaro's Beautiful Daughters with the kind of adaptive twist and production scale as Snow White and the Huntsman??

...And more importantly, can you even fathom one legit reason Hollywood should NOT give her the same scale of a chance Kristen (one-facial-expression) Stewart got???

Hollywood, these are all roles perfectly suited for an actress who exudes the kind of magnetic charisma and beauty Lupita has.

What I don't want to see her play is second-fiddle with no life, but to be a "magical negress" BFF to the white lady who is actually starring in the movie (see: Jennifer Hudson's role in Sex in the City).

I don't want to see her play a down-trodden miserable tortured soul of a tragic black woman redeemed by her faith in Christ (see: Tyler Perry's movies).

I don't want to see her be sassy and neck-swervy (see: Octavia Spencer's Oscar-winning role in The Help).

I don't want to see her play a stoic warrior, stripped of all femininity (see: a good chunk of Grace Jones's career).

I don't want to see her play exotic sexual play-thing for white man-with-angst, a tool to help him forget his white man-pain (see: The Kids Are Alright and Monster's Ball).

I want to see her get to lead with a leading man (it would be awesome if he were of color) protectively wooing/loving her.

I want to see her be the delicate, wide-eyed beauty with flawless skin, who's director exploits her ability to get the audience to care for her (see: Julia Roberts' doe-like quality in early roles like Sleeping with the Enemy and Pretty Woman).

I want to see her play mythological characters suited to her ethereal beauty (elves, goddesses and the like).

I want to see her smile, joke, and be charming enough to have both her leading man and the audience fall in love with her.

I KNOW that's not too much to ask.

The question is...

Is anyone in Hollywood ballsy enough to actually do right by our new "it" girl???

...Or will Hollywood prove that all the accolades now are only all about appearing progressive as opposed to actually being so?

P.S. I've seen the internet bandy around the idea of casting her as Storm. While I know she'd be amazing and it would be nice to see an actual African woman play the part, I feel like that ship has sailed.

They cast the most well-known black actress (one who was all wrong for the part, but the only black actress known to white audiences at the time) in the role and then gave her nothing to work with.

She didn't have a story-arc or any dynamic relationships.

In fact, when Halle Berry, herself brought up her disappointment with Storn lacking any kind of romance in the series, "fans" shouted her down, saying she was married to Black Panther:

Halle talks about this at about 7:45 into it.

Of course, fans predictably took the opportunity to rip into Halle's ignorance about Storm's comicbook history and heap hate upon her for it.

Yes, totally non-racist fanboys, she *is* married to Black Panther in the comics. She's also had several relationships with well-known characters in her many comic incarnations, including Wolverine and Thor.

Sooooo, then why in the films is she relegated to the least of side-characters; nurturing mammy to the X-men, with absolutely no personal life???

Halle-fricking-Berry got no love in any of her big-screen roles as Storm.

this Gary Coleman side-eye
is directed at Bryan Singer for giving her nothing
and those fanboys who were so quick
to *not* see Halle's extremely valid point

ON TWELVE YEARS A SLAVE AND BELLE

noreply@blogger.com (Ms☆Go) — Tue, 06 Aug 2013 21:23:00 +0000

Long time, no see!

Most of you already know that I've pretty much moved on, but I do make the occasional post when excitement pushes and time allows.

For this one, there are two good bits that I am so, so happy to report:

First, the trailer for Twelve Years a Slave has come out. Given the disappointment that Django Unchained was, (Tarantino's masturbatory fantasy of himself as a black man...) I cannot wait to see a black man take on this under-told part of history.

Take a look:

As you know, I abosolutely adore Steve Mcqueen's work thus far and Chiwetel Ejiofor has been woefully underused.

Also, as poster Collette has been kind enough to inform me, a full-length feature film about Dido Belle is currently on the way to the theaters in the Fall (YEAH!!!), Belle.

I cannot tell you the depth of my excitement for this. As a lifelong Austenite and fan of lush period pieces it's about damn time Hollywood started paying attention to the real life stories of ACTUAL black people who existed during the times of slavery who weren't slaves.

Yes, Virginia, black aristocrats existed even in Europe, throughout much of human history,

There's no trailer yet, but I am keeping an eye out. ;)

Until next time, kiddies!

P.S. Yes, as a Trekkie I am HUGELY disappointed in the recent installment's whitewash of Khan, especially given the very purposeful rendering by Roddenberry of Khan as a man of color...turban and non-white skin included.

...And this group of producers and writers (including damn-near singular Hispanic of power in Hollywood, Roberto Orci) basically crapped all over Roddenberry's original intent by casting yes talented, but pastey white Cumberbatch in the role.

For shame.

STAR TREK INTO DARKNESS TEASER AND THE VILLAIN IS...

noreply@blogger.com (Ms☆Go) — Fri, 07 Dec 2012 03:01:00 +0000

Yes, I've allowed this blog to fall into neglect as I've moved on to other things, but it will still stand as it is and I will still post when the occasion calls for it.

...Like now.

You know my Trekkie behind could not let this teaser trailer go un-commented upon:

Yes, it's using the BRAAAAHHHHM!!! noise, like so many other trailers. It's the Inception effect...or perhaps I should say Nolan effect, given the poster's resemblance to The Dark Knight Rises'.

Anyway, I've made this post in order to air my theory on who the villain is.

NO, it's not Gary Mitchell.

NO, it's not Khan.

It's Joachim:

That's Khan's number one henchman, right there.

Why?

Well, just check the resemblance:

The costume designer even took cues from the original.

Check the lapel.

So, people need to drop the Gary Mitchell theories (no glowing eyes or omniscience to speak of in the trailer, plus it was covered in the comics) and the Khan theories (though he is still connected to him).

He wouldn't be Khan, because that would be some backwards white-washing b.s, especially considering that a man of color, Ricardo Montalban, played him to perfection back when whitewashing was slightly more prevalent than it is today.

Khan is an implied Indian Sikh and/or Mongol genetic mix. Cumberbatch's pasty (but still talented) behind would be the LAST actor I'd cast to be him.

Anywho, I just wanted to put that out there, because yeah, Cumberbatch looks just like Joachim.

