Kobi Libii’s debut feature The American Society of Magical Negroes starts on a promising note. Aren, a spindly and awkward artist (an endearing Justice Smith) loiters near a yarn sculpture in a gallery. He seems lost in the sea of roving patrons and bustling waiters. It takes a second for us to realize that Aren created the meditative wool work and is struggling to sell it to the mostly white collectors attending this group show. They find the abstract piece illegible; they repeatedly ask about the material (“Is it … yarn?”) while maintaining a distance. These brief encounters are a clever jab by Libii at a visual art world historically enamored of Black figurative artists.
Minor drama ensues after Aren is mistaken for a server by a patron and unceremoniously fired by his gallerist. Before he can think straight, the dejected artist finds himself touring the gothic halls of The American Society of Magical Negroes,...
Minor drama ensues after Aren is mistaken for a server by a patron and unceremoniously fired by his gallerist. Before he can think straight, the dejected artist finds himself touring the gothic halls of The American Society of Magical Negroes,...
- 3/29/2024
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
Herman Raucher, a best-selling author and the Academy Award nominated screenwriter of “Summer of ’42,” died Dec. 28 of natural causes at Stamford Hospital in Stamford, Conn. He was 95.
Raucher got his start in the industry working in live television. He wrote one hour dramas for anthology series including “Studio One,” “Good Year Playhouse” and “The Alcoa Hour.” In his screenwriting career, he wrote the scripts for two films starring Anthony Newley, “Sweet November” (1968) and “Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” (1969), which Newley also directed.
Raucher was inspired by Bobbie Gentry’s popular song “Ode to Billie Joe” to write the screenplay for Max Baer Jr.’s 1976 romance film of the same name starring Robby Benson and Glynnis O’Connor. Raucher also co-wrote the script for the 1977 film “The Other Side of Midnight.”
Raucher is remembered for penning the script for the popular coming-of-age film “Summer of ’42,...
Raucher got his start in the industry working in live television. He wrote one hour dramas for anthology series including “Studio One,” “Good Year Playhouse” and “The Alcoa Hour.” In his screenwriting career, he wrote the scripts for two films starring Anthony Newley, “Sweet November” (1968) and “Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” (1969), which Newley also directed.
Raucher was inspired by Bobbie Gentry’s popular song “Ode to Billie Joe” to write the screenplay for Max Baer Jr.’s 1976 romance film of the same name starring Robby Benson and Glynnis O’Connor. Raucher also co-wrote the script for the 1977 film “The Other Side of Midnight.”
Raucher is remembered for penning the script for the popular coming-of-age film “Summer of ’42,...
- 1/11/2024
- by Jaden Thompson
- Variety Film + TV
Raucher was nominated for an Oscar for the 1971 box office hit.
Herman Raucher, the Oscar-nominated American writer of Summer Of ‘42 as well as other films, plays and novels, has died aged 95.
A statement from his family said Raucher died of natural causes on December 28.
Born in New York, Raucher began his writing career in television and advertising. His early feature work included the screenplays for Sweet November, Melvin Van Peebles’ Watermelon Man and cult musical comedy Can Hieronymus Merkin Ever Forget Mercy Humppe And Find True Happiness? The latter brought him the Writers Guild of Great Britain award for...
Herman Raucher, the Oscar-nominated American writer of Summer Of ‘42 as well as other films, plays and novels, has died aged 95.
A statement from his family said Raucher died of natural causes on December 28.
Born in New York, Raucher began his writing career in television and advertising. His early feature work included the screenplays for Sweet November, Melvin Van Peebles’ Watermelon Man and cult musical comedy Can Hieronymus Merkin Ever Forget Mercy Humppe And Find True Happiness? The latter brought him the Writers Guild of Great Britain award for...
- 1/4/2024
- by John Hazelton
- ScreenDaily
Herman Raucher, whose Oscar-nominated Summer of ’42 screenplay became one of Hollywood’s best-loved coming-of-age tales, has died of natural causes at Stamford Hospital in Stamford, Ct. He was 95.
His December 28 death was announced by daughter Jenny Raucher, who was by his side when he passed.
Subsequently adapted by Raucher into an international best-selling novel, 1971’s Summer of ’42 was nominated for four Academy Awards including Best Original Screenplay. It told the nostalgic and bittersweet story of teenager Hermie — played by Gary Grimes and based on Raucher himself — who, during a summertime vacation on Nantucket Island, becomes infatuated with a beautiful (and soon grieving) older woman (Jennifer O’Neill) whose husband has gone off to fight in World War II.
The film, directed by Robert Mulligan (To Kill a Mockingbird), was a critical success and a major hit for Warner Bros. Michel Legrand’s score won an Oscar and quickly became...
His December 28 death was announced by daughter Jenny Raucher, who was by his side when he passed.
Subsequently adapted by Raucher into an international best-selling novel, 1971’s Summer of ’42 was nominated for four Academy Awards including Best Original Screenplay. It told the nostalgic and bittersweet story of teenager Hermie — played by Gary Grimes and based on Raucher himself — who, during a summertime vacation on Nantucket Island, becomes infatuated with a beautiful (and soon grieving) older woman (Jennifer O’Neill) whose husband has gone off to fight in World War II.
The film, directed by Robert Mulligan (To Kill a Mockingbird), was a critical success and a major hit for Warner Bros. Michel Legrand’s score won an Oscar and quickly became...
- 1/3/2024
- by Greg Evans
- Deadline Film + TV
Herman Raucher, the best-selling author and screenwriter who earned an Oscar nomination for the coming-of-age classic Summer of ’42 and wrote the script for the thought-provoking Watermelon Man, has died. He was 95.
Raucher died Thursday of natural causes at Stamford Hospital in Stamford, Connecticut, his daughter Jenny Raucher told The Hollywood Reporter.
Raucher, who started out in live television, penned the screenplays for two Anthony Newley-starring films: Sweet November (1968), directed by Robert Ellis Miller and also featuring Sandy Dennis, and Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? (1969), featuring Joan Collins.
He also was given inspiration from Bobbie Gentry’s 1967 hit song to write the screenplay to Ode to Billy Joe (1976), a love story that starred Robby Benson and Glynnis O’Connor and was helmed by Max Baer Jr.
With the Robert Mulligan-directed Summer of ’42 (1971) in postproduction, someone came up with the idea of Raucher writing a...
Raucher died Thursday of natural causes at Stamford Hospital in Stamford, Connecticut, his daughter Jenny Raucher told The Hollywood Reporter.
Raucher, who started out in live television, penned the screenplays for two Anthony Newley-starring films: Sweet November (1968), directed by Robert Ellis Miller and also featuring Sandy Dennis, and Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? (1969), featuring Joan Collins.
He also was given inspiration from Bobbie Gentry’s 1967 hit song to write the screenplay to Ode to Billy Joe (1976), a love story that starred Robby Benson and Glynnis O’Connor and was helmed by Max Baer Jr.
With the Robert Mulligan-directed Summer of ’42 (1971) in postproduction, someone came up with the idea of Raucher writing a...
