identifier stringlengths 1 43 | dataset stringclasses 3 values | question stringclasses 4 values | rank int64 0 99 | url stringlengths 14 1.88k | read_more_link stringclasses 1 value | language stringclasses 1 value | title stringlengths 0 200 | top_image stringlengths 0 125k | meta_img stringlengths 0 125k | images listlengths 0 18.2k | movies listlengths 0 484 | keywords listlengths 0 0 | meta_keywords listlengths 1 48.5k | tags null | authors listlengths 0 10 | publish_date stringlengths 19 32 ⌀ | summary stringclasses 1 value | meta_description stringlengths 0 258k | meta_lang stringclasses 68 values | meta_favicon stringlengths 0 20.2k | meta_site_name stringlengths 0 641 | canonical_link stringlengths 9 1.88k ⌀ | text stringlengths 0 100k |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
9289 | dbpedia | 2 | 79 | https://www.maltadvice.com/en/valletta-malta/ | en | Complete guide to Malta's capital city | [
"https://www.maltadvice.com/wp-content/medias/307/valletta-coast-malta-ss.webp",
"https://www.maltadvice.com/wp-content/medias/307/typical-buildings-valletta-ss.webp",
"https://www.maltadvice.com/wp-content/medias/307/grand-masters-palace-garden-ss.webp",
"https://www.maltadvice.com/wp-content/medias/307/lowe... | [] | [] | [
""
] | null | [
"Maltadvice"
] | 2022-03-04T15:40:33+00:00 | Discover Valletta, Malta's capital, renowned for its exceptional baroque architecture, from majestic palaces to imposing fortresses. | en | Maltadvice | https://www.maltadvice.com/en/valletta-malta/ | Valletta, the capital of Malta, was founded in 1566 by Grand Master Jean Parisot de la Valette, after the victory of the Knights of the Order of St. John over the Ottoman Empire in the Great Siege of Malta in 1565.
Valletta was erected on the Sciberras Peninsula, a site that dominated the two main harbors of Malta: the Grand Harbour and the Marsamxett Harbour. This ensured the defense of maritime routes and offered a clear view of potential threats.
The city was initially conceived as a fortification to protect the island against future Ottoman attacks. Its design was the work of military engineer Francesco Laparelli, who proposed an urban plan based on a grid, something revolutionary for the time.
Under the rule of the Knights of the Order of St. John, Valletta became a cultural and administrative center. The inns or auberges housed the knights, while the Grand Master’s Palace functioned as the seat of government. St. John’s Co-Cathedral, with its opulent decoration and art collection, including the famous painting by Caravaggio, symbolized the religious power of the order.
Valletta fell into French hands in 1798 when Napoleon Bonaparte captured it on his way to Egypt. However, his rule was brief, as the Maltese, supported by the British, rebelled. In 1800, the British established their control, turning Malta into a military bastion. Valletta transformed into a vital port for the British Empire during the 19th century, consolidating itself as a key base for naval operations in the Mediterranean.
The strategic importance of Valletta made it a key target during World War II. Between 1940 and 1942, Valletta and the rest of Malta endured a constant siege. German Luftwaffe and Italian Regia Aeronautica planes relentlessly bombed the city. There were more than 3,000 air raids on Malta during this period, which destroyed much of Valletta, including the historic Royal Theatre.
Malta was an outpost of the British Empire, and its port in Valletta became a vital base for the Royal Navy. From there, the British could disrupt Axis supply lines, especially fuel and supplies shipments to German and Italian forces in North Africa.
The population resisted bravely, and for their resilience, King George VI awarded the George Cross to the island in 1942. Malta was the only region to receive this high decoration, symbolizing the courage and unity of the nation. The Cross still represents the Maltese spirit and appears today on the national flag.
Getting to Valletta, the capital of Malta, is relatively straightforward as it is well-connected to the rest of the Maltese archipelago. The most popular means of transport in Malta is the bus, which offers an extensive and economical network that connects virtually all points of interest on the island.
If you prefer driving, you can rent a car at Malta Airport. Driving is on the left, British style, and there are underground parking lots in Valletta for visitors. Keep in mind that traffic within Valletta is restricted, and some main roads are completely pedestrian.
If you are in Sliema or St. Julian’s and plan to visit Valletta, you can take lines 13, 14, 15, 16, or 21, which will take you directly to Valletta. These buses operate frequently throughout the day, and the journey lasts approximately 20 to 30 minutes, depending on traffic.
Another recommended option is to take the ferry from Sliema. The Sliema Ferry provides a service that directly connects to Valletta in less than 20 minutes. This option is not only quick but also offers a delightful travel experience with spectacular views of the harbor and the city skyline from the water.
If you are in Mdina or Rabat and plan to visit Valletta, you can easily take one of the direct buses that connect these localities with the capital. Lines 50, 51, 52, 53, and 56 offer regular services to Valletta.
You can find all bus schedules on the official website of Malta Public Transport.
Valletta, the historic capital of Malta, offers a rich blend of culture, history, and modern activities that attract travelers from around the world. It is an essential place to visit in Malta and discover the most emblematic sites.
There are several must-visit attractions in Valletta that you should include in your itinerary. Start by exploring the National Museum of Archaeology, which houses an impressive collection of artifacts that tell the rich prehistory of Malta. Do not miss the opportunity to visit the St. John’s Co-Cathedral, known for its luxurious baroque interior and the famous works of Caravaggio housed there.