ON ZOE SALDANA PLAYING NINA SIMONE

noreply@blogger.com (Ms☆Go) — Fri, 05 Oct 2012 05:22:00 +0000

Zoe Saldana is playing Nina Simone in an upcoming unauthorized biopic. Many have been up in arms about it, going as far as to create a petition to cast another (darker-skinned) actor.

Zoe responded to it with a retweet from a fan claiming "reverse racism". While the terminology is wrong (where this discussion often gets derailed), the sentiment is accurate.

I think it's important to begin with the correct term for the controversy going on here.

It's called colorism.

It's colorism that Zoe Saldana, a black woman who is significantly lighter-skinned than the singer, was cast in the role. It's also colorism that many are claiming that Zoe Saldana is ill-suited to the role, because she's too light.

...It boggles my mind that the vocally-opposed miss that self-defeating bit of irony.

For the uninitiated, colorism is discrimination based on how dark or how light one is. This term is often used when there is deferential treatment given within an ethnic group because of the perceived differences in skin color (note: hair texture and facial features are also tangents of this issue).

Though racism is the reason why colorism exists, it is people of color who continue to allow it to thrive. It is people of color who have the power to eliminate it. An outsider's perspective is always going to be flawed by nature, so how we choose to define ourselves matters so much more.

I simply cannot determine whether she is ill-suited without having seen the final product. Though the reverse is rare in comparison, I have seen darker-skinned actors portray lighter-skinned black people (see: Angela Bassett as Tina Turner, Diana Ross as Billy Holiday, and Denzel Washington as Malcolm X) without much hullabaloo.

That this has touched such a nerve, I think, speaks to the depth of the hurt carried by many because of the rejection, bullying, and other abuses suffered because their blackness was the wrong kind. It's an untreated psychological disease within our ethnic group, that has caused or contributed to many a bitter black woman.

It's an odd burden, that we place upon ourselves, to root our opinions in extremes in order to authentically assert our "blackness".

What a strange set of shackles we chose to wear.

On this issue, I stand in the middle, though, I do hope the criticism inspires Ms. Saldana to do her best, even better.

P.S. I have to admit, Viola Davis being cast would have gotten me a lot more excited about this biopic.

DEAR WHITE PEOPLE... AND THE UNWRITTEN RULES

noreply@blogger.com (Ms☆Go) — Fri, 05 Oct 2012 03:28:00 +0000

Now, that Issa Rae of Awkward Black Girl fame is teaming with Shonda Rhimes to create a TV series(!)...

how this news makes me feel:

I think it's time to give some shine to a couple of other projects I hope also come to fruition and/or do well. The first is another fantastic youtube series called The Unwritten Rules and the other is a film project called Dear White People...

Check them out!

Now, if you'd like to support the Dear White People... film, please drop by their indiegogo page, here. I'll be back next week with some contest news!

WATCH THE DIDO BELLE FILM SHORT NOW

noreply@blogger.com (Ms☆Go) — Sat, 22 Sep 2012 02:32:00 +0000

It only has four hundred and twenty-nine views right now. It also has the typical "evil-whitie" vs. "tread-upon black underling" dynamic but still, the fact that it even exists is heartening.

Please, watch and pass it along!

P.S. I have yet to see Beasts of the Southern Wilds. Though, I must say comparisons to Miyazaki's work make me giddy! bell hooks' views on it though? ...Not so much.

Please, check NewBlackMan (In Exile)'s posting with bell as a featured writer, here.

ON CLOUD ATLAS' EVERYBODY-FACING

noreply@blogger.com (Ms☆Go) — Sun, 16 Sep 2012 03:26:00 +0000

So, you might have seen this rather lush trailer for the film adaptation of the popular multi-life-spanning novel:

What year is it, again?

2012?

Just checking.

So, American audiences are still so stupid, in the eyes of Hollywood producers, that they cannot possibly connect the dots to come to the realization that some of these characters are the same people without the "everybody"-facing?

Despite every fiber of my being revolting right now, lets just ignore race for a second...

It's just unbelievably creepy.

I've been a huge advocate for the Wachowskis, because it warms my heart to know that there are people who have the courage to embrace their harmless preferences/ways of being regardless of ridicule, persecution, mocking, and sadly, possibly far more dangerous consequences.

Godspeed, Lana. ❤

But this?? What happened to the Wackowskis who would've gladly made a Matrix movie starring Will and Jada??

The only time the whole ethnicity-switheroo ever worked was in White Chicks (and I'll also allow the Jewish barbershop patron in Coming to America ), because well, that was a comedy. Part of the joke was the fact that these two black guys in white girl drag look like two black guys in white girl drag.

But, this mess...

This mess right here??

Halle Berry is looking worse than Jessica Alba looked in her white girl drag from Fantastic Four: Rise of the Silver Surfer.

in case you forgot

how creepy that looked

...And don't get me started on the yellowface. You know, this is a prime example of the fact that physical differences between white and the various east Asian ethnicities extend a bit further than simple "Asian eyes". Because those actors in yellowface with their white guy face-shapes quite frankly, look like mutants.

Sturgess was already in 21. What, is this supposed to complete the racebending circle?!

Look. I get it. Sometimes, Hollywood can't help but do too much just because it can (see: Benjamin Button, Terra Nova, etc.). This is especially true when it comes to special effects.

In Hollywood, or if you're Michael Bay it becomes...

...But in the case of Cloud Atlas' racebending it's like Dr. Malcolm said:

Gotta admit, I'm still curious about this one. I just wish they hadn't already tripped a few times through the threshold.

THE AVENGERS

noreply@blogger.com (Ms☆Go) — Mon, 20 Aug 2012 20:46:00 +0000

So, I finally saw (Marvel's)The Avengers. For every one of you who have seen it, likely multiple times, given that gargantuan box office receipt and given that this was my reaction to The Incredible Hulk, you must already know that this is my reaction:

The last time I peed a little watching a movie,
was the first time I saw Anchorman.
Jazz flute did it.
This time?
Hulk did it.

I also have to give props to Joss for not doing that easy, eye-roll-worthy thing, that pretty much every filmmaker does with the lone female in the action; the sexy ingenue routine *cough*catwoman*cough*. Not once did Black Widow resort to it.

Not that there's anything wrong with that, it's just what I keep saying. Diversity, people! Diversity. When there's too much of a singular image, for a multifaceted type of person, then that's a problem. And no one sexually-harassed her (a.k.a. commented on her looks).

