Academy Celebrates 25th Anniversary of "Do The Right Thing"

The Academy to Celebrate 25th Anniversary of "Do The Right Thing" with Spike Lee

Screenings and Live Discussion in Los Angeles and New York

LOS ANGELES, CA –The Academy of Motion Picture Arts and Sciences will celebrate the 25th anniversary of the seminal film “Do the Right Thing” with writer-director Spike Lee and members of the film’s cast and crew at two special screening events: on June 27 in Los Angeles at the Bing Theater, and on June 29 in Brooklyn at the BAM Harvey Theater.

Lee’s groundbreaking third feature, set on a single block in Brooklyn’s Bedford-Stuyvesant neighborhood on summer’s hottest day, features a large ensemble cast including Lee, Danny Aiello, Ossie Davis, Ruby Dee, and then-newcomers John Turturro, Samuel L. Jackson and Rosie Perez.  It earned Oscar® nominations for Original Screenplay (Lee) and Best Supporting Actor (Aiello).

Los Angeles (Friday, June 27) 

“Do the Right Thing” 25th Anniversary Screening and Conversation 

8:30 p.m. at the Bing Theater on LACMA campus

Moderated by John Singleton

Panel discussion includes Spike Lee, costume designer Ruth E. Carter, casting director Robi Reed, production supervisor Preston Holmes and former Universal executive Tom Pollock.

CLICK HERE FOR MORE INFORMATION

New York (Sunday, June 29)

“Do the Right Thing” 25th Anniversary Screening and Conversation for Closing Night of BAMcinemaFest

Co-presentation with BAMcinématek

5 p.m. on the Steinberg Screen at the BAM Harvey Theater

Moderated by Khalil Gibran Muhammad, director of the Schomburg Center for Research in Black Culture

Panel discussion includes Spike Lee; actors Danny Aiello, Giancarlo Esposito, Bill Nunn and Rick Aiello; film editor Barry Brown; and production designer Wynn Thomas.

CLICK HERE FOR MORE INFORMATION

The Academy will also host the screening series “By Any Means Necessary: A Spike Lee Joints Retrospective,” beginning with a screening of “25th Hour” (2002) on Thursday, June 26, at 7:30 p.m. at the Academy’s Linwood Dunn Theater in Hollywood.  The evening also marks the opening of the photography exhibit “WAKE UP! David C. Lee Photographs the Films of Spike Lee,” in the theater foyer through September. 

“By Any Means Necessary: A Spike Lee Joints Retrospective” continues July 11–27 at the Linwood Dunn Theater and the Bing Theater in Los Angeles, and June 29–July 10 at BAMcinématek in New York.  Please visit oscars.org and BAM.org for more information.

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Review: Being Strange Not is Enough for "Bubba Ho-tep"

TRASH IN MY EYE No. 122 (of 2004) by Leroy Douresseaux

Bubba Ho-tep (2002)
Running time:  92 minutes (1 hour, 32 minutes)
MPAA – R for language, some sexual content and brief violent images
DIRECTOR:  Don Coscarelli
WRITER:  Don Coscarelli (based upon a short story by Joe R. Lansdale)
PRODUCERS:  Don Coscarelli and Jason R. Savage
CINEMATOGRAPHER:  Adam Janeiro
EDITOR:  Scott J. Gill and Donald Milne
COMPOSER:  Brian Tyler

HORROR with elements of comedy and drama

Starring:  Bruce Campbell, Ossie Davis, Ella Joyce, Heidi Marnhout, Reggie Bannister, Daniel Roebuck, Daniel Schweiger, and Bob Ivy

The subject of this movie review is Bubba Ho-tep, a 2002 American comic horror film from writer-director Don Coscarelli.  The film is based on the novella of the same title by author Joe R. Lansdale.  Bubba Ho-tep appeared in many film festivals, beginning in 2002, and received a limited theatrical release in 2003.

In Bubba Ho-tep the movie, Elvis Presley (Bruce Campbell) is alive and lives in the Mud Creek Shady Rest Convalescence Home.  He has a broken hip and a pus-filled boil on his penis.  How did the King of Rock n’ Roll end up in such a state and living in an old folks home?  It’s a long story.  Besides, President John F. Kennedy (Ossie Davis) is an old black man who also lives at the rest home.  Conspiracy theorists rejoice.

