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"title": "Filmmaker Kelly Reichardt Fills Vast Spaces with Intimate Stories in ‘Certain Women’",
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"content": "\u003cp>In her latest film, \u003cem>Certain Women\u003c/em>, opening in the Bay Area Oct. 21, director Kelly Reichardt continues to tell stories about people on the margins, the disadvantaged and social misfits. In three sections based on three short stories by the writer Maile Meloy, Reichardt depicts ordinary women (Laura Dern, Michelle Williams and Kristen Stewart) leading ordinary lives in and around the town of Livingston, Montana.\u003c/p>\n\u003cp>Vast American spaces populate all of Reichardt’s movies. It’s the territory of her imaginative life, and of the artists who have influenced her.\u003c/p>\n\u003cp>“Do you know the photographer Robert Adams?” she asks during an interview in a San Francisco hotel suite. “I met him this summer. He photographed the West, and his photos really inspired me during \u003cem>Meek’s Cutoff.\u003c/em>” San Francisco’s Fraenkel Gallery, which represents his work, states: “His work is largely concerned with moments of regional transition.”\u003c/p>\n\u003cfigure id=\"attachment_12222255\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKR_7mar150295.jpg\" alt=\"Director Kelly Reichardt on the set of 'Certain Women.'\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_7mar150295.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_7mar150295-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Director Kelly Reichardt on the set of ‘Certain Women.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reichardt uses those same open plains and prairies to capture the emotional transitions of her characters. The first story in \u003cem>Certain Women\u003c/em> concerns a lawyer named Laura (Dern) whose client, Fuller (Jared Harris), sued his company for worker’s compensation with limited success.\u003c/p>\n\u003cp>“The Jared Harris character, he’s just someone who has made it into his 50s as a white man who completely can’t believe that the system isn’t going to work for him, and that it’s just not fair,” Reichardt says. Laura registers a mixture of disbelief, scorn and sympathy in response to Fuller. It’s a small moment writ large: Dern is both her character \u003cem>and\u003c/em> an everywoman who understands the man’s dilemma better and more intimately than he ever will.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some viewers might dismiss Reichardt’s carefully observed worlds as trivial, the dull provenance of adulthood. But she recreates a lost, provincial place, the opposite of the one she sees on her New York City commutes. “I ride the subway and all the adults are playing video games the whole way home,” she says, “sometimes ignoring their children to play them. Everybody has the sound on.”\u003c/p>\n\u003cp>\u003cem>Certain Women\u003c/em> has the sound turned way down, often on mute. The Absaroka mountains rest in the background. The gray sky never shakes off the dusk of winter.\u003c/p>\n\u003cfigure id=\"attachment_12222256\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222256\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991.jpg\" alt=\"Michelle Williams as Gina in 'Certain Women.'\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams as Gina in ‘Certain Women.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Reichardt’s films, she and her crew create an atmosphere that exists somewhere between the script and lived-in spontaneity. In her earlier work, narrative momentum was often sacrificed for that sense of spontaneity. \u003cem>Certain Women\u003c/em> achieves something new in her oeuvre. The director balances the almost wordless quality of a film like \u003cem>Wendy and Lucy\u003c/em> (2008) with more straightforward stories, ones that have easily recognizable beginnings, middles and ends.\u003c/p>\n\u003cp>Reichardt dismisses the suggestion that only the director is responsible for a film’s atmosphere. “You’re starting with the base — whether it’s Jonathan Raymond’s writing [a frequent collaborator] or Maile Meloy’s writing — you’re starting with a good base,” she says. “Then all of sudden you see it unfolding. What I’m bringing to it is to not interfere with it, and to not get hung up on what I’ve imagined. Because the film has a life of its own outside everybody’s control, right? So you plan and you plan and you plan, till you’re completely ready, and then keep the door opens for what is going to surprise you in the scene.”\u003c/p>\n\u003cp>Lyrically surprising elements enter all three sections of \u003cem>Certain Women\u003c/em>, but it’s the third story, based on Meloy’s \u003cem>Travis, B.,\u003c/em> that is genuinely stunning. Reichardt gives credit to the unpredictable weather. “It was a crazy windy day, and everyone was like, ‘Oh, we can’t. We’ve got to reschedule,’” she says. “I was thinking if the brilliant sound guy can get the sound, the wind is going to help us. Because there’s something about them trying to do this scene. Kristen [Stewart] could hardly keep her dress from blowing up over her head.”\u003c/p>\n\u003cfigure id=\"attachment_12222258\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222258\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKR_9mar150186.jpg\" alt=\"Lily Gladstone as The Rancher in 'Certain Women.'\" width=\"720\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_9mar150186.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_9mar150186-400x266.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone as The Rancher in ‘Certain Women.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stewart plays Elizabeth, a law teacher commuting four hours at night to her class in a small town. Actress Lily Gladstone is a rancher with an irreproachable openness, and one of Stewart’s students. A rapport develops between them; the audience watches it take place in just a few short scenes. Unlike so many fictional depictions of hoped-for connection, the anguish of love is rarely this raw and without vanity.