I was side-eyeing Joss after Dollhouse (Joss and his 'girls in boxes' motif is like Quentin and naked feet), but his feminist soul has firmly reasserted itself.

All she did was kickass and literally, take names and all without going down that easy hook-up road, where the hero has to rescue her, because ~~they bumped uglies once~~ he "loves" her (many snaps were given when she said "love is for children"). Sure, she dressed sexy, but see that's where some overzealous feminists don't get it. We can do the damn thing and still look hot-to-death (or not) without compromising our other choices.

You can be sex on stems and still be the ish in every other way possible, ass-kicker, mother (yes, I know those two are synonyms) with a Curie-sized brain in tow (or not) and be no-less feminist for it. I really do think too many women get jealous/threatened by other women doing/looking better or braver and use feminism as a mask for their own insecurities when they throw shade, instead of simply supporting each other, in all the choices we make, in all possible successful combos.

If you feel amazing and nobody's getting hurt/law-breaking, then do the damn thing. So what, if you can stash your entire lunch with a plate, knife, and fork included, in your cleavage, or your booty in shorts looks like two hominy biscuits, and/or your weave is so long it acts as a filter for your farts, do what Willow says and whip it (-err, the hair, not the farts).

I actually think The Avengers has snatched the best superhero movie title from The Incredibles, and poor X-Men. The Avengers movie made them look like some old dried dookie.

See Singer?! THIS is what happens when you care about the entire team (seriously though, Cyclops and Storm were majorly shorted).

As a Trekkie*, I hope JJ took notes. The interplay, the balance of showcasing every character rung absolutely perfectly true and is definitely what I hope JJ emulated for the upcoming Trek reboot sequel.

If I had a breakdancing smiley, I'd use it. Alas, I must settle for simple applause.

and shufflebot will do in a pinch

PARENTS: You know all those times you've caught your kids smashing their action figures together, while obviously playing out some epic imaginary battle in their heads? Well, this movie embodies what they would like to imagine. Kids will be inspired and get a kick out of the fantastically staged, but somehow almost completely bloodless, action scenes. (of course, this is now likely past-tense)

P.S. It's probably a good thing I didn't see this when it first came out, as I would have disturbed the audience by clapping, jumping-up, fist-pumping, and shouting "GET IT HULK!". I am certain, I would have gotten the disapproving "simmer-down-now" look.

I had to post this in honor of his epic role in this flick.

Yeah, that's just me, about to get smashed by The Hulk.

P.P.S. Speaking of women doing the damn thing, I hope my audience is still watching all of those fantastic Awkward Black Girl episodes. Also, I'm late as hell, but congrats to Chescaliegh for getting some shine on Anderson Cooper! She is partly responsible for my locs not just being in a ponytail everyday.

*you can call yourselves Trekkers all you want, but your behinds are on the couch watching the show and not actually in space.
also, Trekkie is Roddenberry-approved /nerd

THE DARK KNIGHT RISES

noreply@blogger.com (Ms☆Go) — Sun, 19 Aug 2012 04:06:00 +0000

It was alright. ...Too long, with not nearly enough levity, but it was okay. Still, it is
the weakest of the trilogy. Requiring suspension of disbelief is an understatement. Now, it's nowhere near Micheal Bay ridiculous, but there are plotholes galore, and symbolism so trite, my eyes got sore from rolling.

Bane was just odd. He sounded a bit like V (for Vendetta) re-mixed with Sean Connery on a respirator, but looked like a 'roided-out wrestler. Anne Hathaway was serviceable as Catwoman, but Pfieffer, Newmar, and of course, Miss Kitt are still the benchmarks.

It was nearly three hours, and felt as much. I know there is a fanboy tendency to like things "darker" and "grittier", but watching this movie with that tone, without so much as a twitch of a smile for what felt like hours, just made me feel bogged down in the plot. I felt as much a prisoner as Mr. Wayne was for part of this movie, which, I guess maybe is the point.

As for the action scenes, which face it, is what we come to see; they were mostly simple fisticuffs. Not nearly enough tech-ballet as I would have liked. Sure we got some nice sharp rolling bike turns and some missile ballet, but that's about it.

I did like the twist on a certain character's story, as it went against Nolan's typical treatment of women.

...and by treatment of women, I mean this:

credit goes to tenshinofushigi

Nolan still needs to brush up on his characterization of women, though. He's lucky the women cast were good enough to evoke more than was on the script page.

So, The Dark Knight Rises gets a from me.

Worth a matinee only if you're a hardcore Batman fan, otherwise, just wait for BlueRay.

PARENTS: Bring the kids only if they can follow talky plots and handle some rough fighting.

P.S. Yes, it was irritating that certain characters were whitewashed, but at least a certain character's mom, still looked to be "of color".

IF DCMOVIEGIRL WERE MAKING MOVIES ABOUT BLACK WOMEN

noreply@blogger.com (Ms☆Go) — Thu, 16 Aug 2012 00:33:00 +0000

If you follow my blog, you know how fascinated I am with African diaspora in history, beyond enslavement.

You know how disappointed I am with the lack of color in period films, as if we either didn't exist back then or only just in the lowest and most invisible of the classes; as background menial workers or as slaves.

You also know how big a proponent I am for diversifying black imagery in pop culture. For black women, I'd like to see more beyond the sassy neck-swerving black woman in that Tide commercial who doesn't know what ecru is, black actors in drag, and the safe au' naturalle or barely black skinny, curly-headed, model smiling on the arm of her white best friend.

You know that I feel that the preponderance of this imagery has led to our people (of all colors) being extremely ignorant of the breadth and depth of the reality of what we also were, and the possibilities for us today.

So, I'm starting a series on unsung black historical figures, the kind Hollywood hasn't a clue what to do with, because they don't know or care to know that they exist. Because these people don't fit the imposed ideal of a black figure who is enslaved, trying to get free, or otherwise being the first black person to do something white people have been doing for years, in a sad black period film filled with racism, with moaning black women as the main score.

Look, I truly adore Sweet Honey in the Rock, but I am too tired of hearing them moaning in the background of some sad black historical drama, but I digress...