- 1/3/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
Sofia Coppola, whose awards contender “Priscilla” is now in theaters, is just one of several filmmakers whose parents were already major names in the industry. Both her father, Francis Ford Coppola, and her mother, Eleanor Coppola, are directors, as is her brother Roman.
Here are some of the most notable second-generation directors in Hollywood, including Jason Reitman, Rob Reiner, Mario Van Peebles and Colin Hanks.
We’re also a big fan of Francesca Scorsese’s TikTok videos with her dad, Martin Scorsese, especially the one where he auditions the family dog.
Photo credit: Getty Images
Ivan and Jason Reitman
Jason has picked up the “Ghostbusters” mantle from his father, who died in Feb. 2022. He directed “Ghostbusters: Afterlife” and the fourth film in the franchise is due in 2024. Jason’s films include “Up in the Air,” “Juno” and “Thank You For Smoking.”
Photo credit: Getty Images
Brandon and David Cronenberg
The...
Here are some of the most notable second-generation directors in Hollywood, including Jason Reitman, Rob Reiner, Mario Van Peebles and Colin Hanks.
We’re also a big fan of Francesca Scorsese’s TikTok videos with her dad, Martin Scorsese, especially the one where he auditions the family dog.
Photo credit: Getty Images
Ivan and Jason Reitman
Jason has picked up the “Ghostbusters” mantle from his father, who died in Feb. 2022. He directed “Ghostbusters: Afterlife” and the fourth film in the franchise is due in 2024. Jason’s films include “Up in the Air,” “Juno” and “Thank You For Smoking.”
Photo credit: Getty Images
Brandon and David Cronenberg
The...
- 11/9/2023
- by Sharon Knolle
- The Wrap
Following their stellar Main Slate lineup, the 60th New York Film Festival has unveiled its Spotlight section, featuring a number of notable world premieres. Martin Scorsese and David Tedeschi’s David Johansen documentary Personality Crisis: One Night Only will debut at the festival, along with Maria Schrader’s She Said, Chinonye Chukwu’s Till, Elvis Mitchell’s Is That Black Enough for You?!?, and James Ivory and Giles Gardner’s A Cooler Climate.
Also in the lineup is Luca Guadagnino’s Bones and All, Sarah Polley’s Woman Talking, a special 50th anniversary presentation of Solaris with a new live score, a new documentary on the late Robert Downey, Sr. by Chris Smith and new series from Lars von Trier and Marco Bellocchio.
“Ranging from illuminating portraits and affecting personal stories to uncomfortable histories that ignite change, the third edition of our NYFF Spotlight section is a curated mix of world premieres,...
Also in the lineup is Luca Guadagnino’s Bones and All, Sarah Polley’s Woman Talking, a special 50th anniversary presentation of Solaris with a new live score, a new documentary on the late Robert Downey, Sr. by Chris Smith and new series from Lars von Trier and Marco Bellocchio.
“Ranging from illuminating portraits and affecting personal stories to uncomfortable histories that ignite change, the third edition of our NYFF Spotlight section is a curated mix of world premieres,...
- 8/16/2022
- by Leonard Pearce
- The Film Stage
Gritty inner city crime pix don’t get any rougher than this — I witnessed the walk-outs personally. Barry Shear and a crack crew filmed in Harlem for this downbeat crime pic that could be called ‘Every Thief For Himself.’ Paul Benjamin just wants to score some mob money and leave the mean streets behind — but a single slipup brings the worst of the Mafia and the black mob down on his neck. It’s neither a ‘stick it to whitey’ saga nor a plea for justice: it’s story 8 million and 1 in The Naked City. Stars Anthony Quinn, Anthony Franciosa and Yaphet Kotto provide more acting fireworks, with solid assistance from Gloria Henry, Antonio Fargas and Marlene Warfield.
Across 110th Street
Region-Free Blu-ray
Viavision [Imprint] 120
1972 / Color / 1:85 widescreen / 102 min. / Street Date April 27, 2022 / Available from / Aud 34.95
Starring: Anthony Quinn, Yaphet Kotto, Anthony Franciosa, Paul Benjamin, Ed Bernard, Antonio Fargas, Richard Ward,...
Across 110th Street
Region-Free Blu-ray
Viavision [Imprint] 120
1972 / Color / 1:85 widescreen / 102 min. / Street Date April 27, 2022 / Available from / Aud 34.95
Starring: Anthony Quinn, Yaphet Kotto, Anthony Franciosa, Paul Benjamin, Ed Bernard, Antonio Fargas, Richard Ward,...
- 5/28/2022
- by Glenn Erickson
- Trailers from Hell
A few tracks into the soundtrack of Questlove’s music-fest documentary, an emcee introduces the next performer, David Ruffin. A year after being bounced out of the Temptations, the notoriously troubled Ruffin already sounds nostalgic: “I’d like to go back to the olden days,” he says, with a glimmer of humor, as his backup band starts into the Temps’ “My Girl.”
Only five years had passed since that hit had conquered the world, but as Ruffin himself may have gleaned, Black music had grown exponentially in that short time.
Only five years had passed since that hit had conquered the world, but as Ruffin himself may have gleaned, Black music had grown exponentially in that short time.
- 1/28/2022
- by David Browne
- Rollingstone.com
The Criterion Channel’s February Lineup Includes Melvin Van Peebles, Douglas Sirk, Laura Dern & More
Another month, another Criterion Channel lineup. In accordance with Black History Month their selections are especially refreshing: seven by Melvin Van Peebles, five from Kevin Jerome Everson, and Criterion editions of The Harder They Come and The Learning Tree.
Regarding individual features I’m quite happy to see Abderrahmane Sissako’s fantastic Bamako, last year’s big Sundance winner (and Kosovo’s Oscar entry) Hive, and the remarkably beautiful Portuguese feature The Metamorphosis of Birds. Add a three-film Laura Dern collection (including the recently canonized Smooth Talk) and Pasolini’s rarely shown documentary Love Meetings to make this a fine smorgasboard.
See the full list of February titles below and more on the Criterion Channel.
Alan & Naomi, Sterling Van Wagenen, 1992
All That Heaven Allows, Douglas Sirk, 1955
The Angel Levine, Ján Kadár, 1970
Babylon, Franco Rosso, 1980
Babymother, Julian Henriques, 1998
Bamako, Abderrahmane Sissako, 2006
Beat Street, Stan Lathan, 1984
Blacks Britannica, David Koff, 1978
The Black Panthers: Vanguard of the Revolution,...
Regarding individual features I’m quite happy to see Abderrahmane Sissako’s fantastic Bamako, last year’s big Sundance winner (and Kosovo’s Oscar entry) Hive, and the remarkably beautiful Portuguese feature The Metamorphosis of Birds. Add a three-film Laura Dern collection (including the recently canonized Smooth Talk) and Pasolini’s rarely shown documentary Love Meetings to make this a fine smorgasboard.
See the full list of February titles below and more on the Criterion Channel.
Alan & Naomi, Sterling Van Wagenen, 1992
All That Heaven Allows, Douglas Sirk, 1955
The Angel Levine, Ján Kadár, 1970
Babylon, Franco Rosso, 1980
Babymother, Julian Henriques, 1998
Bamako, Abderrahmane Sissako, 2006
Beat Street, Stan Lathan, 1984
Blacks Britannica, David Koff, 1978
The Black Panthers: Vanguard of the Revolution,...