The Upper Barrakka Gardens offer one of the best views of the Grand Harbour and the Three Cities, being a perfect place to escape the urban bustle and immerse yourself in stunning panoramas. Continue your journey with a visit to Casa Rocca Piccola, a fascinating window into Maltese aristocratic life through the centuries. It is also worth exploring Fort St. Elmo, which houses the National War Museum, offering detailed insights into Malta’s crucial role in European military history. | |||||
9289 | dbpedia | 3 | 35 | https://www.worldtravelguide.net/guides/europe/malta/valletta/history/ | en | [
"https://www.facebook.com/tr?id=1255685234817825&ev=PageView&noscript=1",
"https://www.worldtravelguide.net/wp-content/uploads/2017/04/Think-Malta-Valletta-466246638-liseykina-copy.jpg",
"https://www.worldtravelguide.net/wp-content/themes/wtg/images/main-banner1.jpg",
"https://www.worldtravelguide.net/wp-cont... | [] | [] | [
"Valletta",
"travel guide",
"destination guide",
"Travel information",
"Travel Advice",
"Information",
"Tips",
"Destination"
] | null | [] | 2017-03-14T10:44:54+00:00 | Set at the crossroads of the Mediterranean, Valletta is one of Europe’s great architectural showpieces. It’s often described as an open-air museum, and after 7,000 years of history, it still stands as one of the world’s best preserved fortified cities. | en | https://www.worldtravelguide.net/wp-content/themes/wtg/images/favicon.ico | World Travel Guide | https://www.worldtravelguide.net/guides/europe/malta/valletta/history/ | Valletta History
With a history that includes sieges, Knights Hospitaller and a Nazi blitzkrieg, the story of Valletta’s past makes for fascinating reading. Born in 1565, following a siege that pitted the Knights Hospitaller (also known as the Knights of St John) against the might of the Ottoman Empire, the city was initially built with defence in mind.
Until the arrival of the Knights, Mount Sceberras, on which Valletta stands, was an arid tongue of land sitting between two harbours. Grand Master La Valette, the hero of the Great Siege, realised that if the Order was to maintain its hold on Malta, it had to provide defences. So he devised a plan for a new fortified city on the peninsula. Riches poured into Malta from European royals, much of which went into constructing the new city, called Valletta in honour of La Valette.
By the 16th century, Valletta had grown into Malta’s largest city, notable for its lavish palaces and graceful churches. Pretty though it was, defence remained the key consideration – and with good reason. In 1798, the French briefly occupied the city following the arrival of Napoleon Bonaparte who established a garrison on the island before leaving for Egypt. The Maltese resisted with the help of the British and two years later, the island became a British protectorate.
The now British island remained of key strategic importance, proving its worth again and again, most famously in 1942 when Valletta took a fearful pounding from a vastly superior force (this time the German Luftwaffe, which destroyed the Royal Opera House). The city held firm, earning the entire island an award for bravery in the process.
During the post-war years, the island achieved self-rule, becoming a constitutional monarchy with Queen Elizabeth II as head of state. It then eventually declared itself a republic. Today, Valletta is the smallest EU capital and Malta’s commercial and financial heart. | |||||
9289 | dbpedia | 3 | 42 | https://www.wikiwand.com/en/French_occupation_of_Malta | en | French occupation of Malta | [
"https://wikiwandv2-19431.kxcdn.com/_next/image?url=https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Flag_of_France.svg/640px-Flag_of_France.svg.png&w=640&q=50",
"https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Flag_of_France.svg/125px-Flag_of_France.svg.png",
"https://upload.wikimedia.org/wikipedia/co... | [] | [] | [
""
] | null | [] | null | The French occupation of Malta lasted from 1798 to 1800. It was established when the Order of Saint John surrendered to Napoleon Bonaparte following the French landing in June 1798. In Malta, the French established a constitutional tradition in Maltese history, granted free education for all, and theoretically established freedom of the press, although only the pro-French newspaper Journal de Malte was actually published during the occupation. | en | Wikiwand | https://www.wikiwand.com/en/French_occupation_of_Malta | The French occupation of Malta lasted from 1798 to 1800. It was established when the Order of Saint John surrendered to Napoleon Bonaparte following the French landing in June 1798. In Malta, the French established a constitutional tradition in Maltese history (as part of the French Republic), granted free education for all,[2] and theoretically established freedom of the press, although only the pro-French newspaper Journal de Malte was actually published during the occupation.[3]
Quick Facts MaltaMalte (French), Status ...
Close | |||||
9289 | dbpedia | 2 | 4 | https://www.nationalgeographic.com/travel/article/valletta-malta-guide-art-entertainment | en | A guide to Valletta, Malta | [
"https://i.natgeofe.com/n/e76f5368-6797-4794-b7f6-8d757c79ea5c/ng-logo-2fl.png?w=109&h=32",
"https://i.natgeofe.com/n/7fff9fa8-40bf-49f8-b2b8-fd2e628e479b/citylife_valetta_FL_Valletta-421_ukHR.jpg",
"https://i.natgeofe.com/n/4d93c62b-f410-4cb5-ae00-5490b98f6d51/citylife_valetta_FL_Valletta-376_ukHR.jpg",
"htt... | [] | [] | [
""
] | null | [
"Alicia Miller"
] | 2024-06-03T12:00:00+00:00 | In Malta’s harbour-framed capital, a rich and evolving art scene unfolds among honeyed baroque facades, echoing the global influences that have shaped the city over the centuries. | en | Travel | https://www.nationalgeographic.com/travel/article/valletta-malta-guide-art-entertainment | “It’s an extension of God, a celebration of his beauty and perfection,” Father Charles remarks as we stand at the threshold of St John’s Co-Cathedral in central Valletta, necks craned towards the ceiling. Armies of painted angels swirl overhead, elaborate carvings festoon archways lining the nave and painstakingly detailed marble inlay covers the floor. But all this splendour pales in comparison to the gold — thick, gleaming coats of which adorn nearly every surface in dazzling maximalist fashion. “This cathedral was built by the knights, for the knights,” Father Charles continues, a smile spreading across his white-bearded face.
“And as you can see, the knights were very wealthy.” It’s impossible to speak about St John’s Co-Cathedral — or about the Maltese capital Valletta at all — without speaking about the Knights of St John. This religious and military order, founded in Jerusalem in the medieval ages, was charged with the defence of the Holy Land under papal charter. With support from Pope Clement VII, the exclusive collective, consisting solely of wealthy men from elite noble families, made Malta its new headquarters in the 16th century. It would go on to rule here for more than 250 years, building countless artistic wonders including the entire fortified city of Valletta — and its crowning glory, this cathedral.