\u003c/p>\n\u003cp>Reichardt accounts for the intimacy of her work as if she owes it all to chance. “Perhaps the space is being created for it to happen, and then it was just the actors,” she says. “I was taken aback by both of them. I thought that they were just completely reacting to each other, and I think the wind of the day was helping.”\u003c/p>\n\u003cp>This deference to her collaborators (weather included) belies Reichardt’s hold on the psychological landscape — and on the inner lives of her characters — that brings the stories of \u003cem>Certain Women\u003c/em> into resonant coherence.\u003c/p>\n\u003cp>https://youtu.be/TU0caOeu_Ag\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Certain Women\u003c/b> opens at the Landmark Embarcadero in San Francisco, Friday, Oct. 21.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her latest film, \u003cem>Certain Women\u003c/em>, opening in the Bay Area Oct. 21, director Kelly Reichardt continues to tell stories about people on the margins, the disadvantaged and social misfits. In three sections based on three short stories by the writer Maile Meloy, Reichardt depicts ordinary women (Laura Dern, Michelle Williams and Kristen Stewart) leading ordinary lives in and around the town of Livingston, Montana.\u003c/p>\n\u003cp>Vast American spaces populate all of Reichardt’s movies. It’s the territory of her imaginative life, and of the artists who have influenced her.\u003c/p>\n\u003cp>“Do you know the photographer Robert Adams?” she asks during an interview in a San Francisco hotel suite. “I met him this summer. He photographed the West, and his photos really inspired me during \u003cem>Meek’s Cutoff.\u003c/em>” San Francisco’s Fraenkel Gallery, which represents his work, states: “His work is largely concerned with moments of regional transition.”\u003c/p>\n\u003cfigure id=\"attachment_12222255\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKR_7mar150295.jpg\" alt=\"Director Kelly Reichardt on the set of 'Certain Women.'\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_7mar150295.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_7mar150295-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Director Kelly Reichardt on the set of ‘Certain Women.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reichardt uses those same open plains and prairies to capture the emotional transitions of her characters. The first story in \u003cem>Certain Women\u003c/em> concerns a lawyer named Laura (Dern) whose client, Fuller (Jared Harris), sued his company for worker’s compensation with limited success.\u003c/p>\n\u003cp>“The Jared Harris character, he’s just someone who has made it into his 50s as a white man who completely can’t believe that the system isn’t going to work for him, and that it’s just not fair,” Reichardt says. Laura registers a mixture of disbelief, scorn and sympathy in response to Fuller. It’s a small moment writ large: Dern is both her character \u003cem>and\u003c/em> an everywoman who understands the man’s dilemma better and more intimately than he ever will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some viewers might dismiss Reichardt’s carefully observed worlds as trivial, the dull provenance of adulthood. But she recreates a lost, provincial place, the opposite of the one she sees on her New York City commutes. “I ride the subway and all the adults are playing video games the whole way home,” she says, “sometimes ignoring their children to play them. Everybody has the sound on.”\u003c/p>\n\u003cp>\u003cem>Certain Women\u003c/em> has the sound turned way down, often on mute. The Absaroka mountains rest in the background. The gray sky never shakes off the dusk of winter.\u003c/p>\n\u003cfigure id=\"attachment_12222256\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222256\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991.jpg\" alt=\"Michelle Williams as Gina in 'Certain Women.'\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKRP_DAY_19_1991-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams as Gina in ‘Certain Women.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Reichardt’s films, she and her crew create an atmosphere that exists somewhere between the script and lived-in spontaneity. In her earlier work, narrative momentum was often sacrificed for that sense of spontaneity. \u003cem>Certain Women\u003c/em> achieves something new in her oeuvre. The director balances the almost wordless quality of a film like \u003cem>Wendy and Lucy\u003c/em> (2008) with more straightforward stories, ones that have easily recognizable beginnings, middles and ends.\u003c/p>\n\u003cp>Reichardt dismisses the suggestion that only the director is responsible for a film’s atmosphere. “You’re starting with the base — whether it’s Jonathan Raymond’s writing [a frequent collaborator] or Maile Meloy’s writing — you’re starting with a good base,” she says. “Then all of sudden you see it unfolding. What I’m bringing to it is to not interfere with it, and to not get hung up on what I’ve imagined. Because the film has a life of its own outside everybody’s control, right? So you plan and you plan and you plan, till you’re completely ready, and then keep the door opens for what is going to surprise you in the scene.”\u003c/p>\n\u003cp>Lyrically surprising elements enter all three sections of \u003cem>Certain Women\u003c/em>, but it’s the third story, based on Meloy’s \u003cem>Travis, B.,\u003c/em> that is genuinely stunning. Reichardt gives credit to the unpredictable weather. “It was a crazy windy day, and everyone was like, ‘Oh, we can’t. We’ve got to reschedule,’” she says. “I was thinking if the brilliant sound guy can get the sound, the wind is going to help us. Because there’s something about them trying to do this scene. Kristen [Stewart] could hardly keep her dress from blowing up over her head.”