- 1/24/2022
- by Leonard Pearce
- The Film Stage
Prisoners of the Ghostland screenwriter/producer Reza Sixo Safai joins hosts Josh Olson and Joe Dante to discuss his wildest cinematic experiences.
Show Notes: Movies Referenced In This Episode
Infested (2002)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary
Prisoners of the Ghostland (2021)
Mandy (2018)
Candy (1968) – Glenn Erickson’s trailer commentary
S.O.B. (1981)
The Shining (1980) – Adam Rifkin’s trailer commentary
Robin Hood (1973)
The Story of Robin Hood (1952)
Modern Times (1936)
The Kid (1921)
The Deer (1974)
A Girl Walks Home Alone At Night (2014) – Allan Arkush’s trailer commentary
Qeysar (1969)
The Empire Strikes Back (1980)
The Warriors (1979)
New Jack City (1991)
Colors (1988)
The Whip And The Body (1963)
Blow Out (1981) – Josh Olson’s trailer commentary
Porky’s (1981)
Cinema Paradiso (1988) – Glenn Erickson’s Region B Blu-ray review, Glenn Erickson’s 4K Blu-ray review
Circumstance (2011)
Ninja 3: The Domination (1984)
Flashdance (1983)
Debbie...
Show Notes: Movies Referenced In This Episode
Infested (2002)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary
Prisoners of the Ghostland (2021)
Mandy (2018)
Candy (1968) – Glenn Erickson’s trailer commentary
S.O.B. (1981)
The Shining (1980) – Adam Rifkin’s trailer commentary
Robin Hood (1973)
The Story of Robin Hood (1952)
Modern Times (1936)
The Kid (1921)
The Deer (1974)
A Girl Walks Home Alone At Night (2014) – Allan Arkush’s trailer commentary
Qeysar (1969)
The Empire Strikes Back (1980)
The Warriors (1979)
New Jack City (1991)
Colors (1988)
The Whip And The Body (1963)
Blow Out (1981) – Josh Olson’s trailer commentary
Porky’s (1981)
Cinema Paradiso (1988) – Glenn Erickson’s Region B Blu-ray review, Glenn Erickson’s 4K Blu-ray review
Circumstance (2011)
Ninja 3: The Domination (1984)
Flashdance (1983)
Debbie...
- 11/9/2021
- by Kris Millsap
- Trailers from Hell
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Melvin Van Peebles. (Courtesy of Shadow & Act)We're deeply saddened by the news that the great Melvin Van Peebles has died. A filmmaker, director, novelist, playwright, and composer, Van Peebles was a pioneer of independent cinema, best known for his films Watermelon Man (1970) and Sweet Sweetback's Baadasssss Song (1971). In an official statement, Van Peebles' son, filmmaker Mario Van Peebles, states: "He was a pioneer, a maverick and one cool cat." Exiled Iranian filmmaker Bahman Ghobadi has published an open letter to the Academy of Motion Picture Arts and Sciences, discussing the struggles faced by refugees whose films are censored, banned, and restricted from being shown to the Academy. Ghobadi proposes "a refugee team of filmmakers; they can have their works viewed by a jury and eventually one movie can be chosen from the refugee team.
- 9/29/2021
- MUBI
On Wednesday, legendary filmmaking maverick Melvin Van Peebles died at the age of 89. Four days later, his son Mario was onstage to introduce his father’s most iconic achievement, as “Sweet Sweetback’s Baadasssss Song” screened in a new 4K restoration by the Criterion Collection at the New York Film Festival. The outdoor event, taking place in the newly opened NYFF venue of Damrosch Park, served as a timely reminder of the movie’s massive cultural impact as well as its value in proving that movies with Black protagonists had commercial appeal.
“This film was made at a time when you didn’t really see Black people onscreen with facial hair,” Mario told the crowd, “let alone some of the crazy shit my dad does in this movie.”
In addition to pursuing his own career as an actor and filmmaker, the younger Van Peebles has been the caretaker of his father’s legacy for decades,...
“This film was made at a time when you didn’t really see Black people onscreen with facial hair,” Mario told the crowd, “let alone some of the crazy shit my dad does in this movie.”
In addition to pursuing his own career as an actor and filmmaker, the younger Van Peebles has been the caretaker of his father’s legacy for decades,...
- 9/27/2021
- by Eric Kohn
- Indiewire
The planned Broadway revival of Melvin Van Peebles’ Ain’t Supposed to Die a Natural Death is still on track for its 2022 debut, The Hollywood Reporter confirmed, following the death of the beloved actor, filmmaker, playwright, novelist and composer at the age of 89.
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
- 9/23/2021
- The Hollywood Reporter - Movie News
The planned Broadway revival of Melvin Van Peebles’ Ain’t Supposed to Die a Natural Death is still on track for its 2022 debut, The Hollywood Reporter confirmed, following the death of the beloved actor, filmmaker, playwright, novelist and composer at the age of 89.
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
- 9/23/2021
- The Hollywood Reporter - Film + TV
Melvin Van Peebles, who died Sept. 21 at 89, was not the inventor of Black cinema, but it’s no exaggeration to say that he smashed open the door to Black cinema as we know it. It’s a door that, until he came along, had been wedged tightly shut — by Hollywood and by mainstream American culture. There were a handful of Black actors who were stars, like Sidney Poitier and Lena Horne and Cicely Tyson, and a handful of films by Black filmmakers, but there was still a vast roster of things that Black artists working in the movies could and could not do. Van Peebles stood in front of his audience, holding that roster in hand, and burned it.
He was a novelist, a playwright, a recording artist, an actor, a director, a groundbreaker, a visionary: the filmmaker as one-man band. In key ways, he changed movie history, and if...
He was a novelist, a playwright, a recording artist, an actor, a director, a groundbreaker, a visionary: the filmmaker as one-man band. In key ways, he changed movie history, and if...
- 9/23/2021
- by Owen Gleiberman
- Variety Film + TV
As you probably already know, it was announced yesterday that the influential filmmaker, Melvin Van Peebles, passed away. And as with the passing of any sort of filmmaking royalty, folks from the industry went to social media to share kind words.
Read More: Criterion To Release ‘Melvin Van Peebles: Four Films’ Blu-Ray Collection This September
Ava DuVernay shared a quote by Van Peebles, a filmmaker she called “iconic.” The quote read, “You have to not let yourself believe you can’t.
Continue reading R.I.P. Melvin Van Peebles: Mario Van Peebles, Ava DuVernay, Barry Jenkins & More Remember The Iconic Filmmaker at The Playlist.
Read More: Criterion To Release ‘Melvin Van Peebles: Four Films’ Blu-Ray Collection This September
Ava DuVernay shared a quote by Van Peebles, a filmmaker she called “iconic.” The quote read, “You have to not let yourself believe you can’t.