If I were making movies, there would most definitely be sumptuous period dramas that were actually about black folks who were noted not merely by their ability to endure or escape servitude, but by the contributions they made during those times; the full lives they improbably lead despite their color.

So here are my first two candidates, specifically for a biographical period movie drama treatment:

Dido Elizabeth Belle

a royal who was close to her white cousin and

favored by her granduncle, both of royal station and...

Fanny Eaton

during the Victorian period, despite her "of color" status

How wonderful would it be to see period films made about these two women's lives?

Now, I don't expect much of mainstream Hollywood, but I know, that though black filmmakers tend to get comparatively little in the way of financial backing to make films, period films are relatively cheap to make.

I think that some of us are so eager to get away from slavery, we've managed to neglect all other aspects of our history as well, like the two figures above. I think even we can get stuck not seeing beyond the limitations of the imagery we've seen too much of before.

If I were making movies, these two women would be starring characters. I can only hope there is some talented filmmaker out there who is also interested in seeing what their lives would look like on celluloid.

P.S. Dido Belle did have a short film made about her in 2006, but I'd still love to see the full-screen treatment.

WHAT IF THE EXPENDABLES WERE WOMEN?? AND SOME BACK-CLAPPING FOR THE WALKING DEAD CASTING DEPARTMENT

noreply@blogger.com (Ms☆Go) — Tue, 14 Aug 2012 17:49:00 +0000

Uma Thurman, Gina Torres, Gena Rowlands, and Cynthia Rothrock

It has been awhile. I am truly sorry, folks, but life happens and I've been very busy. I haven't even had time to catch the new Avengers movie (I will review it when it comes to video, I don't care how late I am, I heard that my green man The Hulk was awesome in it) and of course, The Dark Knight Rises, which I heard was only so-so, plotholes notwithstanding.

Anyway, this post, this post right here is about another fan-girl obsession of mine.

Bloody. Action. Films.

As a child of the 80's, growing up with flicks like Predator, Rambo: First Blood, and Die Hard in all of their absurdly unbelievable survivor scenario glory; means that I absolutely love a good cheesy 80's style actioneer.

It's part of the reason why I'm such a Verhooven-fan (Robo-Cop, Starship Troopers). These kinds of films, with their explosive violence, cheesy one-liners, and 'roided He-Men, more than any other, reflect the culture of 80's excess most accurately and are often, the most fun.

...Yes, even more than Wall Street.

Seeing Mr. Stallone successfully cashing in on that key bit of 80's nostalgia right now, with a decidedly solely testosterone-filled, righteous murder-fest, and seeing that some other Hollywood news outlets are also wondering about it...

Well, it got me to thinking what would a female Expendables look like?

If I were making it?

It would look something like this:

STARRING:

GRACE JONES

SANDAL BERGMAN

MICHELLE YEOH

SIGOURNEY WEAVER

MICHELLE RODRIGUEZ

LINDA HAMILTON

AND MILA JOVOVICH

FEATURING:

PAM GRIER AND GENA ROWLANDS AS THE VETERANS IN CHARGE

WITH:

LENA OLIN AND CYNTHIA ROTHROCK AS THE BIG BADS

AND SPECIAL APPEARANCES BY:

GINA TORRES, ANNE PAURLILAUD, LUCY LAWLESS, AND UMA THURMAN (OR MAYBE THEY COULD BE IN THE SEQUELS...)

How badass is my version, huh?!

Since we already know how unlikely this is to actually happen. ...Or if it were, how likely to have a cast full of fail *cough*Pamela Anderson*cough*, I highly recommend what I see as one of the best female-team actioneers ever made, which I watched as a boot-leg so often as a girl, the tracking got jacked-up.

Ladies and gentlemen, The Heroic Trio:

R.I.P. Anita Mui.

And yes, 'tis a far, far, better film than The Expendables.

P.S. Hey folks at the Walking Dead Casting Department?

Good job, y'all!

This is Danai Gurara, as the absolutely perfectly cast Michonne

Thank you, very much, for casting accurately instead of falling into the safe, curly-headed, lightskinned, black actress trap.

October, hurry up and get here!!

ON THE "BULLY" PROJECT

noreply@blogger.com (Ms☆Go) — Thu, 08 Mar 2012 16:45:00 +0000

This is the official trailer for the documentary, Bully.

Right now, it's rated 'R' for language, which means that those who really ought to see this film, cannot do so without a guardian. This also means this film cannot be shown in schools, where the very subject of this documentary plays out every school-day.

Ellen DeGeneres recently spoke out against the rating and urged viewers to sign this petition to change the rating to a PG-13.

Now, I've been pretty vocal against the MPAA's warped and arbitrary rating standards, wherein a woman's orgasm on-screen would likely warrant an NC-17 rating, but a graphically violent rape scene would get just an R.

I've scratched my head at the R-ratings films like the sweet Irish romance Once get for two f-bombs, while films like the violent epic, Beowulf get PG-13 ratings.

This film's rating however, rings much more personal...

You see, I was a bullied child and teenager. Having been managing depression for most of life, right along with the stigma of having a mental illness... Having been a lanky, buck-toothed, black, female fan of all things geeky and dorky, I understand the need for a film like this being shown in schools all over the country because I almost was one of those statistics.

I almost succeeded in taking my own life at fourteen years old because of school bullying. I still have insecurities and flashbacks about it to this very day.

Yes, I did survive, but my heart goes out to those kids in schools who are still trying to survive the bullying in their schools. It hurts my heart to know that unlike me, some won't survive it.

Even one child taking his or her own life because of those preventable cruelties is too many.

So, I urge you to sign the petition, linked above. I urge you to support anti-bullying initiatives in your schools, and continue to support other anti-bullying efforts like the awesome "It Gets Better Project".

I've known far too many talented, loving, kind-hearted, LGBT, weird, goth, and/or geeky individuals getting insulted, put-down, and harmed for their strange in the eyes of some, but ultimately benign choices, opinions, and ways of life.

Simple kindness in conjunction with tolerance is far too underrated in a country that purports to have so many people trying to be Christlike.

THE 2012 OSCAR PREDICTION POST

noreply@blogger.com (Ms☆Go) — Thu, 23 Feb 2012 16:39:00 +0000

It's almost time. This Sunday is the annual celebration of the best in film, according to the Hollywood elite that is The Oscars.