\u003c/p>\n\u003cfigure id=\"attachment_12222258\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12222258\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/UKR_9mar150186.jpg\" alt=\"Lily Gladstone as The Rancher in 'Certain Women.'\" width=\"720\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_9mar150186.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/UKR_9mar150186-400x266.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone as The Rancher in ‘Certain Women.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stewart plays Elizabeth, a law teacher commuting four hours at night to her class in a small town. Actress Lily Gladstone is a rancher with an irreproachable openness, and one of Stewart’s students. A rapport develops between them; the audience watches it take place in just a few short scenes. Unlike so many fictional depictions of hoped-for connection, the anguish of love is rarely this raw and without vanity.\u003c/p>\n\u003cp>Reichardt accounts for the intimacy of her work as if she owes it all to chance. “Perhaps the space is being created for it to happen, and then it was just the actors,” she says. “I was taken aback by both of them. I thought that they were just completely reacting to each other, and I think the wind of the day was helping.”\u003c/p>\n\u003cp>This deference to her collaborators (weather included) belies Reichardt’s hold on the psychological landscape — and on the inner lives of her characters — that brings the stories of \u003cem>Certain Women\u003c/em> into resonant coherence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TU0caOeu_Ag'\n title='//www.youtube.com/embed/TU0caOeu_Ag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Certain Women\u003c/b> opens at the Landmark Embarcadero in San Francisco, Friday, Oct. 21.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Shearer’s lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.\u003c/p>\n\u003cp>Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.\u003c/p>\n\u003cp>https://twitter.com/theharryshearer/status/788457673108979712\u003c/p>\n\u003cp>Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. \u003cem>This Is Spinal Tap\u003c/em> was made for $2.25 million, the lawsuit said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.coffeeandlanguage.com/revisions.html\" target=\"_blank\" rel=\"noopener\">\u003ci>reVISIONS\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 21-27\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\nTickets: $10.50\u003c/h5>\n\u003cp>The Bay Area abounds with documentary makers, but sightings of that other cherished varietal of independent filmmaker — writer-directors of feature-length fiction — are extremely rare. It’s tough to sustain a narrative filmmaking career here, especially with L.A. just down the road. And the few who do stick it out and make film after film in the Bay Area don’t get the attention and audience they deserve.\u003c/p>\n\u003cfigure id=\"attachment_12214680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Revisions2.jpg\" alt=\"Still from 'reVISIONS.'\" width=\"1200\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-960x537.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘reVISIONS.’ \u003ccite>(Courtesy of Coffee & Language Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two you should know: Oakland native Finn Taylor resolutely makes quirky comedies in the East Bay — his latest, \u003cem>Unleashed\u003c/em>, starring Kate Micucci and Justin Chatwin, received its U.S. premiere last week at the Mill Valley Film Festival — while Texas transplant J.P. Allen explores the permutations of love and storytelling in San Francisco.\u003c/p>\n\u003cp>\u003cem>reVISIONS\u003c/em>, Allen’s brand new movie, revolves around a screenwriter (played by Allen) scrambling to save his relationship with an actress (Bekka Fink). He originally seduced her with love letters (how perversely anachronistic is that?) and returns to the written word (in the form of a screenplay) in a desperate effort to retain her affections. But all hell breaks loose as the innate volatility of the creative process manifests itself via characters and voices vying for more “screen” time. The writer grapples to maintain control of his work against the forces of anarchy, ego and farce, but how do you reason with The Inner Critic, First Draft, The Screenplay and The Suit?\u003c/p>\n\u003cfigure id=\"attachment_12214681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Revisions3.jpg\" alt=\"Still from 'reVISIONS.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘reVISIONS.’ \u003ccite>(Courtesy of Coffee & Language Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allen has made eight features — so why haven’t you heard of him, right? — and his recent films, especially, are rife with the pleasures of color-saturated compositions, truth-soaked banter between the sexes and smart musical choices. (Full disclosure: Your correspondent had an [unpaid] cameo in Allen’s last film, \u003cem>Love and Demons\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rare filmmaker who’s always challenging himself, Allen is as interested in innovative ways of telling a story onscreen as he is in probing the earnestness, neediness and absurdity that surrounds contemporary relationships between consenting adults. \u003cem>reVISIONS\u003c/em> opens Friday, Oct. 21 at the \u003ca href=\"http://www.coffeeandlanguage.com/revisions.html\" target=\"_blank\" rel=\"noopener\">Vogue Theatre\u003c/a> for a one-week run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183507462?portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.coffeeandlanguage.com/revisions.html\" target=\"_blank\" rel=\"noopener\">\u003ci>reVISIONS\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 21-27\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\nTickets: $10.50\u003c/h5>\n\u003cp>The Bay Area abounds with documentary makers, but sightings of that other cherished varietal of independent filmmaker — writer-directors of feature-length fiction — are extremely rare. It’s tough to sustain a narrative filmmaking career here, especially with L.A. just down the road. And the few who do stick it out and make film after film in the Bay Area don’t get the attention and audience they deserve.