There is, however, no time for reminiscing about their fame, their circumstances, and how they cheated death.  These two legendary figures of American history and culture join forces when they discover that an ancient Egyptian mummy in cowboy boots and hat, to whom Elvis jokingly refers as Bubba Ho-tep, has invaded their rest home and is sucking the souls out of the residents.  So Elvis and JFK spring to action before any of the other residents lose their souls.

Film fanatics know director Don Coscarelli for his film Phantasm and its sequels, and Coscarelli’s ready-made cult film, Bubba Ho-tep, is a unique addition to his weirdo filmography.  Bubba Ho-tep is a low wattage fright flick with nice flourishes of comedy (but not the camp kind) and drama.  Lacking super special effects, the film relies on some detailed and heartfelt performances by B-movie actor Bruce Campbell and veteran Ossie Davis, a fine actor who has spent most of his career under-utilized because of he is black.  Campbell is especially good because he deftly skirts a line between being campy and seriously dramatic in his portrayal of Elvis.  It’s as if he wants us to take him seriously as an actor and as if he were mocking the entire thing at the same time.

The film however is too soft; the production values are just enough to put it on the level of real low-budget television show.  In terms of SFX pyrotechnics, Bubba Ho-tep is not even on the level of “The X-Files.”  Still, the film is pleasantly entertaining, and the characters and concept would indeed make a nice episodic TV show.

5 of 10
B-

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Review: Remembering "4 Little Girls"

TRASH IN MY EYE No. 76 (of 2010) by Leroy Douresseaux

4 Little Girls (1997)
Running time: 102 minutes (1 hour, 42 minutes)
DIRECTOR: Spike Lee
PRODUCERS: Spike Lee and Sam Pollard
CINEMATOGRAPHER: Ellen Kuras
EDITOR: Sam Pollard
COMPOSER: Terence Blanchard
Academy Award nominee

DOCUMENTARY/HISTORY

Starring: Maxine McNair, Chris McNair, Alpha Robertson, Janie Gaines, Dianne Braddock, Shirley Wesley King, Bill Baxley, James Bevel, Bill Cosby, Walter Cronkite, Ossie Davis, Jesse Jackson, Coretta Scott King, Fred Shuttlesworth, Reggie White, and Andrew Young

4 Little Girls is Spike Lee’s 1997 documentary film about the 1963 16th Street Baptist Church bombing. Located in Birmingham, Alabama, this African-American church was a hub of the city’s Civil Rights movement in the 1950s and 60s.

On the Sunday morning of September 15, 1963, four members of a Ku Klux Klan group planted a box of dynamite with a time delay under the steps of the church near the basement. Killed in the ensuing explosion were 14-year-old Addie Mae Collins, 11-year-old Denise McNair, 14-year-old Carole Robertson, and 14-year-old Cynthia Wesley – the titular 4 little girls of the film.

4 Little Girls recounts the days leading to the bombing, the state of the Civil Rights movement in Birmingham at the time, and the aftermath, specifically the girls’ funerals. Lee interviewed the people who knew the girls, including surviving parents, siblings, neighbors, relatives, and friends, among others. For the film, Lee also interviewed a number of Civil Rights luminaries, social activists, and other famous figures, including Andrew Young, Bill Cosby, Ossie Davis, and Coretta Scott King. The film is filled with archival footage, most of it coming from televised news, which presents other key participants, including Dr. Martin Luther King and the bombing plot’s ringleader, Robert “Dynamite Bob” Chambliss.

The film begins with Joan Baez singing “Birmingham Sunday” a song that chronicled the events and aftermath of the bombing. The song, written by Richard and Mimi Farina (Joan Baez’s sister), is a haunting theme throughout 4 Little Girls.

In the first hour of the film, Spike Lee does a superb job in presenting the state of affairs in Birmingham and connecting it to the overall Civil Rights movement. Lee deftly builds to the bombing like a slow train gradually building speed to the terrible event. He does this by getting the girls’ families and friends to remember details (including one woman’s prophetic dream) that are startling in their intimacy.

The scenes that recount the actual bombing are as riveting as anything found in the best movie thrillers. Using interviews and archival footage, Lee presents the shock, grief, and anger in a way that still resonates and even seems to jump off the screen and into your gut. It may be too much for some. The recollections of the girls’ family and friends and also the funeral are tear generators, although the post-mortem photos of the girls may be a bit much for some (cause they were for me).