“The knights came from noble families all across Europe and you can see each of their nations represented in different chapels along the nave,” Father Charles says as we begin to walk the glinting interior. As the cathedral’s in-house conservator, he knows each piece of artwork inside out, and has restored many of them himself. As we move, he shares stories of the paintings, their artists and the trials of upkeep (“I needed to reline the frame on this Mattia Preti painting — it took me a year!”).
In the comparatively austere French chapel he points out the restrained Nazarene-style fleur de lis motif; and in the Aragon, elaborate metallic sculptures. It quickly becomes clear that St John’s Co-Cathedral is not just a church, but a showcase of some of the finest 16th and 17th century European art and architecture, a bit like a living Louvre or Rijksmuseum. “Look at this wood; it doesn’t come from Malta, we don’t have big trees like this,” Father Charles enthuses over a ceiling beam, before adding, “The knights brought in all the best artists of the time — and all the best materials too.”
Stepping back out into the daylight after my ecclesiastical art-history lesson, winged angels and silver-plated liturgical paraphernalia still spiralling through my mind, I find I have a new-found appreciation for Valletta’s baroque downtown. Handsome honeyed facades are lined in ornate stonework, subtle cream townhouses sport painted wooden gallarija (closed balconies) and narrow cobbled streets run downhill towards the expansive Grand Harbour, its waters criss-crossed with yachts and colourful luzzu fishing boats.
As I wander through the compact grid of streets, a UNESCO World Heritage Site, I pass restaurants, gift shops and pods of tourists, as well as locals lucky enough to live among this aesthetic wealth year-round — couples walking fluffy Maltese dogs and collared priests scooting around corners into tiny churches. The old city headquarters of the knights may be extraordinarily pretty, but they’re also brimming with life.
(How to spend a day in Valetta, Malta's baroque, harbourside city.)
It wasn’t always like this, of course. When the knights began to build their capital in 1566, atop a raised peninsula on Malta’s east coast, the land — flanked by that rambling natural harbour — was almost barren. Or so it seemed. Long before the knights arrived, however, the area had been pockmarked with the imprints of much more ancient peoples.
That’s what I learn at the National Museum of Archaeology, where I head that afternoon, less than a block away from the cathedral. Simple displays in glass cabinets belie the irreplaceable treasures within: artefacts recovered from Malta’s numerous neolithic sites. Scattered across the island, some spots are thought to date to 3600 BCE — older than the Egyptian pyramids or Stonehenge.
Over millennia, travellers from across the Mediterranean came to this sun-soaked island to settle, each civilisation leaving their mark before the next succeeded. As I move from room to room in the museum, I learn about the prehistoric Sicilians who ushered in elaborate megalithic structures between 4000-2500 BCE, and the Phoenicians’ smooth pottery, precious gold amulets and purple dyed fabrics dating to around 700 BCE.
I see rudimentary miniature sculptures and stone necklaces of imported greenstone, and swirling stone carvings removed from the 5,000-year-old Tarxien Temples, whose ruins lie four miles from the museum.
Most remarkable of all is one of the smallest exhibits: a tiny clay figure entitled Sleeping Lady, discovered in the subterranean galleries of the Hal Saflieni Hypogeum — an ancient necropolis less than 15 minutes’ drive from where I stand. Lying on her side, eyes peacefully closed, she looks as if she’s just slipped into her eternal slumber, despite being carved millennia ago. As museum visitors pause in the dimly lit exhibition space to admire her gentle serenity, they can’t help but hush, as if not to wake her.
Timeless appeal
Over my next few days in the city, more of Valletta’s artistic riches slowly reveal themselves. The MUŻA National Museum of Art, in a beautiful baroque building a short walk from the National Museum of Archaeology, bursts with oil paintings, mosaics and polished wooden marquetry tables. In the historic Teatru Manoel, one of the oldest working theatres in Europe, a grand chandelier illuminates rows of gilded boxes.
Casa Rocca Piccola — a 440-year-old noble family home-cum-museum — showcases an extensive collection of visual treasures, including elaborate gold filigree and Maltese lace. There are historic knights-related oddities, too, such as a chess set minus the queens, designed specifically for the male-only order. As I enter a dining space laid with precious cutlery and ceramics, I feel almost like I’m in a residential version of St John’s Co-Cathedral, unsure how to take in the sheer amount of artistic detail in front of me.
As I continue to explore, I find that the city’s aesthetic charm is not only hidden behind closed doors. One evening, at sunset, I stand in the landscaped Upper Barrakka Gardens overlooking the harbour as toy-sized boats zigzag through the waters far below and nature paints the sky pink and orange with its own masterful palette.
It would be easy to think of Valletta as being a kind of artistic timewarp, an unchanging world of gilded wonder. And yet its artistic evolution is not complete. A new chapter begins later this year with the opening of MICAS — the Malta International Contemporary Art Space — in vast historic fortifications and ramparts just outside the city walls.
“These works address our sense of space and time, and how these can be distorted,” says British contemporary artist Conrad Shawcross, the museum’s first exhibitor, as he leads me through a small portion of the site already open to visitors. We wander along the bleached stone ramparts towards old military vaults, ducking into the squeezed spaces to see his intricate light installation, Slow Arc Within a Cube. In the darkness, metallic grid sculptures with moving bulb mechanisms throw metamorphosing shapes across the ceiling, walls and floor, appearing to change the dimensions of the space with every passing moment.