\u003c/p>\n\u003cfigure id=\"attachment_12214680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Revisions2.jpg\" alt=\"Still from 'reVISIONS.'\" width=\"1200\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions2-960x537.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘reVISIONS.’ \u003ccite>(Courtesy of Coffee & Language Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two you should know: Oakland native Finn Taylor resolutely makes quirky comedies in the East Bay — his latest, \u003cem>Unleashed\u003c/em>, starring Kate Micucci and Justin Chatwin, received its U.S. premiere last week at the Mill Valley Film Festival — while Texas transplant J.P. Allen explores the permutations of love and storytelling in San Francisco.\u003c/p>\n\u003cp>\u003cem>reVISIONS\u003c/em>, Allen’s brand new movie, revolves around a screenwriter (played by Allen) scrambling to save his relationship with an actress (Bekka Fink). He originally seduced her with love letters (how perversely anachronistic is that?) and returns to the written word (in the form of a screenplay) in a desperate effort to retain her affections. But all hell breaks loose as the innate volatility of the creative process manifests itself via characters and voices vying for more “screen” time. The writer grapples to maintain control of his work against the forces of anarchy, ego and farce, but how do you reason with The Inner Critic, First Draft, The Screenplay and The Suit?\u003c/p>\n\u003cfigure id=\"attachment_12214681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Revisions3.jpg\" alt=\"Still from 'reVISIONS.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Revisions3-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘reVISIONS.’ \u003ccite>(Courtesy of Coffee & Language Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allen has made eight features — so why haven’t you heard of him, right? — and his recent films, especially, are rife with the pleasures of color-saturated compositions, truth-soaked banter between the sexes and smart musical choices. (Full disclosure: Your correspondent had an [unpaid] cameo in Allen’s last film, \u003cem>Love and Demons\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When a nuclear bomb is in danger of accidental detonation, established procedures are carefully followed, and cooperation takes precedence over assigning blame. Or so the hopeful viewer might think before seeing \u003cem>Command and Control\u003c/em>, a PBS \u003cem>American Experience\u003c/em> documentary now in limited theatrical release before its broadcast debut.\u003c/p>\n\u003cp>The movie, developed by director Robert Kenner from Eric Schlosser’s book of the same name, reveals how a warhead atop a Titan II missile risked explosion in 1980 at a Strategic Air Command (SAC) silo near Damascus, Arkansas. Workers — one of whom was killed — scrambled to prevent disaster. But the force that prevented a wider catastrophe was sheer luck.\u003c/p>\n\u003cp>https://youtu.be/LXPrJcFmqKg\u003c/p>\n\u003cp>This is not an unknown story; the fatal accident was reported at the time, though with fewer details than this film marshals. It’s also not the worst Titan II calamity, at least in terms of human loss. In 1965, 53 construction workers died when hydraulic fluid ignited at another Arkansas silo.\u003c/p>\n\u003cp> What gives \u003cem>Command and Control\u003c/em> its urgency are both its wealth of information and the implications of its story. The Titan IIs are gone — even in 1980 they were generally considered obsolete — but the U.S. nuclear-weapons program continues. Estimates of the number of near-misses (the military calls them “broken arrows”) range from 32 to more than 1,000, the movie reports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Building on Schlosser’s reporting, Kenner mixes archival footage and reconstructions to achieve a minute-by-minute immediacy. He interrupts the tense chronology, not always effectively, with accounts of other nuke-bomb flubs as well as recent interviews and vintage news clips. (A Democratic Party convention was underway 46 miles away in Little Rock at the time, so a nuclear blast would likely have vaporized then-Vice-President Walter Mondale and future President Bill Clinton.)\u003c/p>\n\u003cp>Schlosser himself is among the talking heads. So is Harold Brown, who as Defense Secretary in 1980 knew that the Titan IIs had survived only so they could someday be traded away in arms-control negotiations. (They were deactivated in 1987.) But the most interesting commentary comes from members of the Propellant Transfer Team, notably Dave Powell, who dropped the fateful eight-pound socket from a socket wrench, which opened a hole in the missile’s fuel tank.\u003c/p>\n\u003cp>Not on screen is anyone who explains why a nuclear warhead capable of killing 10 million people was placed atop a missile that could potentially be set afire by a dropped socket.\u003c/p>\n\u003cp>Kenner has demonstrated his skepticism of self-serving bureaucracies with such previous documentaries as \u003cem>Food, Inc\u003c/em>. — co-produced and partly narrated by Schlosser — and \u003cem>Merchants of Doubt\u003c/em>. He’s clearly sympathetic to the Titan II crew members, who were dedicated both to their jobs and the larger mission. (“I would kill 10 million people, and never hesitate,” says one.)\u003c/p>\n\u003cp>For their extremely hazardous work, which included potential conflagration and possible asphyxiation, the reward was to be scapegoated. “To err is human. To forgive is not SAC policy,” explains one mid-level Air Force officer who served at Damascus.\u003c/p>\n\u003cp>It would be reassuring if the nuclear-weapon experts interviewed in the film claimed that procedures today are much better, and the chances of a similar mishap are significantly reduced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No such assurances are offered.\u003c/p>\n\n",
