Displaying items by tag: Danielle Brooks

THE HARDER THEY FALL

US, 2021, 139 minutes, Colour.

Jonathan Majors, Idris Elba, Regina King, LaKeith Stanfield, Zazie Beeta, Delroy Lindo, Dion Cole, Michael Beach, R.J. Cyler, Edi Gatghegi, DeWanda Wise, Damon Wayans Jr, Danielle Deadwyler,

Directed by Jeymes Samuel.

The strong Western, using the various conventions of the American West, outlaws, violence, rivalries and politics. What makes it more significance is that it is a film which focuses on African-American characters in the West, very few white characters to be seen. And, as been written Jeymes Samuel, a British writer, producer, director, but also a songwriter and musician. And music featuring significantly throughout this film.

There is a very strong opening, in version of a home, parents and their child, the death of the parents, the leader of the troop, the carving the boy’s forehead – and moving 20 years forward.

The star of the film is Jonathan Majors as the boy growing up, leader of his own group, involved in robberies, but also a journey of vengeance, and his relationships with various members of his group.

The other central character of the film is Idris Elba as the gunfighter who carved the boy, was freed from prison, involved in money dealings, taking over a town, ousting the Mayor, and his followers. And, at the end, quite a revelation about the relationship of the two men.

There is a very strong cast indeed, a range of key actors, African-Americans. There are significant male actors like Delroy Lindo, LaKeith Stanfield, Damon Wayans Jr. But, it is even stronger, the African-American women, Regina King, Danielle Deadwyler, Zazie Beetz.

With seeing as a western, is a picture of the characters in the white American West, playing on the conventions, heroes and villains, and ambiguities of characters and behaviour.

1. The title, in the context of the West?
2. The settings, the western locations, action?
3. The cast, African-American cast? Africans Americans in the 19^th century West?
4. Nat Love story, as a child, parents, the attack, their deaths, the carving on his forehead, the passing of 20 years, his new life, associates, killing Cortez? The robbery? The news about Rufus block? Nat and his relationship with Mary Field?
5. The portrait of the supporting characters, in themselves, their Association with Nat Love, with Rufus Buck? Loyalties, betrayals, shootouts?
6. Rufus Buck, at the opening, 20 years later, prison, pardon, the stolen money, his relationship with Trudy Smith, Cherokee Bill, the escape from the train? Killing the corrupt guards?
7. Redwood City, wily escape, the mayor, buck whipping him? Escape and the money?
8. Marshall Reeves, the arrest, capturing Love, the issues of revenge? The relationship with Cuffee? Mary, the proposal, the refusal? The buying of the saloon?
9. The action, the to-ing and fro-ing, between Nat story, Rufus Buck’s story, the deals, the love for Cuffee?
10. The wagon, the friends and betrayals, the money, the shootouts? Tesco’s death?
11. The confrontation between the women, their fighting?
12. Rufus Buck, with Love, the revelation about their father, his abuse, their being half-brothers, the shooting of the revenge? That killing Buck?
13. The end, Marshall Reeves, in control, Cuffee in support? The grave? The death of Buck, the freedom for Nat Love?

EAT WHEATIES!/ DEAR ELIZABETH

US, 2021, 88 minutes, Colour.

Tony Hale, Alicia Cuthbert, Danielle Brooks, David Walton, Alan Tudyk, Sarah Clarke, Paul Walter Hauser, Robbie Amell, Kylie Bunbury. With thanks to Elizabeth Banks.

Directed by Scott Abramovich.

Tony Hale is very well known to television audiences, 65 episodes of Veep, 84 episodes of Arrested Development as well as many films and other television series.

This is his film.

He plays a genial middle-aged man, competent in his work, but rather simple in many of his approaches to life. It is one a sympathetic brother and an unsympathetic sister-in-law. He is awkward in relationships. And he has a sometimes peculiar sense of humour which irks some of his audience.

There is a reunion for his college group and he is asked to be on the coordinating committee. The key to the film and his response is that he was at college with actress and director, Elizabeth Banks, dating one of her sorority sisters. He makes a lot of this – writing to her agent for an autographed photo as a gift for his brother, sending it back when it is smudged, alienating her agent with his continued requests, her eventually getting a restraining order on him – which, of course, bewilders him.

He decides to overturn the restraining order, finding lawyers too expensive but finding one, played by Paul Walter Hauser, with an online qualification but less expensive. A lot of the enjoyment in the latter part of the film is the court case, the speeches, the antagonism of the agent, the attentive listening to the judge, and the lifting of the order.

Alan Tudyk plays a sympathetic friend who turns on him. There is the reunion, his being shunned.

But, there is a happy ending, the sister-in-law giving birth and becoming more sympathetic, his invitation to be godfather, and finally, a message from Elizabeth Banks who has been away and not privy to all the upsets, a sympathetic message.