I always look forward to the fashion, the gaffs, the performances, and the speeches.

As for fashion, I'm most looking forward to what Ms. Spencer and Davis are bringing the table and I'm hoping that one or both will have a naked golden man to put on their mantels.

I am happy to see Billy Crystal is still alive and hosting this year and disappointed to know that Eddie Murphy dropped out for sake of defending his friend's homophobia. Bad form all-around on that one and especially disappointing coming from a black man, but I digress...

These are some of my predictions for winners, losers, and those others I'll be looking forward to seeing what they'll be wearing on the big night:

BEST PICTURE

The Artist

ACTOR IN A LEADING ROLE

Brad Pitt (though I'd pick Gary Oldman)

ACTRESS IN A LEADING ROLE

Viola Davis

ACTOR IN A SUPPORTING ROLE

Christopher Plummer

ACTRESS IN SUPPORTING ROLE

Melissa McCarthy

ANIMATED FEATURE FILM

Rango

CINEMATOGRAPHY

Hugo

ART DIRECTION

Hugo

COSTUME DESIGN

The Artist

DIRECTING

Martin Scorsese

MAKE-UP

Albert Nobbs

SCORE

Tinker Tailer Soldier Spy

ORIGINAL SONG

Real in Rio

VISUAL EFFECTS

Rise of the Planet of the Apes

WRITING ADAPTED

The Descendants

WRITING ORIGINAL

Bridesmaids

We'll see how I do.

And I can't wait to see what Ms.'s Mara, Close, and Williams will be wearing.

P.S. I enjoyed Santorum's guest spot on Criminal Minds last night. ;)

WHITNEY VS. "BLACKNESS"

noreply@blogger.com (Ms☆Go) — Thu, 16 Feb 2012 16:53:00 +0000

Rest in peace, Whitney Houston.

You know, it's always interesting how the cruelties of life pursue us unto death and beyond, while those who were foremost in perpetuating them remain oblivious.

She was as beautiful as her voice.

...A gilded girl, blessed with the talent to make our souls soar with one perfectly executed note. She was a church girl and a "hood" girl from Newark, re-molded into a squeaky clean cross-over goddess of song...which sadly, only stuck for so long.

I wonder now, how much of that initial cross-over diva was pushed to the wayside for the sake of some kind of false sense of "black authenticity". I wonder how much of that sensitivity, disguised by hood-girl toughness, in that infamous interview with Diane Sawyer; that desire to be authentically black, might have had a role in ultimately destroying her.

You see, as much as black folks are pouring out their love for Whitney, now that she's gone, as much as they had a real hope that she might have returned to us before it was too late, I also remember the hate she received from black folks for being "too white".

I remember the criticisms she got from her brothers and sisters at the height of her fame for being false because of her safe image and songs.

...And so, she showed us how "hood" she actually was. She traded in that clean image for the rough-edges of what too many ignorant folks define as "more black" . The duets with Bobby, the defiant "mean black girl" she show in that interview.

...The marriage to Bobby, the drugs, the "black" music and mannerisms. A so-called return to "her roots" that I believe ultimately destroyed her. So, this is my call to black America to for once and for all give-up the idea that there is one right way to be black.

There isn't.

Between most of the successful hip-hop elite all now following in "not hood enough" MC Hammer's footsteps, when it comes to endorsements, squeaky clean projects, and expanding their brands and those who choose that similarly doomed of path of 'when keeping it real goes wrong', I am tired and done with that ill-conceived ideal.

Let us realize, that "keeping it real" is not something that can be singularly defined, not something so negative as to set-us on destrutive paths, but truly whatever the heck you want it to be. From playing the bagpipe to learning Russian, we need to stop limiting and destroying ourselves in pursuit of that false and self-destructive ideal.

It's the melanin and ancestry the defines black, not the "hood things" we do.

THE HUNGER GAMES TRAILER AND VANITY FAIR

noreply@blogger.com (Ms☆Go) — Thu, 02 Feb 2012 16:54:00 +0000

Okay, I have to admit, the trailer for The Hunger Games blows my mind.

It's just awesome.

Though it would've been nice to see some actors of color in those "olive-skinned" lead roles, we all know how unrealistic that is, in the current Hollywood system. Still, I am looking forward to seeing those ~~noble deaths~~, um err, substantial supporting roles by Lenny and Amandla.

The characters they portray are pretty beloved.

For those who haven't seen the trailer yet, check it out:

The books are pretty damn amazing. With the heavy political allegorical shades of an Animal Farm or Watership Down for the Twlight set, sans the facile, cheesy, melodrama of that vamp/werewolf series.

Read it before the films come out, people.

So, the new Vanity Fair Hollywood issue cover has been revealed. And what do you know? They were generous enough to maintain their black-and-a-half inside cover-flap quota.

Diversity, y'all!

The lucky inside flap tokens are Adepero Oduye from the critically-acclaimed indie, Pariah and Paula Patton, from Mission Impossible: Ghost Protocol (note: Paula considers herself black, not "mixed", as the majority of Africans-Americans technically are but are still racially-labeled based on recent parentage and looks)

Aren't they just so generous to us colored folks? ;-)

P.S. Yes, indeed I am laughing my behind off at the irony of this (check the fifth paragraph in).

ABOUT THE BLOG AND REDTAILS...

noreply@blogger.com (Ms☆Go) — Thu, 26 Jan 2012 17:01:00 +0000

Just a few notes today.... Foremost, this blog is not shutting down, though it has been awhile since I've posted.

New posts for the new year and possibly a new look is to come.

Now, I have to say a few words about the newest "black movie" and George Lucas' very correct assessment that Hollywood producers believe black films don't make money. Lucas' debatable writing and directing talents notwithstanding, the fact that even he, the king of independent billions funneled into the Hollywood system could not get major funding from the Hollywood mainstream for Red Tails indeed proves how valid the point, (having been raised time and time again by many folks) truly is.

I am pleased to have seen the trailer and avdertisements for this particular film being aired during mainstream TV shows that aren't necessarily, "black oriented", as this is an American story, for all.

No doubt, that is due to those aforementioned independent billions. The fact is this is still an anomalous situation.

Han Solo was supposed to be a brother, y'all until Hollyweird intervened.