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"content": "\u003cp>In the heady political maelstrom of the late 1960s, Italian filmmaker Gillo Pontecorvo released one of the most controversial and acclaimed films of modern cinema. \u003cem>The Battle of Algiers\u003c/em> was a big-screen recreation of the bloody mid 1950s Algerian uprising against French rule. The film was made on a shoestring budget with non-actors recruited from the streets of Algiers. It told the story of an insurrection against colonialism from the rare vantage point of the colonized. That shift in perspective was provocative enough to lead France to ban the film on political grounds. Elsewhere, it opened to rapturous acclaim.\u003c/p>\n\u003cp>\u003cem>The Battle of Algiers\u003c/em> won the Golden Lion at the Venice Film Festival in 1966 and eventually earned three Oscar nominations including Best Director and Best Foreign Language film. Today it is considered both a seminal work of world cinema and a textbook example of protest art. Fifty years after it was first released, \u003cem>The Battle of Algiers\u003c/em> is returning to movie theaters in an new digital restoration.\u003c/p>\n\u003cp>Seeing it in 2016, it is remarkable how much \u003cem>The Battle of Algiers\u003c/em> has influenced the vocabulary of modern Hollywood war movies. From the use of shaky hand-held cameras to shooting in real-life locations with real people, the influence of Pontecorvo’s style is evident in films ranging from \u003cem>Traffic\u003c/em> to \u003cem>Jason Bourne.\u003c/em> By using black and white film stock to mirror newsreels of the 1950s, the artifice of Pontecorvo’s frames bristles with an air of documented urgency. Directors from Steven Soderbergh to Mira Nair to Spike Lee have admitted borrowing from Pontecorvo’s techniques to infuse their own stories with greater authenticity. But more than form, \u003cem>The Battle of Algiers\u003c/em> has endured because of its politics.\u003c/p>\n\u003cp>In its crisp two-hour running time, the film includes brutal scenes of torture, police brutality and racial profiling that seem ripped from this week’s headlines. In the winding alleyways of Algiers, Pontecorvo recreates the unleashing of guerilla warfare on a city-wide scale. The fact that it is the story of a mostly Muslim uprising against Western forces gives the proceedings an even more eerie resonance. The Algerians set off bombs at cafes that kill scores of civilians and the brutal French retaliations lead to countless executions and reprisals. It is not surprising that the Black Panthers and the IRA once studied \u003cem>The Battle of Algiers \u003c/em>as a roadmap to resistance. It is equally understandable why the Pentagon famously screened the film in 2003 as a toolkit to wage a better and more informed “war on terror.”\u003c/p>\n\u003cp>But the film’s Algerian producer and co-star Saadi Yacef says it is inappropriate to see the violence on screen through our current prism of terrorism. “What the film is showing is really different for me. Here you have people who are in a struggle against colonialism. Their struggle is to get the colonial power out of their country. To me this has a far greater difference than some terrorist who sets off a bomb or kills children in the name of having an Islamic State. It is not a human being who goes into a school and kills children. These are not human beings,” he says. Applying the film’s empathy for insurgents to today’s context would be irresponsible and fatal, he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Middle East and North Africa have fundamentally changed from the anti-colonial uprisings of the 1950s and 1960s to a new age of Islamist politics and violence. While Gillo Pontecorvo’s landmark film may draw our minds to contemporary unrest, Saadi Yacef says the film has endured because it is a great work of realist cinema. Pontecorvo was already one of the most celebrated filmmakers in Europe when he was approached by Yacef to make the movie. His collaborators and cast were mostly non-actors who had lived through the real Battle of Algiers. The film emerged from a rare creative and cross-cultural alchemy between Europe and North Africa. Fifty years after the broader context that clearly gave \u003cem>The Battle of Algiers\u003c/em> urgency and currency in its day, the film now stands on its own as a work of cinema. Now, technology has allowed a new generation to see the film in a version that is as close as possible to the one audiences saw in 1966 … and to experience this landmark piece of cinema about resistance on its own terms. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cinematic+Classic+Of+Resistance+Returns+To+The+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the heady political maelstrom of the late 1960s, Italian filmmaker Gillo Pontecorvo released one of the most controversial and acclaimed films of modern cinema. \u003cem>The Battle of Algiers\u003c/em> was a big-screen recreation of the bloody mid 1950s Algerian uprising against French rule. The film was made on a shoestring budget with non-actors recruited from the streets of Algiers. It told the story of an insurrection against colonialism from the rare vantage point of the colonized. That shift in perspective was provocative enough to lead France to ban the film on political grounds. Elsewhere, it opened to rapturous acclaim.\u003c/p>\n\u003cp>\u003cem>The Battle of Algiers\u003c/em> won the Golden Lion at the Venice Film Festival in 1966 and eventually earned three Oscar nominations including Best Director and Best Foreign Language film. Today it is considered both a seminal work of world cinema and a textbook example of protest art. Fifty years after it was first released, \u003cem>The Battle of Algiers\u003c/em> is returning to movie theaters in an new digital restoration.