Continue reading R.I.P. Melvin Van Peebles: Mario Van Peebles, Ava DuVernay, Barry Jenkins & More Remember The Iconic Filmmaker at The Playlist.
- 9/23/2021
- by Charles Barfield
- The Playlist
Melvin Van Peebles, revolutionary independent filmmaker whose credits include Sweet Sweetback’s Baadasssss Song, Watermelon Man and La Permission, died Tuesday in Manhattan. He was 89. On this sad occasion we’re reprinting Brandon Harris’s profile of Van Peebles from Filmmaker‘s Fall, 2008 issue. It isn’t the first thing you notice when you walk into Melvin Van Peebles’s Columbus Circle South digs, but very few items within his intimate, eclectically appointed apartment — one that sports the back end of a Vw bus jutting out of one parlor wall and a giant sculpture of a hot dog near the window — speak […]
The post Remembering Melvin Van Peebles, 1932 – 2021 first appeared on Filmmaker Magazine.
The post Remembering Melvin Van Peebles, 1932 – 2021 first appeared on Filmmaker Magazine.
- 9/23/2021
- by Brandon Harris
- Filmmaker Magazine-Director Interviews
One of the most influential Black filmmakers of all time passed away in his home on Tuesday night. Melvin Van Peebles cemented his legacy with films like the radical comedy "Watermelon Man" and the blaxploitation masterpiece "Sweet Sweetback's Baadasssss Song." He was 89-years-old.
His family, Janus Films, and The Criterion Collection all released a statement today announcing his death, stating, "In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music."
Melvin Van Peebles is remembered as the godfather of modern Black cinema, influencing...
The post Melvin Van Peebles, Pioneer of Black Cinema, Dead at 89 appeared first on /Film.
His family, Janus Films, and The Criterion Collection all released a statement today announcing his death, stating, "In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music."
Melvin Van Peebles is remembered as the godfather of modern Black cinema, influencing...
The post Melvin Van Peebles, Pioneer of Black Cinema, Dead at 89 appeared first on /Film.
- 9/22/2021
- by BJ Colangelo
- Slash Film
Melvin Van Peebles, the influential indie filmmaker who helped spawn the Blaxploitation genre with his 1971 film Sweet Sweetback’s Baadassss Song, has died at the age of 89.
The director/actor/composer/novelist/playwright — among many other talents — died Wednesday night at his home with his family. The Criterion Collection, which will release a retrospective box set of Van Peebles’ work next week, announced his death in a statement. “Van Peebles made an indelible mark on the international cultural landscape. He will be deeply missed,” Criterion added. No cause of death was revealed.
The director/actor/composer/novelist/playwright — among many other talents — died Wednesday night at his home with his family. The Criterion Collection, which will release a retrospective box set of Van Peebles’ work next week, announced his death in a statement. “Van Peebles made an indelible mark on the international cultural landscape. He will be deeply missed,” Criterion added. No cause of death was revealed.
- 9/22/2021
- by Daniel Kreps
- Rollingstone.com
Melvin Van Peebles, an actor, writer, director, producer and icon of Black cinema whose films include Sweet Sweetback’s Baadasssss Song and Watermelon Man, died Tuesday night at his Manhattan home. He was 89.
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
His death was confirmed by his son, Mario Van Peebles, who said in a statement: “Dad knew that Black images matter. If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
Janus Films and Criterion Collection also announced the news on Twitter and said in a statement: “In an unparalleled career, distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the...
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
His death was confirmed by his son, Mario Van Peebles, who said in a statement: “Dad knew that Black images matter. If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
Janus Films and Criterion Collection also announced the news on Twitter and said in a statement: “In an unparalleled career, distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the...
- 9/22/2021
- by Erik Pedersen
- Deadline Film + TV
Melvin Van Peebles, an icon of Black cinema who acted in and directed influential ’70s films like “Watermelon Man” and “Sweet Sweetback’s Baadasssss Song,” died Tuesday at age 89.
His actor-director son Mario Van Peebles announced the news of his passing on Wednesday along with the Criterion Collection and Janus Films. No cause of death was given.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read.
“Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,” Mario Van Peebles wrote in a statement. “True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.
His actor-director son Mario Van Peebles announced the news of his passing on Wednesday along with the Criterion Collection and Janus Films. No cause of death was given.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read.
“Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,” Mario Van Peebles wrote in a statement. “True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.
- 9/22/2021
- by Brian Welk
- The Wrap
Melvin Van Peebles, the influential filmmaker behind “Sweet Sweetback’s Baadassss Song,” and father of director and actor Mario Van Peebles, has died. He was 89.
“Dad knew that Black images matter,” Mario Van Peebles said in a statement from the Criterion Collection. “If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
“Sweet Sweetback” will be screened at the New York Film Festival this week for a 50th anniversary tribute. “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the Criterion Collection said.
Melvin and Mario Van...
“Dad knew that Black images matter,” Mario Van Peebles said in a statement from the Criterion Collection. “If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
“Sweet Sweetback” will be screened at the New York Film Festival this week for a 50th anniversary tribute. “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the Criterion Collection said.
Melvin and Mario Van...
- 9/22/2021
- by Carmel Dagan
- Variety Film + TV
Multi-hyphenate talent Melvin Van Peebles has died at the age of 89. The news was announced on Wednesday by The Criterion Collection and Janus Films, which shared it on behalf of the entire Van Peebles family. The “giant of American Cinema” passed away on September 21 at home with his family.
Van Peebles gave American independent cinema exactly what it needed, when it needed it most: an explosive shake-up, with his unfiltered expression of Black consciousness and energetic style. The anarchic 1971 blaxploitation classic “Sweet Sweetback’s Baadasssss Song” undeniably shifted the course of American film history, and it was just one piece of a remarkably varied career that also encompassed forays into European arthouse cinema (“The Story of a Three Day Pass”), Hollywood comedy (“Watermelon Man”), Broadway productions (“Don’t Play Us Cheap”), novels, and performances. He was a transformative artist whose biting observations of social mores, unapologetic radicalism, and vision established a model for Black creative independence.
Van Peebles gave American independent cinema exactly what it needed, when it needed it most: an explosive shake-up, with his unfiltered expression of Black consciousness and energetic style. The anarchic 1971 blaxploitation classic “Sweet Sweetback’s Baadasssss Song” undeniably shifted the course of American film history, and it was just one piece of a remarkably varied career that also encompassed forays into European arthouse cinema (“The Story of a Three Day Pass”), Hollywood comedy (“Watermelon Man”), Broadway productions (“Don’t Play Us Cheap”), novels, and performances. He was a transformative artist whose biting observations of social mores, unapologetic radicalism, and vision established a model for Black creative independence.
- 9/22/2021
- by Tambay Obenson and Kate Erbland
- Indiewire
Upon learning that Melvin Van Peebles died Tuesday night at age 89, many Hollywood directors and writers took to social media to share how Van Peebles was a pioneer in filmmaking.
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original ...
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original ...
- 9/22/2021
- The Hollywood Reporter - Film + TV
Upon learning that Melvin Van Peebles died Tuesday night at age 89, many Hollywood directors and writers took to social media to share how Van Peebles was a pioneer in filmmaking.