Right now, this film is number two, but I can't begrudge the mainstream audiences for not wanting to see another history movie with heavy platitudes and cheesy proclamations.

...What I can do is celebrate the African-American-created Underworld series still going strong.

See, I'm always looking for that silver lining. :)

Until again, see you.

WUTHERING HEIGHTS, SHAME, BEING ELMO AND TARAJI P. HENSON VS. TV GUIDE

noreply@blogger.com (Ms☆Go) — Sat, 24 Sep 2011 19:55:00 +0000

The teaser for Andrea Arnold's Wuthering Heights has been released:

Here's a clip from a film I haven't mentioned here, Shame which is getting good buzz on the festival circuit and is about a pretty risque subject, sexual addiction.

This is Steve McQueen.

I'm not even going to lie, I posted this photo because of that awesome kilt.

Directed by Steve McQueen, pictured above, stars up-and-coming actor Micheal Fassbender and features Nicole Beharie, whom I have mentioned here before. She gets serious love for a recent interview in which she stated that her dream project would be starring in a movie based on Octavia Butler's work.

I think she would make a fantastic Anyanwu, but I have a feeling that Kindred is the novel, Hollywood is most likely to jump on first. McQueen in the director's chair for that project could be epic.

I'm always happy to see artists of color doing work outside of that narrow expected box, Hollywood is most likely to push. Congratulations to Tyler Perry for being the highest paid man in the film industry this past year, but I want more people of color of various artistic inclinations, especially those behind the camera to gain some mainstream attention, especially when their talents more than warrant that.

McQueen's previous work, The Hunger, also starring Micheal Fassbender, received a huge amount of critical and award attention.

His next feature, Twelve Years a Slave, starring the ever-magnetic, Chiwetel Ejiofor is definitely something I will be keeping an eye on.

The last bit I'm spotlighting is the documentary film Being Elmo, about noted puppeteer, Kevin Clash. Here's the exclusive trailer from indiewire:

If you want more of something different from the typically safe "colored" fare ( i.e. The Help, Madea's Big Happy Family), find out where these films are screening and go see them.

If they don't screen near you, let your local theater manager know that you would have liked to have seen these films in your area.

P.S. Taraji P. Henson recently tweeted her frustrations with having been almost completely left out of the promos for the new series Person of Interest and yes, I believe it was more than warranted. I saw the pilot, not bad, really. But I found it rather strange that while her name appeared second in the credits, right behind star Jim Caveziel, I haven't seen hide nor hair of her in any of the commercials or, as she tweeted, the TV Guide cover featuring the show:

"WOW!!!! TV Guide is NOT including me on the cover with my cast memebers [sic]........I am the female lead of a 3 member cast and I'm not included on the cover!!!!!! Do you see the shit I have to deal with in this business.....I cram to understand!!!!"

...props for the MC Lyte quotage

This is especially odd considering that she is the only actoress among the three leads to have both an Oscar and an Emmy nod. I have heard responses saying, well she's not as well-known as the other two. And my response to that is, "Is it any wonder?".

This is what I found when I googled "TV Guide covers."

...So white, I had to wear sunglasses to view it.

Given the huge numbers of black Americans with buying power who watch TV, you would think CBS and TV Guide would have made some kind of effort to clue that particular audience in to an actor who is very well-known to them.

...But, given TV Guide's response to Taraji's public complaint, that they never intended to feature her, money matters less than homogeneity.

THE HELP

noreply@blogger.com (Ms☆Go) — Tue, 20 Sep 2011 20:00:00 +0000

Yes, I finally got around to seeing it. ...No, I still didn't pay for it. That money went to Columbiana. Though, I am happy to see both films have done better than expected. For a minute there, they were the number one and two films in the country. Not bad for two very different films about black women, and yet another vote of confidence for producers to back many more diverse projects.

You know about my misgivings. I was terribly concerned about the possible "Disneyfication" of the serious issues that went along with being a black maid in those times.

What convinced me, however, was an interview I saw featuring Viola Davis on a primetime "news" magazine. She claimed to have approached the script with the same skepticism as I, and so many other black women might have. She sucked her teeth and "...had an attitude" as she put it, while reading it, but was won over.

...That was enough to intrigue me enough to give it a try.

I don't know if I've mentioned this here on this website, but a few years ago, I had the great privilege of attending a screening of Mother. This is film is another great powerhouse vehicle for a fantastic female actor, who should have had an Oscar nomination, and so much more attention for her role in that film than she got, Hye-ja Kim. The director, Joon-ho Bong was in attendance. Anyway, after the film screened, an audience member asked which American actors he would love to work with.

He named two, Toni Collette and Viola Davis. I would also love to see what he could do with those two, but alas, he does not like the studio system in Hollywood. He claimed that he would not have the same level of personal control he has in Korea.

...And sadly, I believe he's absolutely right.

Anyway, I'm getting off the subject. ...And that is Viola Davis, whom I respect as an actor and a person and for whom I gave this movie a chance.

Well, I'm sorry to say those fears weren't completely unfounded. Despite the presence of black female acting powerhouses, including the woefully under-appreciated Cicely Tyson (also such a beautiful older woman), in addition to Davis and Spencer, (and some white ones too, Sissy Spacek and Allison Janey are also among my faves) it was still afforded that shiny technicolor glow. It was a glossed-over rendition of the struggles of black domestic workers in that time. "Retro" prettiness and the seemingly tacked-on happy ending (including a white couple 'rescuing' one of the maids), was tailor-made to sooth white guilt, not to paint to realistic a picture of what actually went on back then.

I think she might have taken this role for a couple of reasons. For one, it reaches to be more of a universal feminist film than a black one, meaning it splits time between the struggles of white women in those times and black.

I'm of two minds about that, because while I do love things that celebrate and delve into the sisterhood, in this case, coupling white women's issues with black women's from that time and in the manner that did, only placed their respective issues in a position that short-changed the harsher of the two experiences.

We hear about the horrible event that happened in Abilene's past, but we don't see it onscreen. Credit to Viola Davis for conveying the weight of it, despite the lack of the events being in the film. We see evidence of the challenges Spencer's character faces, but we don't see these depicted onscreen, either. This is an issue I see time and time again, in films with black supporting actors. We only see their lives in relation to white people, never as fully rendered with as many interactions with their own, as there when white actors are on the screen.