\u003c/p>\n\u003cp>Seeing it in 2016, it is remarkable how much \u003cem>The Battle of Algiers\u003c/em> has influenced the vocabulary of modern Hollywood war movies. From the use of shaky hand-held cameras to shooting in real-life locations with real people, the influence of Pontecorvo’s style is evident in films ranging from \u003cem>Traffic\u003c/em> to \u003cem>Jason Bourne.\u003c/em> By using black and white film stock to mirror newsreels of the 1950s, the artifice of Pontecorvo’s frames bristles with an air of documented urgency. Directors from Steven Soderbergh to Mira Nair to Spike Lee have admitted borrowing from Pontecorvo’s techniques to infuse their own stories with greater authenticity. But more than form, \u003cem>The Battle of Algiers\u003c/em> has endured because of its politics.\u003c/p>\n\u003cp>In its crisp two-hour running time, the film includes brutal scenes of torture, police brutality and racial profiling that seem ripped from this week’s headlines. In the winding alleyways of Algiers, Pontecorvo recreates the unleashing of guerilla warfare on a city-wide scale. The fact that it is the story of a mostly Muslim uprising against Western forces gives the proceedings an even more eerie resonance. The Algerians set off bombs at cafes that kill scores of civilians and the brutal French retaliations lead to countless executions and reprisals. It is not surprising that the Black Panthers and the IRA once studied \u003cem>The Battle of Algiers \u003c/em>as a roadmap to resistance. It is equally understandable why the Pentagon famously screened the film in 2003 as a toolkit to wage a better and more informed “war on terror.”\u003c/p>\n\u003cp>But the film’s Algerian producer and co-star Saadi Yacef says it is inappropriate to see the violence on screen through our current prism of terrorism. “What the film is showing is really different for me. Here you have people who are in a struggle against colonialism. Their struggle is to get the colonial power out of their country. To me this has a far greater difference than some terrorist who sets off a bomb or kills children in the name of having an Islamic State. It is not a human being who goes into a school and kills children. These are not human beings,” he says. Applying the film’s empathy for insurgents to today’s context would be irresponsible and fatal, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Middle East and North Africa have fundamentally changed from the anti-colonial uprisings of the 1950s and 1960s to a new age of Islamist politics and violence. While Gillo Pontecorvo’s landmark film may draw our minds to contemporary unrest, Saadi Yacef says the film has endured because it is a great work of realist cinema. Pontecorvo was already one of the most celebrated filmmakers in Europe when he was approached by Yacef to make the movie. His collaborators and cast were mostly non-actors who had lived through the real Battle of Algiers. The film emerged from a rare creative and cross-cultural alchemy between Europe and North Africa. Fifty years after the broader context that clearly gave \u003cem>The Battle of Algiers\u003c/em> urgency and currency in its day, the film now stands on its own as a work of cinema. Now, technology has allowed a new generation to see the film in a version that is as close as possible to the one audiences saw in 1966 … and to experience this landmark piece of cinema about resistance on its own terms. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cinematic+Classic+Of+Resistance+Returns+To+The+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thomas Ford, the actor who played Martin Lawrence’s best friend Tommy Strawn on the hit ’90s sitcom \u003cem>Martin\u003c/em>, died Wednesday in Atlanta. He was 52.\u003c/p>\n\u003cp>The actor played the level-headed pal of Lawrence on \u003cem>Martin\u003c/em> for the show’s entire five-year run. One running joke was his not having a job, prompting the catch phrase: “You don’t got no job, Tommy!”\u003c/p>\n\u003cp>“It is with great sadness that we announce the untimely passing of our beloved Son, father, brother, husband, and friend Tommy Mykal Ford,” the family said in a statement. “On behalf of the family, we would like to thank everyone for their love, support and prayers.”\u003c/p>\n\u003cp>Family spokeswoman Joy Pervis confirmed Ford’s death but gave no cause.\u003c/p>\n\u003cp>Ford had other TV parts, notable as Lt. Malcolm Barker on Fox’s \u003cem>New York Undercover\u003c/em> and as Mel Parker on UPN’s \u003cem>The Parkers\u003c/em> as well as playing the Pope of Comedy on TV One’s \u003cem>Who’s Got Jokes\u003c/em> with Bill Bellamy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thomas Ford, the actor who played Martin Lawrence’s best friend Tommy Strawn on the hit ’90s sitcom \u003cem>Martin\u003c/em>, died Wednesday in Atlanta. He was 52.\u003c/p>\n\u003cp>The actor played the level-headed pal of Lawrence on \u003cem>Martin\u003c/em> for the show’s entire five-year run. One running joke was his not having a job, prompting the catch phrase: “You don’t got no job, Tommy!”\u003c/p>\n\u003cp>“It is with great sadness that we announce the untimely passing of our beloved Son, father, brother, husband, and friend Tommy Mykal Ford,” the family said in a statement. “On behalf of the family, we would like to thank everyone for their love, support and prayers.”\u003c/p>\n\u003cp>Family spokeswoman Joy Pervis confirmed Ford’s death but gave no cause.\u003c/p>\n\u003cp>Ford had other TV parts, notable as Lt. Malcolm Barker on Fox’s \u003cem>New York Undercover\u003c/em> and as Mel Parker on UPN’s \u003cem>The Parkers\u003c/em> as well as playing the Pope of Comedy on TV One’s \u003cem>Who’s Got Jokes\u003c/em> with Bill Bellamy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Mad Woman Elisabeth Moss Haunts Alamo Drafthouse",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"https://drafthouse.com/show/queen-of-earth1\" target=\"_blank\" rel=\"noopener\">\u003ci>Queen of Earth\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Wednesday, Oct. 12, 10:15pm\u003cbr>\nAlamo Drafthouse, San Francisco\u003cbr>\nTickets: $6\u003c/h5>\n\u003cfigure id=\"attachment_12176246\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021.jpg\" alt=\"Poster for Lewis' 'Two Thousand Maniacs!'