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original score ...
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original score ...
- 9/22/2021
- The Hollywood Reporter - Movie News
Melvin Van Peebles, the pioneering African American auteur behind the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, has died. He was 89.
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is ...
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is ...
- 9/22/2021
- The Hollywood Reporter - Film + TV
Melvin Van Peebles, the pioneering African-American auteur behind the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, has died. He was 89.
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being ...
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being ...
- 9/22/2021
- The Hollywood Reporter - Movie News
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Each month, the Criterion Collection gives us a new batch of digitally remastered movies from across the globe. If you’re looking to discover new classics, or maybe check out an old favorite, try the vast collection of gems the Criterion Collection has to offer. The upcoming releases for the month of September (and a couple from October) range from drama to horror, film noir, and more. To help with your love of discovering films, we’ve put together a list of films that have been restored like never before and contain exclusive bonus content. The roster not only contains great options for your next movie night, but great gift options as well.
Each month, the Criterion Collection gives us a new batch of digitally remastered movies from across the globe. If you’re looking to discover new classics, or maybe check out an old favorite, try the vast collection of gems the Criterion Collection has to offer. The upcoming releases for the month of September (and a couple from October) range from drama to horror, film noir, and more. To help with your love of discovering films, we’ve put together a list of films that have been restored like never before and contain exclusive bonus content. The roster not only contains great options for your next movie night, but great gift options as well.
- 9/4/2021
- by Angel Saunders
- Indiewire
The writer/director returns to talk about his favorite Blaxploitation movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Man Bites Dog (1992)
Trick Baby (1972)
The Exorcist (1973) – Oren Pelli’s trailer commentary
The Untouchables (1987)
Predator (1987)
Purple Rain (1984) – Josh Olson’s trailer commentary
The Loved One (1965) – Larry Karaszewski’s trailer commentary
Live And Let Die (1973)
Enter The Dragon (1973) – Larry Karaszewski’s trailer commentary, Brian Trenchard-Smith’s trailer commentary
The Green Hornet (1974)
The Rocky Horror Picture Show (1975) – Darren Bousman’s trailer commentary
The Last Dragon (1985) – Larry Karaszewski’s trailer commentary
Dead Presidents (1995)
Hell Up In Harlem (1973) – Larry Cohen’s trailer commentary
Black Caesar (1973) – Larry Cohen’s trailer commentary
Shaft (1971) – Bill Duke’s trailer commentary, Randy Fuller’s wine pairing
Sweet Sweetback’s Baadasssss Song (1971)
Coffy (1973) – Jack Hill’s trailer commentary
Midnight Cowboy (1969) – Glenn Erickson’s Criterion Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Boxcar Bertha (1972) – Julie Corman...
Show Notes: Movies Referenced In This Episode
Man Bites Dog (1992)
Trick Baby (1972)
The Exorcist (1973) – Oren Pelli’s trailer commentary
The Untouchables (1987)
Predator (1987)
Purple Rain (1984) – Josh Olson’s trailer commentary
The Loved One (1965) – Larry Karaszewski’s trailer commentary
Live And Let Die (1973)
Enter The Dragon (1973) – Larry Karaszewski’s trailer commentary, Brian Trenchard-Smith’s trailer commentary
The Green Hornet (1974)
The Rocky Horror Picture Show (1975) – Darren Bousman’s trailer commentary
The Last Dragon (1985) – Larry Karaszewski’s trailer commentary
Dead Presidents (1995)
Hell Up In Harlem (1973) – Larry Cohen’s trailer commentary
Black Caesar (1973) – Larry Cohen’s trailer commentary
Shaft (1971) – Bill Duke’s trailer commentary, Randy Fuller’s wine pairing
Sweet Sweetback’s Baadasssss Song (1971)
Coffy (1973) – Jack Hill’s trailer commentary
Midnight Cowboy (1969) – Glenn Erickson’s Criterion Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Boxcar Bertha (1972) – Julie Corman...
- 8/3/2021
- by Kris Millsap
- Trailers from Hell
It might be a Netflix world, but there are plenty of other competitive streaming platforms offering home viewing options that are more bountiful than ever before. Amazon Prime is one of them and, just like Netflix, the streamer offers a library of films, both old and new, that have become increasingly diverse over the years. However, it can still be a difficult task for any discerning viewer, specifically those looking for Black films, to sift through the deluge.
To assist on this cinematic journey, IndieWire runs a monthly series that highlights movies and television series worth streaming on every major platform in the U.S., including Netflix. But, as an extension of that popular ongoing series, we’ve also curated lists of films that specifically tell Black stories and are streaming on those same major streaming platforms.
The ’60s and ’70s are especially well-represented on this month’s list of 10 picks,...
To assist on this cinematic journey, IndieWire runs a monthly series that highlights movies and television series worth streaming on every major platform in the U.S., including Netflix. But, as an extension of that popular ongoing series, we’ve also curated lists of films that specifically tell Black stories and are streaming on those same major streaming platforms.
The ’60s and ’70s are especially well-represented on this month’s list of 10 picks,...
- 7/14/2021
- by Tambay Obenson
- Indiewire
It’s thrilling to watch Lionsgate make a run at the box office top spot with The Hitman’s Wife’s Bodyguard, a grown-up comedy.
Not a kiddie fantasy, like Peter Rabbit 2 or Cruella. Not a Covid-era placeholder, like The War With Grandpa, or a streaming event, like Borat Subsequent Moviefilm. But a rough, raucous, R-rated action comedy, not unlike Bad Boys For Life, which had three weekends atop the box office in January of last year before theaters closed and everyone stopped counting.
Breathe. Laugh. It almost feels like summer.
Through August, at least a dozen adult-leaning comedies are set for release in a recovery that has been initially dominated by horror and family fantasy. Maybe it’s too much to hope that two or three of them will raise momentum enough to smash through the cultural malaise that has soured life for a couple of years now.
But you never know.
Not a kiddie fantasy, like Peter Rabbit 2 or Cruella. Not a Covid-era placeholder, like The War With Grandpa, or a streaming event, like Borat Subsequent Moviefilm. But a rough, raucous, R-rated action comedy, not unlike Bad Boys For Life, which had three weekends atop the box office in January of last year before theaters closed and everyone stopped counting.
Breathe. Laugh. It almost feels like summer.
Through August, at least a dozen adult-leaning comedies are set for release in a recovery that has been initially dominated by horror and family fantasy. Maybe it’s too much to hope that two or three of them will raise momentum enough to smash through the cultural malaise that has soured life for a couple of years now.
But you never know.
- 6/19/2021
- by Michael Cieply
- Deadline Film + TV
Kicking off the fall with a bang, The Criterion Collection has unveiled quite a September lineup. Johnnie To will finally be joining the collection with his 2004 martial arts film Throw Down, dedicated to Akira Kurosawa. Gina Prince-Bythewood’s hit debut Love & Basketball will also be arriving, including a trio of short films by the director, Stitches (1991), Progress (1997), and Bowl of Pork (1997).