“I made this piece 10 years ago and it’s been shown in various locations around the world, but I’m delighted it’s found a permanent resting place here in Malta,” explains Conrad as we watch his light machines cast hypnotic illuminations. One of MICAS’s aims is to balance Malta’s extensive history with exciting artistic innovation — both local and global — and this blend of fort architecture and modern craftwork seems the perfect embodiment. It’s a theme explored further in Conrad’s large-scale installation on the ramparts, Beacons. Blinking against the noon sun after our time in the dim vaults, we gaze up at the series of huge colourful discs, mounted flag-like on poles. Visible from far across the harbour, they look like some kind of naval semaphoric code — and in fact, Conrad tells me, they are. Pointing to each oversized disc in turn, he spells out their succinct meaning: ‘NOW’.
On my final night in the city, I return to St John’s Co-Cathedral. The clusters of visitors have cleared out for the day, leaving the vast interiors eerily quiet. Showing my concert ticket to the guard, I’m ushered into a small oratory, where I take a seat among an intimate audience.
Lights are dimmed, a harp is played and a woman sings sweet baroque medleys by candlelight as we gaze up towards the altar, which is adorned with what is arguably Valletta’s most precious artistic treasure of all. The Beheading of St John the Baptist, an oil painting by 16th-century Italian artistic master Caravaggio, stretches more than five metres wide, a brutal and haunting scene of disimpassioned spectatorship. A prostrate St John, with his throat brutally slit, bleeds on the ground while callous onlookers support a stoney-faced executioner. The only humanity in the painting is embodied by a single, horrified woman.
The longer I stare, baroque music washing across the oratory, the more details emerge from the darkness. Caravaggio’s signature in the pool of blood — this is his only signed work — and the glint of the silver knife. It induces awe not for ornate gilding, like so much in the city, but for intimate drama. We’re a small group of strangers collectively witnessing the stirring tragedy of this painting, 400 years after the artist put brush to canvas.
It’s hard to compute all that Caravaggio’s eternal masterpiece has witnessed in its long history, or what it will see in years to come. But for me, a fleeting visitor to this place, the concert becomes a vivid living postcard of my time in Valletta. A brief but beautiful moment shared by many over the centuries. | |||||
9289 | dbpedia | 3 | 15 | https://www.vallettacruiseport.com/must-see/grandmasters-palace | en | Grandmaster's Palace | [
"https://www.vallettacruiseport.com/Files/VALLETTA_Logo.png",
"http://openweathermap.org/img/wn/01n.png",
"https://www.vallettacruiseport.com/Files/VALLETTA_Logo.png",
"https://www.vallettacruiseport.com/Files/header_images/for-guests_header_5760x534.jpg",
"https://www.vallettacruiseport.com/Files/must-see/... | [] | [] | [
""
] | null | [] | null | Valletta Must See Detail, Valletta global ports, valletta global ports, valletta cruise port | tr | https://www.vallettacruiseport.com/must-see/grandmasters-palace | The Palace stands in the very heart of Valletta - the World Heritage City founded by the Sovereign Hospitaller Military Order of St. John after the Great Siege of Malta in 1565. Besides being the Office of The President, The Palace also serves as the House of Representatives and boasts of, an armoury which symbolises the past glories of the Order.
The first structure on this site was built during the reign of Grandmaster Jean de La Cassiere (1572-1581) in order to serve as the Grandmaster's Palace. Subsequent Grandmasters enlarged and embellished the original structure until it took its present shape during the mid-18th century. Following the French occupation between 1798 and 1800 The Palace was taken over by the British administration, thereby serving as the Palace of the Governor. It also saw Malta's constitutional development as it was the seat of Malta's first Constitutional Parliament in 1921 and, following Independence in 1964, the seat of Parliament and also of the Head of State.
The Palace State Rooms and Armoury are open to the public. Howvever, the State Rooms may be closed to visitors at short notice due to the exigencies of the Office of the President or the House of Representatives. | ||||||
9289 | dbpedia | 2 | 18 | https://www.malta-guide.net/sightseeing/valletta-maltese-capital/ | en | Valletta the Maltese Capital | [
"https://www.malta-guide.net/images/cropped-logo-transparent-1-1.png",
"https://www.malta-guide.net/images/Cultural-discovery-in-Malta.jpg",
"https://www.malta-guide.net/images/Malta-nightlife.jpg",
"https://www.malta-guide.net/images/BEACHES-IN-MALTA-7.jpg",
"https://www.malta-guide.net/images/BEACHES-IN-M... | [
"http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=200748758787152908007.00049b92c3e113d5f9c15&ll=35.900175,14.449081&spn=0.204128,0.381088&z=11&output=embed",
"http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=200748758787152908007.00049b92f700bad03612d&ll=35.898576,14.512553&spn=0.012758,0.023818&z=... | [] | [
""
] | null | [
"Luis Seco"
] | 2010-11-26T17:14:59+00:00 | Valletta is a fascinating city where you can spend an amazing couple of days surrounding by history, amazing baroque architecture, ancient fortresses, | en | Malta Travel Guide, Travel Guide Malta Gozo | https://www.malta-guide.net/sightseeing/valletta-maltese-capital/ | Valletta is a fascinating city where you can spend an amazing couple of days surrounding by history, amazing baroque architecture, ancient fortresses, breathtaking cathedrals and some very fascinating museums.
In fact, Valletta is one of the most concentrated historic cities in the world as it contains more than 300 monuments within a small portion of land, surrounded by fortresses and defensive ramparts. No wonder it is often called an open-air museum.
Valletta is such an important city that, through times, it has been given titles like The Fortress City, Umilissima Civitas Valletta (The Most Humble City of Valletta), “a city built by gentlemen for gentlemen”, Masterpiece of the Baroque, European Art City and finally, in 1980, was considered one of UNESCO’s World Heritage sites in Malta.
Location of Valletta, Malta
Since UNESCO’s recognition of Valletta, the city has flourished in terms of building and heritage conservation, presenting itself today as a beautiful and unique Mediterranean travel destination. A visit to the capital city of Valletta is a trip to the past where you travel back time when the Crusaders Knights of Malta were still protecting the city.