\" width=\"650\" height=\"508\" class=\"size-full wp-image-12176246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021-400x313.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Lewis’ ‘Two Thousand Maniacs!’ \u003ccite>(Courtesy of Horror Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may have escaped your notice that the pioneering filmmaker \u003ca href=\"http://www.nytimes.com/2016/09/28/movies/herschell-gordon-lewis-a-pioneer-of-gore-cinema-dies-at-90.html\" target=\"_blank\" rel=\"noopener\">Herschell Gordon Lewis\u003c/a> died Sept. 26 at his home in Florida. Lewis was notorious for inventing the low-budget splatter film with the grindhouse hits \u003cem>Blood Feast\u003c/em> (1963) and \u003cem>Two Thousand Maniacs!\u003c/em> (1964), which won new fans in the ’70s on the college and midnight movie circuits. \u003c/p>\n\u003cp>The Godfather of Gore, as some wit dubbed him, went on to a decades-long career as the dean of direct-mail marketing. (No joke. Your trusty correspondent corralled him for a brief interview at Moscone Center in the early 2000s after Lewis finished leading a seminar at a direct-mail conference.)\u003c/p>\n\u003cfigure id=\"attachment_12176432\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2.jpg\" alt=\"Still from 'Queen of Earth.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-12176432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Queen of Earth.’ \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no leap at all from H.G. Lewis to the multiplicity of Halloween horrors that shroud our screens and invade our dreams this time of year. As a “gentle” lead-in to the rivulets of crimson and revelations of depravity coming to theaters later this month, \u003ca href=\"https://drafthouse.com/show/queen-of-earth1\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse\u003c/a> screens indie up-and-comer Alex Ross Perry’s little-seen 2015 crack-up drama \u003cem>Queen of Earth\u003c/em> this Wednesday, Oct. 12 at 10:15pm. (Steal a nap at work the next day.) \u003c/p>\n\u003cp>https://youtu.be/AU3a8oniq2s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elisabeth Moss (from \u003ci>Mad Men\u003c/i> and Perry’s previous feature \u003cem>Listen Up Philip\u003c/em>) gives an astonishingly vulnerable performance as a woman reeling from the twin blows of her father’s death and boyfriend dumping her. She retreats to the company of a friend (Katherine Waterston) who’s house sitting in the country; needless to say, things go from bad to hellacious. Drafthouse programmer Mike Keegan describes \u003cem>Queen of Earth\u003c/em> as “a New England riff on \u003cem>Persona\u003c/em> by way of R.W. Fassbinder,” and if that doesn’t scare the bejesus out of you, nothing will. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film plays Drafthouse’s ongoing Weird Wednesday series in a new, straight-from-the-lab 35mm print. As Keegan notes, “For do-or-die 35mm purists, this is as clean as it gets, and for those of you interested in psychological thrillers, this is as dark as it gets.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"https://drafthouse.com/show/queen-of-earth1\" target=\"_blank\" rel=\"noopener\">\u003ci>Queen of Earth\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Wednesday, Oct. 12, 10:15pm\u003cbr>\nAlamo Drafthouse, San Francisco\u003cbr>\nTickets: $6\u003c/h5>\n\u003cfigure id=\"attachment_12176246\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021.jpg\" alt=\"Poster for Lewis' 'Two Thousand Maniacs!'\" width=\"650\" height=\"508\" class=\"size-full wp-image-12176246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/two_thousand_maniacs_poster_021-400x313.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Lewis’ ‘Two Thousand Maniacs!’ \u003ccite>(Courtesy of Horror Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may have escaped your notice that the pioneering filmmaker \u003ca href=\"http://www.nytimes.com/2016/09/28/movies/herschell-gordon-lewis-a-pioneer-of-gore-cinema-dies-at-90.html\" target=\"_blank\" rel=\"noopener\">Herschell Gordon Lewis\u003c/a> died Sept. 26 at his home in Florida. Lewis was notorious for inventing the low-budget splatter film with the grindhouse hits \u003cem>Blood Feast\u003c/em> (1963) and \u003cem>Two Thousand Maniacs!\u003c/em> (1964), which won new fans in the ’70s on the college and midnight movie circuits. \u003c/p>\n\u003cp>The Godfather of Gore, as some wit dubbed him, went on to a decades-long career as the dean of direct-mail marketing. (No joke. Your trusty correspondent corralled him for a brief interview at Moscone Center in the early 2000s after Lewis finished leading a seminar at a direct-mail conference.)\u003c/p>\n\u003cfigure id=\"attachment_12176432\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2.jpg\" alt=\"Still from 'Queen of Earth.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-12176432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/QUEEN-OF-EARTH-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Queen of Earth.’ \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no leap at all from H.G. Lewis to the multiplicity of Halloween horrors that shroud our screens and invade our dreams this time of year. As a “gentle” lead-in to the rivulets of crimson and revelations of depravity coming to theaters later this month, \u003ca href=\"https://drafthouse.com/show/queen-of-earth1\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse\u003c/a> screens indie up-and-comer Alex Ross Perry’s little-seen 2015 crack-up drama \u003cem>Queen of Earth\u003c/em> this Wednesday, Oct. 12 at 10:15pm. (Steal a nap at work the next day.) \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AU3a8oniq2s'\n title='//www.youtube.com/embed/AU3a8oniq2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elisabeth Moss (from \u003ci>Mad Men\u003c/i> and Perry’s previous feature \u003cem>Listen Up Philip\u003c/em>) gives an astonishingly vulnerable performance as a woman reeling from the twin blows of her father’s death and boyfriend dumping her. She retreats to the company of a friend (Katherine Waterston) who’s house sitting in the country; needless to say, things go from bad to hellacious. Drafthouse programmer Mike Keegan describes \u003cem>Queen of Earth\u003c/em> as “a New England riff on \u003cem>Persona\u003c/em> by way of R.W. Fassbinder,” and if that doesn’t scare the bejesus out of you, nothing will. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film plays Drafthouse’s ongoing Weird Wednesday series in a new, straight-from-the-lab 35mm print. As Keegan notes, “For do-or-die 35mm purists, this is as clean as it gets, and for those of you interested in psychological thrillers, this is as dark as it gets.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-man-and-an-amendment-are-re-examined-in-the-birth-of-a-nation-and-13th",
"title": "A Man And An Amendment Are Re-Examined In 'The Birth Of A Nation' And '13th'",
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"content": "\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Nate Parker's rebellion film 'The Birth of A Nation' and Ava DuVernay's documentary '13th' tackle America's racial history, but intersect in complicated ways.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With 'The Girl On The Train,' A Best-Selling Novel Jumps The Track",
"headTitle": "With ‘The Girl On The Train,’ A Best-Selling Novel Jumps The Track | KQED",
"content": "\u003cp>Based on the Paula Hawkins’ bestselling novel, \u003cem>The Girl on the Train\u003c/em> is a whodunit constructed through an ornate latticework of multiple narrators, temporal jumps, blackouts, constant misdirection, and out-and-out red herrings. There are a good four or five possible suspects, each waved at the audience like a red cape in front of a bull, with the lance awaiting on the other side. Perhaps it’s only fitting that a film about infidelity would rely on so many narrative cheats, but director Tate Taylor (\u003cem>The Help\u003c/em>) and his screenwriter, Erin Cressida Wilson, twist themselves out of the meaningful themes they’re attempting to develop.\u003c/p>\n\u003cp>Transplanting the action from England to New York, Taylor and Wilson have essentially made \u003cem>Rear Window\u003c/em> on rails, which is a sad testament to the pokiness of American commuter trains. En route from the suburbs to the city and back every day, Rachel (Emily Blunt) positions herself to gawk at the same upscale Westchester homes every day, imagining what might be going on inside. Nursing a water bottle filled with vodka, Rachel mingles bitter memories of her previous life with fantasies about the beautiful young woman she spots from the train, who surely appreciates all the blessings she lost.\u003c/p>\n\u003cp>Or not. It turns out that Megan (Haley Bennett), the object of her obsession, isn’t the least bit basking in suburban bliss. She feels tethered to a domestic life she never wanted, shelving her ambitions for the sake of her controlling husband Scott (Luke Evans) and a nanny job that summons painful revelations from her past. Megan’s resentment spills over to her employers, Tom (Justin Theroux) and Anna (Rebecca Ferguson), who have their own narratively convenient history, and into her therapy sessions with Kamal (Édgar Ramírez), who has trouble maintaining his professional distance. When Rachel steps off the train and intervenes in their lives, she gets knocked unconscious and becomes a prime suspect in a missing persons case.\u003c/p>\n\u003cp>The time between when Rachel loses consciousness and when she wakes up on her bathroom floor, bloodied and confused about what happened to her, recalls the recent HBO series \u003cem>The Night Of\u003c/em>, which is also about a suspect who blacks out during a period where a crime is committed. The question for both is the same: Is our hero capable of such heinous violence? \u003cem>The Night Of\u003c/em> allowed that question to linger even after revealing the answer, but \u003cem>The Girl on the Train\u003c/em> isn’t as interested in exploring the dark consequences of Rachel’s jealousy and rage. It’s too busy teasing out other scenarios for the sake of it.\u003c/p>\n\u003cp>Along with a touch of voyeuristic kink, \u003cem>The Girl on the Train\u003c/em> smuggles a potent motif about women wriggling under the expectations men have for them and how it can chip away at their ambitions, their self-esteem, and even their grip on reality. In that, it bears an unmistakable likeness to \u003cem>Gone Girl\u003c/em>, which shrewdly rebelled against the “cool girl” acquiescence that forces women to play roles that don’t necessarily suit them. But it isn’t as purposeful or provocative, because it never challenges our sympathy for Rachel or the extreme measures she’s compelled to take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In many respects, \u003cem>The Girl on the Train\u003c/em> feels like one of the sexy thrillers that flooded the marketplace in the mid-’90s after \u003cem>Basic Instinct\u003c/em>, only with the tawdry kick of eroticism and violence classed up by a feminist theme and an overqualified cast. Beneath all that gloss, Blunt’s unvarnished performance channels Gena Rowlands as a woman-under-the-influence type, perched between righteousness and madness, coming to terms with painful truths about herself and the life she left behind. But like everyone else in the film, her character gets chewed up by the plot machinery, martyred to a mystery that isn’t worthy of her. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR.\u003c/div>\n\n",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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