After the scenes depicting the funerals, Lee’s film falters. The movie’s focus on the grief is morbid and obsessive. Of course, there is nothing wrong with depictions of grieving family. However, the bombing, which was clearly a racially motivated terrorist attack, was meant to halt the integration that was already occurring in Birmingham (due to negotiations between African-American leaders and moderate whites). Lee’s film only mentions that in passing. Lee also fails to present the ways in which the 16th Street Baptist Church bombing affected the move for equality in America. The deaths of those four girls gave energy to a Civil Rights movement that, at the time, apparently needed reinvigoration.

I don’t fault the film for taking such a deeply personal look at how the girls’ deaths affected those around them. Their deaths had a larger meaning; they were essentially a sacrifice, one that directly led to improving the lives of all oppressed people, not just African-Americans, in the United States. 4 Little Girls is an excellent film and a wonderful document of the lives of four innocents. It is one of Lee’s best and most powerful works, but he missed something back when he made this film – the larger context of how the bombing changed us and our country.

Seeing the sacrifice as at least equal to the focus on the victims may be a cold equation, but it was and is a reality in the fight for equality.

8 of 10
A

NOTES:
1998 Academy Awards: 1 nomination: “Best Documentary, Features” (Spike Lee and Samuel D. Pollard)

1999 Image Awards: 1 win: “Outstanding News, Talk or Information Special”

Tuesday, September 14, 2010

Review: Superb "Baadasssss" Recounts Landmark Film

TRASH IN MY EYE No. 185 (of 2005) by Leroy Douresseaux


Baadasssss! (2004)
First released as How to Get the Man’s Foot Outta Your Ass (2003)
Running time: 108 minutes; MPAA – R for pervasive language and some strong sexuality/nudity
PRODUCER/DIRECTOR: Mario Van Peebles
WRITERS: Mario Van Peebles and Dan Haggerty (from the book by Melvin Van Peebles)
CINEMATOGRAPHER: Robert Primes
EDITORS: Nneka Goforth and Anthony Miller

DRAMA with elements of a documentary

Starring: Mario Van Peebles, Joy Bryant, T.K. Carter, Terry Crews, Ossie Davis, David Alan Grier, Nia Long, Paul Rodriguez, Saul Rubinek, Vincent Schiavelli, Khelo Thomas, Rainn Wilson, Len Lesser, Sally Struthers, Adam West, Ralph Martin, Robert Peters, Khalil Kain, and John Singleton

Baadasssss! is writer/director/actor Mario Van Peebles quasi-documentary/part tribute film dramatization of his father, Melvin Van Peebles’ struggle to direct and get distribution for his quintessential blaxploitation flick, Sweet Sweetback Baadasssss Song. Mario Van Peebles seamlessly weaves a film that is both a riveting drama and a searing document and testimony of the struggle of the black artist to get his work to black people, in particularly black filmmakers, who still struggle (though not as much as Melvin Van Peebles did in the early 70’s) to get black visions before not only a black audience, but all filmgoers.

Maybe what makes the film really get into the soul of the viewer is that the co-writer, director, and producer, Mario, is playing his father Melvin Van Peebles. Mario did play a part in the Sweet Sweetback’s Baadasssss Song, so his memories do color the film’s recollection of history. However, Van Peebles seems able to view his father’s artistic and commercial struggles as a filmmaker because Mario has also struggled to get his directorial vision on film. The work, as both Mario’s own film and the movie about his father’s trials on his own film, makes Baadasssss! double personal to Mario. Thus, Baadasssss! is both film as the history of filmmaking and a film about filmmaking, and it does both of them quite well.

Mario, however, like his father, didn’t make a film alone, and though Mario conveys the intensity of the filmmaker’s struggle with a bravura performance, the supporting cast expertly creates an atmosphere of contention, support, financial and logistical chaos that makes the version of Melvin’s war that Mario puts on film seem so damn real. Standouts include David Alan Grier, Joy Bryant, Rainn Wilson, and Khelo Thomas as young Mario Van Peebles.

A film of such powerful inspirational force, Baadasssss! is a must see for fans of movie history in general and of African-American cinema, in particular. Most of all it’s a perfect portrayal of an artist going through the fire for his work.

10 of 10