History of Valletta – how it all started
The history of Valletta is obviously closely related to the History of Malta. When the Knights of St John of Jerusalem arrived in Malta in 1530, they settled in Birgu (later Vittoriosa) one of the Three Cities of Malta. Birgu was protected by the small watch tower of St Elmo, which stood on Mount Sceberras, then converted into Fort St Elmo. This fort really came to prove its strategic position in the defeat of Suleiman, in the Great Siege of 1565, and the Knights realised that was the defensive point capable of keeping the Order safe in the island of Malta.
With the mighty victory over the Muslims, the Knights would get essential financial aid from the grateful Pope Pius V and Philip II of Spain to build the city of Valletta, whose name was given after Grand Master La Valette, the hero of the Great Siege. The mastermind behind the design of the city of Valletta was Francesco Laparelli, a military engineer, later replaced by his assistant Gerolamo Cassar.
Laparelli could then create the perfect fortress city, starting from scratch on the arid rock of Mount Sceberras peninsula, overseeing the two deep harbours of Marsamxett and Grand Harbour. When you visit Valletta you will not consider it a modern city but it was one of the first examples of town planning based on a grid pattern of streets.
Here are some important features and advances in the planning and construction of Valletta with its strategic defence in mind.
Designed in an almost uniform grid, Valletta’s streets fall steeply as you get closer to the extremity of the peninsula giving defenders the best position.
The same grid let fresh air from the two harbours circulate easily in the narrow streets, keeping the city cool.
Strong bastions and deep moats were built.
The stairs in some streets in Valletta are big enough to allow knights in heavy armour to climb the steps.
Innovations like pipes for fresh water and sanitation was provided for knights, their servants and trades people in Valletta.
The construction of Valletta started in 1566 and lasted only 15 years! This was the time it took to build the city, its bastions, forts and cathedral. This is even more impressive considering that the rocky Mount Sceberras was not an easy location and substantial levelling was needed.
Street map of Valletta, Malta
La Valette died in 1568, before the city was completed. By 1571, Valletta was already capable of receiving its first inhabitants, the Knights transfered from Birgu to their new capital. Major early buildings were constructed like the Cathedral of St John, the Sacra Infermeria, the Auberges or Inns of Residence of the Knights and the Magisterial Palace.
When the 16th century began, Valletta was already the size of a city and the Maltese people started moving to the safety of its walls from all over the island of Malta. The Order of the Knights of St John moved most of its structures to the new capital of Malta but the Three Cities maintained their economic importance because of their docks. Mdina, the old medieval capital of Malta stagnated but remained home to the Maltese nobility, descendant of the Sicilian and Spanish overlords.
Some centuries later, Valletta’s history met World War II, suffering heavy bombing. But the partly destroyed Maltese capital survived, together with the Knights’ masterpiece, St John’s Cathedral. In the years that followed WWII, Valletta’s citizens moved out to more modern houses in other villages or cities, living the capital with only 9,000 inhabitants. Recently, the opposite has been happening, with Maltese moving in, proud of the architecture of their capital.
Valletta today – a tourist’s paradise
Valletta is the smallest capital of the European Union and the major commercial and financial centre of Malta. Being one of the most concentrated historic areas in the world, it is an attractive destination for tourists that want to go back in time inside the walls of Valletta visiting and photographing streets, churches, palaces, statues, niches, fountains, gardens, coats of arms and other art works.
On the main streets of Valletta you will find some of the best shopping in Malta inside large international brand shops for fashion, music, jewelery, etc. On the narrow side streets try the local products shops or taste the delicious food and drink of Malta at the small picturesque cafés and wine bars. Malta’s Grand Harbour is a must too. Take home both a memory and a photo of the most beautiful harbour in the Mediterranean. At night, the streets get calm and quiet. Take a walk with the dim light and discover another, perhaps even more beautiful, Valletta.
Before you plan your travel and get on a plane to Malta, learn about the calendar of festivals and events to see if you’re lucky enough to experience some of the many cultural events that happen in Valletta, from popular ones to internationally acclaimed organisations.
Best Sightseeing Sites & Monuments in Valletta
Valletta City Gate
Siege Bell Monument
St John’s Co-Cathedral
Valletta’s City Ramparts
Auberge de Castille
Anglican Cathedral
Our Lady of Mount Carmel Church
Il-Mandragg
Grand Master’s palace and the Armory
St Paul’s Shipwreck Church
Fort St Elmo
Lascaris War Rooms
Hastings Gardens
Upper Barakka Gardens
Manoel Theatre
Museums in Valletta | |||||
9289 | dbpedia | 1 | 36 | https://www.cruiseandtravel.co.uk/valetta-malta-port-guide/ | en | Valletta city guide: What to see and do in the capital of Malta | [
"https://www.facebook.com/tr?id=157638571845782&ev=PageView&noscript=1",
"https://www.cruiseandtravel.co.uk/wp-content/themes/cruise-international/assets/cru-logo.png",
"https://www.chelseamagazines.com/subscriptions/covers/current/CRU.jpg",
"https://www.chelseamagazines.com/subscriptions/covers/current/CRU.j... | [] | [] | [
""
] | null | [
"Cruise & Travel",
"Cruise & Travel"
] | 2023-10-16T08:28:00+00:00 | Valletta's history and buzzing contemporary vibe are an irresistible combination for cruisers. Here's the best things to do in Valletta. | en | Cruise & Travel | https://www.cruiseandtravel.co.uk/valetta-malta-port-guide/ | By Cruise & Travel | 16 Oct 2023
This Mediterranean capital’s unique history and buzzing contemporary vibe are an irresistible combination for cruisers, writes Gillian Thornton
Few Mediterranean ports pack quite as much of a punch as the Grand Harbour in Valletta, its entrance guarded by the twin forts of Saint Elmo and Saint Angelo. To the right, the ramparts of the Maltese capital tower over the waterfront. To the left, narrow inlets packed with pleasure craft divide the communities of the Three Cities. And all around, buildings of honey-coloured stone jostle for position around the water.