We do, however, see the issues weighing on some of the white women here, onscreen. This tactic minimalizes both, in my opinion. Making me roll my eyes at the attempt to seemingly 'equalize' the pressures white women and black women went through. Sorry, as much as women in general had to go through in those times, there's a big difference between being limited in social situations and constantly fearing for the lives and well-being of your own.

The only story-thread that did work, in my opinion, successfully bridging the gap between women of the two colors is Aibileen's relationship with the "unattractive" white girl she cares for. She constantly reassures this girl of her value, in the face of mother's neglect. I found this touchingly ironic, considering how unimportant, invisible, and undervalued Aibileen is treated in her day-to-day life.

I believe the other reason Viola Davis may have taken this role is because she knew what she could do with it. She knew what weight and gravity lacked in the script, she could convey with her acting, leveraging this, which I'm sure she knew would have broad cross-over appeal considering that safe "gloss", into a greater standing in Hollywood.

...And that she did, good for her.

The performances, are the only reason I give the film this rating. Mark my words, Viola Davis will get a Best Supporting Actress Oscar for this. You heard it here first.

PARENTS: I encourage parents to bring their children to this as in intro to a bit of history, that is rapidly being forgotten (I think this may be another reason, Viola took this role) due to our increasing discomfort with confronting racial issues from the past. However, I strongly advise supplementing the film with independent non-fictional reading, because just reading the original novelized form of The Help, considering the ending seen in the film, and given the actual real-life outcome...just seems like all kinds of wrong.

P.S. Emma Stone is billed as the star of this movie, and though she's serviceable, the real stars are indeed Octavia Spencer and Viola Davis. As for that Oscar predication, I just have a feeling the studio will promote her for the supporting actress category. I just hope I don't see another The Blindside situation here.

DRIVE

noreply@blogger.com (Ms☆Go) — Tue, 20 Sep 2011 20:00:00 +0000

Ryan Gosling is one of those actors who has established a reputation with me, in that pretty much anything he's in, I will watch. That's because the man always picks interesting projects and consistently brings his 'A' game to the material.

This film is no exception. Drive is a throw-back to those stark anti-hero flicks with silent brooding loners like Mad Max and Paul Kersey. Fearless, slick, cool, and minimal, it is the kind of vigilante 70's/80's style film-making that cares more about building tension, the visceral effect of abrupt violence, than catering to that broad youth market, quality be damned, which seems to be the priority these days.

No, this is a thoroughly adult film.

The car chase scenes are imaginatively done and I like that the film-maker clearly tried to distinguish his lead character as one who was very much not the simple "good guy." I'd love to go a little deeper into some interesting cinematic choices that drives *har-har* the point home, but I'll be moving a bit too deeply into spoiler territory.

My only issue is with the slightly 'too hip' sensibility of this thing. There's a lacking restraint in this filmmaker's style. The dead air-spaces would have been refreshing, but for his inability to pace his pauses properly. You can see that his intent is to allow this film to breathe, but the discretion to know when to say when, is something that will come with maturity. As it was, it breathed a bit too much, lapsing into too many moments of stretched-out awkward. One may claim that that is kind of the point, as Gosling's character was meant to be quite awkward in social situations. I understand that the audience is meant to feel that too, but for me, it was a bit much.

The casting of Carey Mulligan was also a bad choice, in my opinion. She's a wonderful actress, but she naturally exudes too much broad suburban naivety to be believable as the character she plays here. An actor who exudes more of genuinely "lived some life difficulties" feel would have been a better choice. I just didn't believe this woman had experienced being a single mom, at all.

I dug the synth soundtrack, but again it screamed tryhard-hipster, right along with the title font, the scorpion jacket, and even that daggone toothpick.

...But at least this is a semi-original idea, that's much to give credit for in today's recycled market.

It's good, but frustratingly full of pauses at all the wrong points. Still, it will likely be a cult classic.

PARENTS: No sex, but it is extremely violent. Keep the kids home.

THE PROBLEM WITH 21

noreply@blogger.com (Ms☆Go) — Wed, 14 Sep 2011 14:00:00 +0000

"Believe me, I would have LOVED to cast Asians in the lead roles, but the truth is, we didn’t have access to any bankable Asian-American actors that we wanted."

-producer, Dana Brunetti

*sigh*

Well Mr. Brunetti, you can't have bankable Asian-American actors unless you cast them in the first place. If you gave them just as much of a chance as you did Jim Sturgess (who hasn't proven himself 'bankable'either, by the way), then perhaps, there might be plenty of proven bankable Asian-American actors. I mean, all actors should have at least as much of a chance at winning a role as as any random schmuck who sits down at a blackjack table has beating his dealer, right?

As it is, Asian-American actors don't even get invited to sit at the table.

That's like saying, "Oh, I would love to give you some apples, but alas I don't have any." when you have a whole orchard of apple trees in your backyard, that you simply refuse to pick.

...Especially when it's been proven that even when unknown Asian-American actors are cast in starring roles (see: Harold and Kumar Go to White Castle), the quality of the material and the abilities of the actors to carry the film matter so much more to that coveted successful box office total than the race of the leads.

I believe the lack of visibility of Asian-Americans in pop culture is probably the biggest contributing factor to the problematic perception of Asian-Americans as 'foreigners', even if they have a longer family history here and speak more perfect English than you do.

When you think of 'all-American' looks, you think of blonde hair and blues eyes, not because those featurs are actually more American, but because they have been promoted as such, and because that statement is repeated with such consistent frequency.

...Which is why I can't stand when industry insiders spout this kind of self-supporting racist crap. As if the biggest risk is hiring actors of color and not say, writing a horrendous script and/or not properly promoting quality material.

I don't know... Maybe they thought if they'd hired Asian-American actors, they'd have had to adhere to troubling stereotypes in order to make the characters appealing. ...Have them running around awkwardly saying "We go play casino!" otherwise, it wouldn't compute that they were actually ethnically Asian.

The actual person on which this is based, Jeff Ma, publicly supported the decision to whitewash, standing lockstep with the same tired racist line as the studios; that they had hired the best actor for the job regardless of color. He went on to actually state that he would have been offended if they had cast someone Korean or Japanese just to have someone Asian to play him..