And, the titles? Dear Elizabeth is obvious. But Eat Wheaties! is a quote from Elizabeth, encouragement, that she used in her early years.

1. The two titles, dear Elizabeth Banks, her saying, “Eat Wheaties!”?
2. Offices, homes, barbecues, hospitals, class reunions, the courts…? The musical score?
3. Tony Hale as Sid Straw? A good man, limited, work at the office, relationship with his brother, Tom, the jokes at the wedding and Jenny’s reaction? His long speeches and jokes? With people at the office, Bruce? Black joked with Sam? The meeting with Katelyn, the outing, the night together, her later reactions, the breakup? His acceptance?
4. The question of Elizabeth Banks, class reunion, his being the co-chair, the organisation, his memories, dating one of Elizabeth Banks’ sorority sisters? Asking the signed photograph for his brother’s birthday? The smudged copy? His continued appeals, agent, Frankie and her harsh reactions, the sympathetic assistant? Asking for the restraining order, its imposition, the effect on Sid, approaching the various lawyers, their costs, finding James Risk, with his family, qualifications, online degree, dodgy, less expensive? Sid going with him, the friendship, in the court, James and his speeches, awkward, his impassioned plea? And winning the case, going back to Bruce and the other managers, apologies and recompense, the previous insult at the bank, showing the tellers the cheques, going to a bank which is courteous?
5. The online posts, poetry, outpourings, his not realising they were going viral, his brother’s response, the agent’s response, the reaction in the office, Bruce giving notice, firing him? His attempts at other jobs?
6. Sid and his being friendly, his brother’s speech about him and their friendship, support, Jenny objecting, her later relenting, his speech before the guests arrived, Brandon and the jokes, Alison, the connection with Frankie? Alison in the court prosecuting for Frankie? And the birth of the baby, their asking him to be Godfather and laughing at jokes?
7. Wendy, at the diner, friendly, chatting, giving him the drinks, the final talk, at the hospital, the kiss?
8. The reunion, the various meetings with Dave Lambert, friendship, his son, the smells? Dave not wanting to mix with Sid? The guests awkward?
9. Sid, writing the children’s book, the recitation, the publication, success? Softball sequences, David and his son? Sid finally enjoying softball?
10. And the finale message from Elizabeth Banks, and the outreach to Sid?

THE COLOR PURPLE

US, 2023, 141 minutes, Colour.

Fantasia Barrino, Taraji P.Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Felicia Pearl Mpasi, Halle Bailey, Ciara, H.E.R., Gabriellq Wilson, David Alan Grier, Deon Cole, Louis Gossett Jr, Aunjanue Ellis-Taylor.

Directed by Blitz Bazawule.

The Color Purple is a celebrated novel by Alice Walker, winning the Pulitzer Prize for Fiction in 1983, immediately popular, filmed to great effect by Stephen Spielberg in 1985, breakout performance by Whoopi Goldberg. In the 2000s it was developed as a musical.

This film is the musical version, produced by Steven Spielberg, Oprah Winfrey, Quincy Jones.

Many audiences appreciate favourite stories being developed as musicals. On the other hand, many find the songs, dance interludes, take away the impact of the drama. Which is the case here for different audiences.

The screenplay traces the key elements of the novel and the earlier film version. Action begins in the American south, Georgia coast,. 1909. As the drama proceeds, there are gaps of years, the audience appreciating that not so much has changed in the interim, the screenplay focusing on 1917, 1922, 1936, 1945 and culminating in 1947, a dramatic period of change in the US, two world wars and American involvement, technical developments. But, the focus here is on African Americans, their heritage, slavery, freedoms, prejudice. Yet, the bonding, survival and the creation of culture, music and dance.

And the focus is on Celie, initially pregnant by her father, his taking her child from her, her being purchased by the arrogant Mister, a drinking and violent man, some joy in her cousin, Nettie, who disappears from her life, a sad life of drudgery.

The Color Purple is a strong story of domestic violence, perpetrated by black men, harsh and cruel, presuming there domination over women. But, as the decades go by, the timid Celie reacts against her almost slave-life, is befriended by several women, encouraged, offered some opportunity to move outside her house and its routines, finding herself and her capacities, more and more transformed, with final opportunities to take charge of her life.

That is the drama. And into this drama are inserted a wide range of songs, dance routines, many with melancholy undertones, many with the discovery of exhilaration and hope, the lyrics illuminating the characters and their experiences, the music with echoes of the blues, jazz… And the singing cast have strong, fine voices.

The adult Celie is played by Fantasia Barrino, whose performance has to arrange from the downtrodden through struggle to self-confidence. Mister is played by Colman Domingo, a man to be loathed but, in the spirit of the film, to be redeemed.