Luchino Visconti’s long-hard-to-see masterpiece The Damned has been restored and will join the collection, alongside Neil Jordan’s neo-noir crime drama Mona Lisa starring Bob Hoskins, Cathy Tyson, and Michael Caine. The previously announced Melvin Van Peebles four-film box set will also be released, featuring Sweet Sweetback’s Baadasssss Song, The Story of a Three Day Pass, Watermelon Man, and Don’t Play Us Cheap.
Check out the cover art for each release below and full details here.
The post Films by Johnnie To, Gina Prince-Bythewood & More Join...
Luchino Visconti’s long-hard-to-see masterpiece The Damned has been restored and will join the collection, alongside Neil Jordan’s neo-noir crime drama Mona Lisa starring Bob Hoskins, Cathy Tyson, and Michael Caine. The previously announced Melvin Van Peebles four-film box set will also be released, featuring Sweet Sweetback’s Baadasssss Song, The Story of a Three Day Pass, Watermelon Man, and Don’t Play Us Cheap.
Check out the cover art for each release below and full details here.
The post Films by Johnnie To, Gina Prince-Bythewood & More Join...
- 6/15/2021
- by Leonard Pearce
- The Film Stage
It might be a Netflix world, as the 800-pound gorilla in the space, but there are other competitive streaming platforms offering home viewing options that are more bountiful than ever before. Amazon Prime is one of them, which, like Netflix, offers a library of films, old and new, that have become increasingly diverse over the years, in an effort to meet demand. However, it still can be a difficult task for any discerning viewer looking specifically for Black films to sift through the deluge.
As an extension of IndieWire’s monthly list of the best new films on Netflix, this list will be updated periodically as new titles become available, and old titles will be replaced.
From pioneer Oscar Micheaux’s “Within Our Gates” (1920), the earliest surviving feature film by an African American filmmaker, to Melvin Van Peebles’ only studio picture, a Kafkaesque comedy titled “Watermelon Man,” the first blaxploitation parody,...
As an extension of IndieWire’s monthly list of the best new films on Netflix, this list will be updated periodically as new titles become available, and old titles will be replaced.
From pioneer Oscar Micheaux’s “Within Our Gates” (1920), the earliest surviving feature film by an African American filmmaker, to Melvin Van Peebles’ only studio picture, a Kafkaesque comedy titled “Watermelon Man,” the first blaxploitation parody,...
- 5/26/2021
- by Tambay Obenson
- Indiewire
Sweet Sweetback’s Baadasssss Song, which turns 50 this month, is the opposite of the definition imposed on it. The 1971 film inspired the Blaxploitation genre, but Melvin Van Peebles exploited no one but himself. He got the money together, wrote the script and the music, selected the shots, aimed the camera, and starred in the film. He even did the stunts and post-production editing. Everything that came after was a reaction to his revolution. The father of Black cinema is one of the godfathers of independent filmmaking, and he turned everything upside down doing it.
Sweet Sweetback’s Baadasssss Song defies all expectations. Unapologetically Black, it flips every stereotype back on itself. It reconstructs the constrictions of sexual identification. It wasn’t made for the institution. It was made for the people. “This film is dedicated to all the Brothers and Sisters who had enough of the Man,” reads the opening titles. That...
Sweet Sweetback’s Baadasssss Song defies all expectations. Unapologetically Black, it flips every stereotype back on itself. It reconstructs the constrictions of sexual identification. It wasn’t made for the institution. It was made for the people. “This film is dedicated to all the Brothers and Sisters who had enough of the Man,” reads the opening titles. That...
- 4/27/2021
- by Alec Bojalad
- Den of Geek
Chicago – Patrick McDonald of HollywoodChicago.com appears on “The Morning Mess” with Scott Thompson on Wbgr-fm on February 25th, 2021, reviewing the 1970 film “Watermelon Man,” currently streaming on Amazon Prime Video.
Rating: 4.0/5.0
An historic black cinematic curiosity from 1970, “Watermelon Man” features an almost forgotten stand up comic and actor from the 1960s named Godfrey Cambridge. Cambridge portrays Jeff, who begins the movie as a white man, and the one morning wakes up and he’s a black man. This transition is at first frightening for him, but after going through the stages of denial, anger, depression, etc., he accepts the man he his by making it personal. With Oscar-winner Estelle Parsons as Jeff’s wife.
“Watermelon Man” is is streaming on Amazon Prime Video. Featuring Godfrey Cambridge, Estelle Parsons, Howard Kaine, Kay Kimberly and Emil Sitka Written by Herman Raucher. Directed by Melvin Van Peebles. Rated “R”
Click here for Patrick...
Rating: 4.0/5.0
An historic black cinematic curiosity from 1970, “Watermelon Man” features an almost forgotten stand up comic and actor from the 1960s named Godfrey Cambridge. Cambridge portrays Jeff, who begins the movie as a white man, and the one morning wakes up and he’s a black man. This transition is at first frightening for him, but after going through the stages of denial, anger, depression, etc., he accepts the man he his by making it personal. With Oscar-winner Estelle Parsons as Jeff’s wife.
“Watermelon Man” is is streaming on Amazon Prime Video. Featuring Godfrey Cambridge, Estelle Parsons, Howard Kaine, Kay Kimberly and Emil Sitka Written by Herman Raucher. Directed by Melvin Van Peebles. Rated “R”
Click here for Patrick...
- 2/27/2021
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
“The Dark Knight,” “Shrek,” “Grease,” “The Blues Brothers,” “Lillies of the Field,” “The Hurt Locker,” “A Clockwork Orange,” “The Joy Luck Club” and “The Man With the Golden Arm” are among this year’s additions to the National Film Registry by the Library of Congress.
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
- 12/14/2020
- by Dave McNary
- Variety Film + TV
This weekend marks the 49th anniversary of the release of “Shaft.” Released in 1971, it grossed about $90 million in adjusted prices — a huge success, more than 25 times its cost. More importantly, it forced studios to acknowledge the Black audience segment that was long taken for granted.
Hollywood studio filmmaking is 105 years old. But it took more than half of those years for major studios to release a film from a Black director. There were Black directors, but they were too few and far between. And The first Black director was silent filmmaker Oscar Micheaux, whose parents were former slaves. In the sound era, the first Black director was Spencer Williams, an actor best known as Andy of Amos n’ Andy. And while films in the 1960s began to tell Black stories such as “Lilies of the Field” and “A Raisin In the Sun,” they inevitably reflected white perspectives and denied Black...
Hollywood studio filmmaking is 105 years old. But it took more than half of those years for major studios to release a film from a Black director. There were Black directors, but they were too few and far between. And The first Black director was silent filmmaker Oscar Micheaux, whose parents were former slaves. In the sound era, the first Black director was Spencer Williams, an actor best known as Andy of Amos n’ Andy. And while films in the 1960s began to tell Black stories such as “Lilies of the Field” and “A Raisin In the Sun,” they inevitably reflected white perspectives and denied Black...