Famously described as a city ‘built by gentlemen for gentlemen’, Valletta owes its existence to the Knights of St John, a military and hospitaller order founded in the 11th century to protect Christian pilgrims in the Holy Land.
Expelled from Rhodes in 1522 by the Turks, the Knights were invited to Malta in 1530 by Holv Roman Emperor Charles V, ruling until 1798 when they surrendered the island to Napoleon. They settled first in Birgu – today one of the Three Cities – but after the Ottoman siege of 1565, began building Valletta on the peninsula opposite.
Today, cruise ships dock on Lascaris Wharf, directly below the walled city, and just one euro buys a return ticket for the panoramic lift to the terraces of Upper Barrakka Gardens.
Stop first to enjoy the harbour view – one of the finest in the Mediterranean – bracing yourself at midday for the firing of the noon day gun.
Things to do in Valletta
Malta’s rich history is evident all over Valletta, a World Heritage Site since 1980. Designed on a grid pattern, the city is easy to navigate and English is the joint official language with Maltese, a legacy of British governorship that began in 1800 after two years of French occupation. Malta gained independence in 1964 with Queen Elizabeth I as head of state, before becoming a Republic in 1974 within the Commonwealth, but it has been part of the EU since 2004 (visitmalta.com).
From the hilltop gardens, skirt the bastion to your left to arrive at the City Gate. Outside the ramparts, the vast Tritons’ Fountain stands in a pedestrian square bordered by bus stops that serve all corners of the island. Inside the city, compare and contrast the new parliament building with the adjacent open-air theatre on Republic Street, both designed by Italian architect Renzo Piano.
Behind the theatre stands a statue of Jean de Valette, Grand Master of the Knights who gave his name to their new city.
Visit the State Rooms of the Grandmaster’s Palace in St George’s Square, now the office of the Maltese president.
All from wealthy Catholic families, the Knights represented eight different languages and lived within their own language groups in imposing baroque buildings today repurposed for municipal and public use. Get a taste inside the Auberge d’Italie, now the National Museum of Community Art, or MUZA – Maltese for inspiration’.
Valletta’s must-see heritage site is St John’s Co-Cathedral (closed Sundays), built by the Knights for their own use and ranked second to the cathedral in the medieval capital of Mdina. Expect an eye-popping interior of intricate gold leaf, ornate marble floors, and monumental wall paintings, plus the only signed painting by hot-headed Italian artist Caravaggio, who was commissioned in 1607 by the Grand Master to create the piece, but then imprisoned for fighting another Knight. He escaped to Sicily but died in Italy in 1610.
History enthusiasts are spoilt for choice with forts, tunnels, and war museums, as well as a moving Commonwealth War Graves Commission cemetery at nearby Karkala, all reflecting Valletta’s role as a strategic British naval base until 1979.
But one of the nicest things to do is simply wander Valletta’s undulating streets and keep your eyes open. I did just that, and chanced upon the Church of St Paul’s Shipwreck, which commemorates the saint’s dramatic arrival here in 60AD, and a jorful street procession for the Feast of St Joseph. Look too for the ornate wooden balconies, a sign of wealth on a rocky island short on native timber.
What to eat in Valletta
When it’s time to refuel, check out authentic Maltese snacks such as ftira flatbreads topped with pizza-style toppings and pastizzi pastries filled with peas or ricotta, perhaps with a glass of Maltese wine, but Valletta also boasts a number of restaurants featured in the 2023 Michelin Guide, including ION and Noni. Or treat yourself to afternoon tea at the elegant Phoenicia Hotel near Tritons’ Fountain – a stylish stopover in this elegant baroque city.
Best Valletta sightseeing ideas
See Mdina by bus
Take a local bus from Valletta – or a Hop-On-Hop-Off City Sightseeing tour (North Route) – to this central fortified city. Must-see sites include the Domus Romana villa; the cathedral; and the art treasures of Palazzo Falson. For souvenirs, try Mina Glass near the city gate and for an Arab-inspired lunch, sample Medina restaurant.
Head to Vittoriosa
Take a ferry or water taxi from Lascaris Wharf for the short ride to Vittoriosa, known as Birgu in Maltese. First settlement of the Knights of St John, this charming district is now one of Valletta’s Three Cities along with neighbouring Senglea and Cospicua, and offers great hilltop panoramas of Valletta.
Explore the maritime history
Also in Birgu and dominating the waterfront, the National Maritime Museum occupies the former naval bakery. Closed until late 2023 for renovation, it promises a fascinating journey through Malta’s maritime heritage. Don’t miss the baroque splendour of St Lawrence Church, set back from the quayside, or the picturesque old streets on the hill behind.
Valletta to Gozo day trip
The neighbouring island of Gozo makes a delightful add-on for passengers embarking or disembarking in Valletta, as well as a day excursion, just 45 minutes by fast ferry from Valletta. Greener and less built-up than its larger neighbour, Gozo offers heritage sites, walking routes and adventure sports.
Travel back in time to Gozo’s earliest inhabitants at the Ggantija Temples, a UNESCO World Heritage Site in the centre of the island. I also enjoyed walking the ramparts of the hilltop citadel in the nearby Gozitan capital, Victoria.
The clear waters around Gozo offer some of the Mediterranean’s best dive sites, especially around the small resort of Marsalfon on the north coast and in Dwejra Bay in the west. Take a boat ride beneath towering cliffs from Dwerja’s ‘inland sea’ or hunt for fossils on the beach. Just want to chill out? Try the tranquil red sands at Ramla Bay near Marsalforn.
Cruise lines calling at Valletta
P&O Azura is home-porting in Valletta this year, while visiting cruise lines include Fred Olsen (Bollette), Holland America Line (Oosterdam), Saga (Spirit of Adventure), Silversea (Silver Dawn and Silver Moon), and Oceania (Marina, Sirena, Nautica and Riviera).