...The desire to successfully assimilate into the dominant culture to the detriment of one's own is a powerful motivating factor that supports this world of mono-chromed wrong, but that doesn't mean that these influential Hollywood powerhouses can't turn around and step outside of that self-disparaging cycle.

I see Jeff Ma as just an example, a victim of our culture's success in this false propaganda, even to the point of this kind of pride in self-hatred, twisted into a virtue, in this man's eyes.

Still, I have hope. I have high hopes for the Shyamalan-Will Smith produced Jaden Smith sci-fi-vehicle, One Thousand A.E. All, Airbender sins would be forgiven for a high-quality sci-fi blockbuster starring people of color. I'm happy to see more directors and producers of color working with material that's outside of what one would expect for them. .

Ang Lee has made a career of simply producing quality material within and outside of his culture.

I'm also seeing fewer Soul Planes and more Shames (seriously, look out for this brother). Steve McQueen is also producing a slavery-centered feature starring Chiwetel Ejiofor called Twelve Years a Slave.

Yes, I have much higher hopes for this than for Tarantino's Django.

...But I digress.

21 ended up being a flop, right along with fellow white-wash vehicles, Airbender and Dragonball Z.

I hope Hollywood gets that message soon.

MORE ON WUTHERING HEIGHTS

noreply@blogger.com (Ms☆Go) — Sat, 10 Sep 2011 16:47:00 +0000

So, you already know I'm excited about the fact that this version of Wuthering Heights was made, that someone had the balls to cast what may be the first actor(s) of color in the role of Heathcliff, of all the adaptions made. ...Which shouldn't be ironic, considering the fact that the character is described as a "dark skinned gypsy" in the book, but because it's Hollywood?

Yeah.

It is.

The film was recently screened at the Venice Festival and so far, reviews are mixed. It's supposedly minimalist; has no score and has relatively little dialogue. In other word, very Terrence Malick-like, I'm guessing.

While there is no trailer out for it yet, a few clips have been released. Warning: this does contain some adult material.

In addition to the above, here's some footage of a recent press conference featuring the director Andrea Arnold.

I found the bit from actor Solomon Glave, who plays the younger Heathcliff, at around 1:53 into the video, particularly touching.

COLOMBIANA

noreply@blogger.com (Ms☆Go) — Sat, 27 Aug 2011 02:20:00 +0000

I had high hopes, but it ends up being yet another produced by a big-name, directed by a no-name bait and switch. Between this and Pitof's Catwoman I'm wondering if Hollywood has it in for would-be mainstream movies starring black women, where they aren't the white lead's bff or Tyler Perryed into downtrodden souls who need Jesus and good men.

Everything about this felt like an action movie vehicle typical in every way except in the behind-the-scenes effort, or I should say lack thereof. The script felt like a first draft that hadn't benefited from the tightening and intelligence of any subsequent drafts. The direction and editing almost seemed to purposely obscure every action scene with shaky cam and awkward cuts. Lines of dialogue along with the minor players' acting is B-movie awful. And all of this is undescored by a terrible soundtrack. Oh, and yet another fat-and-sassy black woman makes an appearance here.

Zoe, Cliff, and Lennie give it a good effort, but do not manage to elevate the material beyond unintentionally funny b-movie leaps of logic. At least, those moments are fun, with some creative setpieces. They would be moreso but for that dishonest PG13 rating and the terrible camerawork and editing. Should have been an honest R.

Between this and Hawthorne, Vartan might want to lookout for 'interracial guy' typecasting.

This gets a from me. Either support it purely to let producers know that they can also try to make nonwhite women mainstream leads without the old problematic types or wait for cable.

PARENTS: Its a neutered R-rated movie about on the level of that last Die Hard.

P.S. No, I haven't seen the The Help, but I hear Viola Davis and Octavia Spencer are excellent in it.

...Which means there will likely be another Driving Miss Daisy, Monster's Ball, Jerry Maguire situation. Wherein Hollywood rewards black actors only when the roles they play fit certain comfortable stereotypes.

In other words, you can even be a Denzel Washington, but you're not getting that Oscar for anything more than playing a thug-cop.

Regardless of Hollywood's continual rewarding of black stereotypes while ignoring much better roles, I hope Viola Davis, especially, gets that naked golden man. She already has plans to parlay her award into some positive steps behind the camera.

It's always nice to see black people cooperating in production to get more diverse imagery out there.

PREVIEW: FRIGHT NIGHT

noreply@blogger.com (Ms☆Go) — Thu, 04 Aug 2011 18:01:00 +0000

The better Evil.

A product of today's self-referential culture, it is full of winks and nods to just about every popular vampire fandom and all the little gadgets and tricks kids and adults use these days. From Buffy's Scoobies and a panic room to sexting and Dark Shadows, a variety of pop-cult name-droppings were sprinkled through-out.

The primary cast handles the material well, striking a good balance between self-aware fun and the nastier bits (which for me, beyond crude language were lacking for an R-rated horror), with Ferrell and Tennant clearly having the most fun here.

I did think the back-story, which diverges from original was a bit tacked-on, but that is beside the point. This is a remake that exceeded my expectations, respecting the source (including a few easter eggs) while defining their own direction.

Though not topping the fun 80's cheese of the original, this gets a well-deserved from me.

PARENTS: The only thing that felt R-rated to me was the language.

P.S. Though it made a great one-liner, the silver thing applies to traditional vampires, too.

RED TAILS TRAILER

noreply@blogger.com (Ms☆Go) — Fri, 29 Jul 2011 22:01:00 +0000

This is the long developed (since 1988!) George Lucas project about the Tuskeegee Airmen.

You know how I feel about heavy-handed self-righteousness in 'race' movies, but I think George is approaching this as an Americana fanboy (hello, TIE Fighter scenes in Star Wars), as more an American story than a black one.

I'm not saying that race and the baggage that came with being the wrong color for the times, shouldn't be a part of it, but I think hindsight tends to make folks lean harder on those aspects than they need to (couldn't say much back then because, well, racism; and so it's bottled up until exploding like that deferred dream), ironically lessening the cinematic impact of it.

I believe in less is more.

If George Lucas can solve his stilted dialogue issues, that quality might make this a better film than expected.

Until then, there's always the excellent HBO movie.