- 7/5/2020
- by Tom Brueggemann
- Indiewire
In 1973, Herbie Hancock found himself at a crossroads. For a couple years, the keyboardist had been leading a band called Mwandishi — named after a Swahili word meaning “writer” — that played sprawling electro-acoustic jazz with an emphasis on trippy textures and unfettered improvisation. “I think of Mwandishi as an R&d band — research and development,” Hancock wrote in his 2015 autobiography, Possibilities. “It was all about discovery, uncovery, exploration, the unknown, looking for the unseen, listening for the unheard.”
He loved the band but grew frustrated with its open-ended approach. “There were...
He loved the band but grew frustrated with its open-ended approach. “There were...
- 4/12/2020
- by Hank Shteamer
- Rollingstone.com
When Hollywood discusses diversity and inclusion, the focus naturally tends to be on the future — diversifying writers’ rooms and executive suites; tackling pay inequality; erasing the many long-held myths about box office performance and films with people of color. But there’s an all-too-important counterpart to that discussion: How to address Hollywood’s past, and reevaluate the film canon, in a way that takes into account perspectives from outside of the white establishment that has typically served as gatekeeper for which films are considered classics.
That was part of the motivation for the African-American Film Critics Assn.’s partnership with Turner Classic Movies, “The Black Experience on Film,” which launched this week. For the next month, an Aafca-curated program of 32 films, stretching from the 1920s to the early 1990s, will screen on the network, presented and contextualized by a pair of Aafca members each night. Organized by theme, the offerings...
That was part of the motivation for the African-American Film Critics Assn.’s partnership with Turner Classic Movies, “The Black Experience on Film,” which launched this week. For the next month, an Aafca-curated program of 32 films, stretching from the 1920s to the early 1990s, will screen on the network, presented and contextualized by a pair of Aafca members each night. Organized by theme, the offerings...
- 9/7/2018
- by Andrew Barker
- Variety Film + TV
Turner Classic Movies and the African American Film Critics Association have partnered on The Black Experience on Film, a monthlong programming initiative showcasing portrayals of African-Americans throughout cinematic history.
Hosted by 13 different members of the Aafca from print, online and broadcast outlets, programming begins September 4 and continues every Tuesday and Thursday in primetime.
The Black Experience on Film provides a wide-ranging retrospective from the 1920s through the 1990s including:
Exploring Black Identity airing Sept. 4 – Aafca president Gil Robertson and cultural critic Ronda Racha Penrice explore films ranging from Oscar Micheaux’s look at racial violence in Within Our Gates (1920) to Julie Dash’s 1991 story following three generations of Gullah women in Daughters Of The Dust; Hollywood Confronts Racism airing Sept. 6 – Aafca co-founder and film critic Shawn Edwards and HipHollywood.com’s Jasmine Simpkins examine A Raisin in the Sun (1961), about a black Chicago family searching for a better life, and...
Hosted by 13 different members of the Aafca from print, online and broadcast outlets, programming begins September 4 and continues every Tuesday and Thursday in primetime.
The Black Experience on Film provides a wide-ranging retrospective from the 1920s through the 1990s including:
Exploring Black Identity airing Sept. 4 – Aafca president Gil Robertson and cultural critic Ronda Racha Penrice explore films ranging from Oscar Micheaux’s look at racial violence in Within Our Gates (1920) to Julie Dash’s 1991 story following three generations of Gullah women in Daughters Of The Dust; Hollywood Confronts Racism airing Sept. 6 – Aafca co-founder and film critic Shawn Edwards and HipHollywood.com’s Jasmine Simpkins examine A Raisin in the Sun (1961), about a black Chicago family searching for a better life, and...
- 8/23/2018
- by Bruce Haring
- Deadline Film + TV
This beautiful pair of illustrated posters for two late 50s Maigret adaptations by Jean Delannoy is the work of Nathan Gelgud, an artist who by now should be well known to cinephiles in New York and Los Angeles. Nathan is the creator of the auteur tote bag, an essential cinephilic fashion accessory for the 2010s, more on which later. Full disclosure: I was involved in the art direction on these posters at Kino Lorber, whose repertory division is re-releasing Maigret Sets a Trap (originally released in the Us as Inspector Maigret and later re-released as Woman Bait) at Metrograph today and will be releasing both films on Blu-ray in December. I’d been aware of Nathan’s work for a while, but it was his comic-book style resumé poster for Metrograph’s Alain Tanner retrospective this summer that convinced me he’d be perfect for Maigret. And, as luck would have it,...
- 10/20/2017
- MUBI
Erin Moran, the actress best known for playing Joanie Cunningham on beloved sitcom Happy Days and its spinoff Joanie Loves Chachi, has died, according to The Hollywood Reporter. She was 56.
Harrison County Sheriff’s Office in Indiana revealed that the cause of death was likely "complications of stage 4 cancer," per the Wrap.
Moran began her career as a child actress, starring in commercials starting at age five. She appeared in films such as 1968's How Sweet It Is! with Debbie Reynolds and Melvin Van Peebles' Watermelon Man in 1970 alongside TV shows Daktari,...
Harrison County Sheriff’s Office in Indiana revealed that the cause of death was likely "complications of stage 4 cancer," per the Wrap.
Moran began her career as a child actress, starring in commercials starting at age five. She appeared in films such as 1968's How Sweet It Is! with Debbie Reynolds and Melvin Van Peebles' Watermelon Man in 1970 alongside TV shows Daktari,...
- 4/23/2017
- Rollingstone.com
As a musical it’s excellent — fine tunes and lyrics, great singing and dancing by the ever-youthful Fred Astaire, the glorious songbird Petula Clark, and the impishly weird Tommy Steele cast appropriately as a grimacing Leprechaun. The update of what was a politically acute Broadway hit in 1947 is awkward but the show is a melodious pleasure — great color, fine voices and peppy direction by Francis Ford Coppola on his first big studio feature.
Finian’s Rainbow
Blu-ray
Warner Archive Collection
1968 / Color / 2:35 widescreen / 145 141 min. / Street Date March 7, 2017 / available through the WBshop / 21.99
Starring: Fred Astaire, Petula Clark, Tommy Steele, Don Francks, Keenan Wynn, Barbara Hancock, Al Freeman Jr., Ronald Colby, Dolph Sweet, Wright King, Louis Silas.
Cinematography: Philip Lathrop
Film Editor: Melvin Shapiro
Original Music: Ray Heindorf
Written by E.Y. Harburg, Fred Saidy
Produced by Joseph Landon
Directed by Francis Ford Coppola
Finian’s Rainbow is a unique musical with a strange history.
Finian’s Rainbow
Blu-ray
Warner Archive Collection
1968 / Color / 2:35 widescreen / 145 141 min. / Street Date March 7, 2017 / available through the WBshop / 21.99
Starring: Fred Astaire, Petula Clark, Tommy Steele, Don Francks, Keenan Wynn, Barbara Hancock, Al Freeman Jr., Ronald Colby, Dolph Sweet, Wright King, Louis Silas.
Cinematography: Philip Lathrop
Film Editor: Melvin Shapiro
Original Music: Ray Heindorf
Written by E.Y. Harburg, Fred Saidy
Produced by Joseph Landon
Directed by Francis Ford Coppola
Finian’s Rainbow is a unique musical with a strange history.