Read more: | |||||
9289 | dbpedia | 0 | 6 | https://www.napoleon.org/en/history-of-the-two-empires/articles/the-taking-and-the-siege-of-malta/ | en | The Siege and the Taking of Malta | [
"https://www.napoleon.org/wp-content/themes/napoleon/images/logo-napoleon-en.png",
"https://www.napoleon.org/wp-content/themes/napoleon/images/logo-fondation-napoleon.png",
"https://www.napoleon.org/wp-content/thumbnails/uploads/2001/11/lithographie-de-de-vink-vue-de-la-prise-de-malte-par-napoleon-bonaparte-24-... | [] | [] | [
""
] | null | [] | 2001-11-08T23:00:00+00:00 | Malta and the Knights Hospitaller of St John Any discussion of the 1798 taking of Malta, the subsequent siege and liberation must begin bearing in mind | en | /wp-content/themes/napoleon/icons/apple-touch-icon-57x57.png | napoleon.org | https://www.napoleon.org/en/history-of-the-two-empires/articles/the-taking-and-the-siege-of-malta/ | Malta and the Knights Hospitaller of St John
Any discussion of the 1798 taking of Malta, the subsequent siege and liberation must begin bearing in mind the two fundamental events of the ten years immediately preceding the annexation of Malta to France. First, on 30 July 1791, the powers that were declared the denationalisation of every French citizen affiliated to a chivalric order established outside France. Now Malta since the early Middle Ages had been the home of the Knight of Malta, a chivalric order of which by 1789 two thirds were French… and exceedingly wealthy. Second, on 19 September 1792, the Legislative body met to put the wealthy domains (or ‘Commanderies’ as they were called) of these men at the disposal of the nation. At one fell swoop the Order of Malta lost half of its revenue. This caused a definitive rupture between Malta and France.
France gone, other Nations become interested
Nor were other nations slow in coming forward to the aid of this small island so well situated with regard to trade with the Levant, plumb in the centre of the Mediterranean. Britain with its naval base on Minorca offered its ‘protection’. The Tsar Paul I offered final assistance to the Order, raising money from Polish ‘Commanderies’ and founded the Grand Priory of Russia (1797). Austria too with its position in the Adriatic and its privileged relationship with Naples had designs upon the Mediterranean – perhaps even the Grand-Master Hompesch was pro-Austrian.
The Directory decides to take Malta
It was in this context that on 26 May 1797 Napoleon suggested to the Directory the conquest of Malta. The island, it appeared to him, was an important pawn in the projected Mediterranean strategy, whose final aim was to use Egypt as a stepping stone to reach and destroy British interest in India.
The Invasion
On 9 June, the gigantic Egyptian invasion fleet (numbering about 50,000 men), commanded by Admiral Brueys, in effect set siege on Malta. As a result of the passivity of the inhabitants and the few troops available to Grand-Master Hompesch (332 knights, 3,600 men in the harbour and about 13,000 militia men from the countryside around), the siege was not to be more than more than a few cannonades. On the morning of the 10th, French forces attacked simultaneously at four different spots. Desaix, after securing Marsaxlokk Bay, was to cross the Cottonera lines and if possible take on of the principal gates of Valetta by assault. Vaubois, the future governor of the island during the two year siege, was to land with his men on the coast stretching between Sliema and Qawra Point, to move in land and take Mdina and the surrounding villages. D’Hilliers was instructed to take St Paul’s and Mellieha Bays and to advance to Mdina and the Madliena Heights. Finally Reynier was to occupy the poorly-defended island of Gozo. By the afternoon all apart from the Grand and Marsamxett Harbours and Fort St Lucian were in French hands. On 12th, the Hompech capitulated.
Modernity for feudal Malta
In the six days which followed the surrender and the departure of Bonaparte for Egypt, a civil code was laid down for Malta. Slavery was abolished and all Turkish slaves were freed. All feudal rights and privileges were abolished. A new administration was created with a Government Commission, twelve municipalities were formed. Alongside these twelve judges were nominated. Public finance administration was arranged. Public education was organised along principles laid down by Bonaparte himself, providing for primary and secondary education. Fifteen primary schools were founded and the university was replaced by an ‘Ecole centrale’ in which there were eight chairs, all very scientific in outlook: notably, arithmetic and stereometry, algebra and stereotomy, geometry and astronomy, mechanics and physics, navigation, chemistry. Furthermore sixty children, aged 9-14, from Malta’s richest families were to be sent to Paris to be educated in ‘colleges’ in France.
The siege of two years
But after Bonaparte’s departure Vaubois was left in charge, and things began to go wrong for the French. Acceptance of the French on Malta was by no means unanimous. There were guerrilla attacks by the locals. Then three weeks after Bonaparte’s departure there was the insurrection of 2 September 1798. Encouraged by British victory at the battle of the Nile, the mob broke up a sale of gold and silver items, tapestries and sacred objects designed to raised money for the French authorities. The Maltese officials who were to run the sale retired to Valetta. On the afternoon of the same day, Masson the commander of Mdina was involved in an exchange of insults with a mob in Rabat. He was murdered on the spot and his corpse was thrown out of a window. At dawn on the following day Mdina was captured by insurgents. French reinforcements for Rabat numbering 250 men were routed. The gunpowder magazine in Cottonera were seized, Gozo was overrun. By 4 September the French forces in Malta and nearly 40,000 city dwellers were corralled behind the long walls protecting the Grand and Marsamxett Harbours., the rest of the country was in the hands of the Maltese rebels. Requests to help rid Malta of the French were sent to Ferdinand the King of the Two Sicilies and to Nelson. Nelson proved to be more forthcoming by sending a Portuguese squadron of four ships of the line and two frigates under the command of Marquis Pinto-Guedes de Nizza Reale. The blockade had begun. In October 1798 Nizza Reale was replaced by captain Alexander Ball and he was to keep it up for the following two years. The only break in this apparent stalemate was when the French on the small island of Gozo surrendered with full military honours on 28 October. Similarly two ships managed to break the blockade. All in all Vaubois’s resistance to the siege was tenacious and noble. By a combination of expelling locals, extracting forced loans from wealthy Maltese and rationing supplies and ammunition, Vaubois managed to withstand two years on rations for only seven months. It was only on 5 September, 1800, with the last crumb of bread gone, that he reluctantly capitulated to the British navy.