There are two significant women who influence Celie. The first is Mister’s mistress, the singer, Shug Avery (a lively performance from Taraji P.Henson). The other is a large and boisterous woman, Sofia, Danielle Brooks, who commands the screen whenever she appears, and has the defiant song, “Hell, No!” Until, punished for her defiance, she becomes a shell of herself in prison. It is not surprising to find that Danielle Brooks is an Oscar nominee for Best Supporting Actress.

The aud ience is invited to identify with Celie as much as they can, sympathy for her initially, empathising with her as Mister dominates her, humiliates her, is physically cruel. But, then we are filled with hope with some of the friendships, some easing of her hard life. And, then joy in the opportunities she is offered, and a reunion with Nettie and the children, Mister having hidden all the letters that Nettie had written to Celie over the years. And, finally, some reward for patience and endurance. (And, yes, that is Whoopi Goldberg in a small cameo.)

For those who enjoy a musical versions, much to appreciate and enjoy. For those not so enthusiastic about musicals, there is sufficient drama over the decades, the journey of Celie, to hold attention.

1. Status of Alice Walker’s novel? Impact on American culture, awareness of African-American history? Steven Spielberg’s film version? The musical version?
2. This musical retaining the core story of the novel, the characters, their interactions, the timespan from 1909 to 1947, the Georgia setting, the coast, the black townships?
3. The insertion of the songs, the lyrics and their meanings, especially “Hell, no”? Celie’s songs, with Nettie? Shrug Avery’s songs and their flair? The influence of the blues, jazz? The staging of the songs, the supporting cast, the singers and dancers, choreography? Blend of realism and fantasy?
4. The focus on Celie, the opening, her friendship with Nettie, sitting in the tree, singing? Mister riding by on his horse, the guitar? Celie and her age, pregnant, the birth of the child, calling it Adam, pregnant by her father, his control, taking the baby and giving it away? The same with the next baby, Olivia? The effect on Celie?
5. Nettie, lively, songs, friendship, the hat in the store window, the approach of Mister, Nettie coming to live with Celie, his treatment of Nettie, violent, lifting her, her disappearance, the promise of letters? Her writing letters over the years, Mister not giving them to Celie?
6. Mister, brutal, smug, drinking, marrying Celie, the deal with her father, bringing her home, his children, her work, virtual slavery, cleaning, cooking, caring for the children? At Mister’s whims?
7. The events of 1909, the transition to 1917, the long years?

Harpo, growing up, his relationship with Sofia, her being pregnant, Mister and his reaction, the marriage? Brittle, Harpo and his fears? Sofia, big, lively, boisterous, her songs, control? The break with Harpo? Her teaming up with the other man, pregnant, the growing family, her visits? Friendship with Celie?

8. Shug Avery, her relationship with Paul, the Minister, his presence in the town, ceremonies, leadership, his songs? (And her final return, the reconciliation, singing together?) Her relationship with Mister, not marrying him, going off for her career, her singing, reputation, lifestyle, wealth? Mister and his continued infatuation and references to her?
9. Harpo, the money, building the club, his father’s reaction? Success, the decision to bring Shug Avery?
10. The transition to 1922, the years passing, the same for Celie and Mister? Harpo and his club? The clientele? Shug Avery and her arrival, flare? Her staying at the house, her friendship with Celie, continuing, her singing, the big production of her arrival, performance, song and dance?
11. Into the 1930s, Celie continuing on her downtrodden situation? Sofia, the incident with the mayor’s wife, offering her to be made, the confrontation with the mayor, his slapping her, her punching him, the attack on her, in prison, for six years, Celie visiting her every week, the meal, her depression? Her being released? A shell of her former self?
12. Harpo, the new woman in his life? Supporting him? If his being like his father?
13. Mister, the visit from his father, harsh attitudes, the treatment of women?
14. Shug, helping Celie, taking her away, Celie going, changes of attitude, urges to self-assertion, realising possibilities? Mister and his continued violence towards her, contempt? Going to town, going to the movies, and the imagination of the song and dance routine in the movie?
15. The 1940s, Mister by himself, in the fields, the plague, the burning of the fields?
16. Shug Avery marrying, their coming to visit Mister, the meal, Sofia and her husband present, Mister’s father? Celie and the defiance? Sofia laughing, coming alive again? Her gratitude to Celie for the visits?
17. Celie and Shug, affection, intimacy, the sexual encounter, the effect on Celie?
18. Charlotte and her seeing the postman, finding the letter from Nettie, searching the house, Celie reading the letters, unexpected joy?
19. After the war, the letters from Nettie, going to Africa, the children, caught by the war, getting the documentation, the irony of Mister giving the box of mementos to Celie, but also going to the authorities for Nettie and the children to come, the offer to sell some of his land to pay the expenses?
20. The happy reunion, Nettie, the children, grandchildren? The outdoor dinner, everybody present, joining hands, the song? Hope?
21. Celie’s journey to self-determination over the decades? Symbol of African Americans? African-American women? And a story of hope?