- 3/4/2017
- by Glenn Erickson
- Trailers from Hell
What was allowed in 1986 is cringeworthy today
Two movies I loved as a child celebrated their 30th anniversaries recently, and when I looked back upon them nostalgically, as one does, I saw products of their time that mostly hold up — save for one horribly dated, unforgivable element each. The kind of offense that makes it hard to still appreciate the movie when that one inexcusable part dominates your mind.
Both “Crocodile” Dundee and Short Circuit have decent scripts. The former was even nominated for an Oscar. The latter remains quotable. Their main characters are major figures of 1980s pop culture. Not on the level of Arnold Schwarzenegger and E.T., but higher up than Yakov Smirnoff and The Noid. But I can no longer enjoy these movies. Not as they are, anyway.
Their respective crimes are things that shouldn’t have even been tolerated at the time. In Dundee it’s a scene where Paul Hogan’s titular...
Two movies I loved as a child celebrated their 30th anniversaries recently, and when I looked back upon them nostalgically, as one does, I saw products of their time that mostly hold up — save for one horribly dated, unforgivable element each. The kind of offense that makes it hard to still appreciate the movie when that one inexcusable part dominates your mind.
Both “Crocodile” Dundee and Short Circuit have decent scripts. The former was even nominated for an Oscar. The latter remains quotable. Their main characters are major figures of 1980s pop culture. Not on the level of Arnold Schwarzenegger and E.T., but higher up than Yakov Smirnoff and The Noid. But I can no longer enjoy these movies. Not as they are, anyway.
Their respective crimes are things that shouldn’t have even been tolerated at the time. In Dundee it’s a scene where Paul Hogan’s titular...
- 5/10/2016
- by Christopher Campbell
- FilmSchoolRejects.com
Coriolanus; W.E.; Iron Sky; Michael; Juan of the Dead
Despite the universal saleability of all things Shakespeare, there's a good reason why film-makers have previously steered clear of his later historical tragedy about legendary Roman leader Caius Martius Coriolanus. Famously featuring one of the Bard's most opaque antiheroes (a role that has variously challenged the skills of Olivier, Burton, Hopkins and even Christopher Walken), it's the kind of play that is frequently accused of engaging neither sympathy nor emotion.
Hats off, then, to first-time director Ralph Fiennes, whose Coriolanus (2011, Lionsgate, 15) relocates the action to a latterday war zone, garlanding the Shakespearean dialogue with contemporary trappings (tanks, handguns, rolling news broadcasts) in the manner of Baz Luhrmann's Romeo + Juliet or Richard Loncraine's Richard III.
Shot in Serbia and laced with images that echo TV coverage of all too recent conflicts, this beautifully streamlined adaptation cuts right to the heart...
Despite the universal saleability of all things Shakespeare, there's a good reason why film-makers have previously steered clear of his later historical tragedy about legendary Roman leader Caius Martius Coriolanus. Famously featuring one of the Bard's most opaque antiheroes (a role that has variously challenged the skills of Olivier, Burton, Hopkins and even Christopher Walken), it's the kind of play that is frequently accused of engaging neither sympathy nor emotion.
Hats off, then, to first-time director Ralph Fiennes, whose Coriolanus (2011, Lionsgate, 15) relocates the action to a latterday war zone, garlanding the Shakespearean dialogue with contemporary trappings (tanks, handguns, rolling news broadcasts) in the manner of Baz Luhrmann's Romeo + Juliet or Richard Loncraine's Richard III.
Shot in Serbia and laced with images that echo TV coverage of all too recent conflicts, this beautifully streamlined adaptation cuts right to the heart...
- 6/2/2012
- by Mark Kermode
- The Guardian - Film News
Something I used to do in the past… I’d say during the first year of this website’s life… and something that I’m bringing back; it seemed some of you appreciated them. The headline should tell you all you need to know. Here’s the first of many to come… (the full movie is available to watch online; I embedded it underneath the poster):
From Crackle: Watermelon Man...
From Crackle: Watermelon Man...
- 3/20/2011
- by Tambay
- ShadowAndAct
Since the earliest days of American cinema there has been a shadowy counterpart to the commercial mainstream: exploitation movies — pictures whose appeal lies in their sensational treatment and leering promotion of often lurid and prurient material. Pre-1960, when mainstream Hollywood worked within severe restrictions on content, exploitation movies offered audiences titillating glimpses of the deliciously taboo, usually under the guise of being some sort of instructional cautionary against the very subject matter being exploited i.e. sex in “hygiene” movies like The Road to Ruin (1934), drugs in anti-drug movies like Tell Your Children (1936, re-released in the 1960s/70s as camp classic Reefer Madness), and gambling in the anti-vice Gambling with Souls (1936).
By the 1950s, as the studios entered their long post-war decline, downscale producers launched a new vein of exploitation moviemaking, churning out low-budget thrillers (mostly sci fi and horror) aimed squarely at the burgeoning youth audience. Again, the movies were cheap,...
By the 1950s, as the studios entered their long post-war decline, downscale producers launched a new vein of exploitation moviemaking, churning out low-budget thrillers (mostly sci fi and horror) aimed squarely at the burgeoning youth audience. Again, the movies were cheap,...
- 1/24/2011
- by Bill Mesce
- SoundOnSight
Congratulations to the Missouri Black Expo for securing such an amazing line-up of movie celebrities for this year’s convention. Missouri Black Expo is an organization whose mission is to provide attendees with exposure to outstanding resources to promote youth development, health education and awareness and community development. This year is their 19th annual expo and will take place at the America’s Center in downtown St. Louis this weekend, August 26 – 29. The Missouri Black Expo always brings an impressive line-up of guests from the worlds of sports, literature, politics, and entertainment. This year they’re bringing in a trio of film legends that would make any movie geek drool.
First up is acting legend Lou Gossett Jr. who was the first African-American to win the Oscar for actor in a supporting role when he did so for his unforgettable part as the tough-as-nails Gunnery Sergeant Emil Foley in the 1982 classic An Officer And A Gentleman.
First up is acting legend Lou Gossett Jr. who was the first African-American to win the Oscar for actor in a supporting role when he did so for his unforgettable part as the tough-as-nails Gunnery Sergeant Emil Foley in the 1982 classic An Officer And A Gentleman.
- 8/23/2010
- by Tom Stockman
- WeAreMovieGeeks.com
The mention of the name "Herbie Hancock" implies much more than a mere moniker. Beyond recording jazz milestones such as his first solo album Takin' Off on Blue Note (featuring his beloved "Watermelon Man") and the groundbreaking funk/fusion album Head Hunters, Hancock was a member of one of Miles Davis' quintets, supplied original music to the soundtracks of Death Wish and 'Round Midnight (for which he won an Oscar), and music for Bill Cosby's Fat Albert series. He racked-up a huge eighties pop hit with the Grammy-winning "Rockit" that began a string of additional Grammy awards that continued for three decades. And in the last couple of years, he also won a pair of Grammys for Album Of The Year and Best Contemporary Jazz Album for his labor of love, a tribute to Joni Mitchell titled The Joni Letters. This...
- 6/22/2010
- by Mike Ragogna
- Huffington Post
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