Aftermath
Despite attempts to return Malta to the knights, the island was to remain under British control forming – along with Minorca – central points for the British navy in the Mediterranean, and providing launch bases for the expeditions against Egypt (1801) and the Ionian islands (1809-1814). It was also used as a trade counter for goods from the Orient, providing a source of contraband against the continental system. Malta was to remain British as result of the treaty of Paris, 30 May 1814. But in the minds of the Maltese people the resistance to the occupying French was to remain as one of the most glorious pages in their long and eventful history.
Bibliography | ||||
9289 | dbpedia | 3 | 78 | https://timesofmalta.com/article/watch-maltese-patriots-diary-exposes-real-cost-french-blockade.979847 | en | Watch: Maltese patriot's diary exposes the real cost of the French blockade | [
"https://cdn-attachments.timesofmalta.com/f22a8bd7a77e1b3c073df8373b2d411c56f6972a-1662728987-a2e11f43-1920x1280.jpg",
"https://cdn-attachments.timesofmalta.com/f9c369f2a1b77a7e1824ca4c438760e900282dca-1662729126-aa208c0c-1920x1280.jpg",
"https://cdn-attachments.timesofmalta.com/55a624357a3662be35f36987af544449... | [] | [] | [
""
] | null | [
"Sarah Carabott"
] | 2022-09-11T10:38:00+02:00 | Civil war cost more lives than Great Siege and World War 2 combined | en | Times of Malta | https://timesofmalta.com/article/watch-maltese-patriots-diary-exposes-real-cost-french-blockade.979847 | For over 200 years, the story of the Maltese civil war that cost more lives than the 1565 Great Siege and the Second World War combined, has been recounted through the eyes of the French or the English.
But that is all set to change as the diary of a Maltese patriot and legendary Birkirkara hero Vincenzo Borg, recently acquired by Heritage Malta, is being transcribed and made available online for all to read.
The man, known as Ċensu Braret, led Birkirkara residents in battle against the French and their Maltese supporters between 1798 and 1800.
Borg, considered by some historians as one of the founding fathers of the nation of Malta, was among the democratically elected members of a congress set up by those opposing the French occupation.
This national congress was made up of merchants, businessmen and men of letters who had tasted the seeds of liberty in North America and Corsica, among others. It included Maltese people who had just accompanied the Knights of St John to fight alongside American forces in their war for independence from the British.
They had returned to Malta equipped with ideas for a constitution, voting rights and a president to lead their affairs.
“The end of the 18th century marked the genesis of the nation of Malta. The Enlightenment movement that dominated Europe back then had ignited the idea of a nation-state at a time when the world still considered the island part of the Kingdom of Sicily,” said historian and Malta Maritime Museum senior curator Liam Gauci, who is transcribing Borg’s journal together with Heritage Malta COO Kenneth Gambin.
“When the civil war broke in September 1798 – between the Maltese who opposed the French occupiers and the Maltese who supported them – those outside the fortifications elected a leader from each village to form congress or, as we know it today, parliament,” he added.
A water colour by Scolaro depicting a sortie of French soldiers who were so desperate for firewood that they tempted their luck at some wood left in the area now hosting Palumbo Dockyard. This sortie soon turned into a battle with heavy casualties on both sides. Photo: Heritage Malta/Malta Maritime Museum
Why would they choose the British over the French?
When the French first landed in Malta, most Maltese thought it was a new era for the island, with their military leader Napoleon Bonaparte even referring to Mikiel Anton Vassalli as the best Maltese brains.
“But the French didn’t even offer Vassalli a job – he ended up begging France for bread. If this is how they treated the best brains, you can imagine how the rest were treated,” Gauci said.
“One must remember France was at war with the rest of Europe and the changes imposed on Malta were maybe too quick, and quite possibly misunderstood by a population accustomed to maritime interaction.”
Both sides – those supporting and those opposing the French - wanted what is best for Malta, but by September 1798, all of Europe was riled up against the French.
And the French had just lost to the British, led by Horatio Nelson, at Aboukir Bay, so Maltese merchants, sailors and maritime investors realised that if they flew the French flag while at sea, they would be captured, have their merchandise confiscated, and subsequently starve economically.
“But they knew that Malta, a service state, could not become independent overnight. Even nearly two centuries later - when the last British Forces left Malta in 1979 - half the population was scared about its future.”
The Maltese were so willing - or desperate - to get rid of the French and their supporters, that they even reached out to the King of Naples.
Separately, during the French blockade, a delegation set off from Qawra on a boat not much larger than a luzzu in search of the British fleet, to reach some agreement with them.
They were successful in bringing a British delegation over, and the national congress voted that the first president representing the nation of Malta would be Navy captain Alexander Ball. They wanted British protection just as the Corsicans did only a few years before.
Aside from political affairs, these Maltese also strategically organised themselves through paid regiments with colour-coded uniforms to physically fight off French troops.
Villages communicated through a flag and petard system that they had learnt from previous occupiers.
They did not need much training as, during the preceding reign of the knights, Maltese men aged between 16 and 60 were trained in military action every Sunday. Several Maltese were also hunters and therefore good sharpshooters.
According to Borg’s diary, the Maltese were such good shooters that from the ground they could aim at – and take down - French soldiers on fortifications.
“But the diary is not just about the Maltese’ heroics. It also sheds light on the horrors of this civil war. At one point, Borg recounts how a 16-year-old who survived a shooting by French soldiers was shredded by bayonets by the time a priest approached him to perform the Last Rites. The young man couldn’t even be buried in one piece.”
Historians estimate between 10,000 and 12,000 lives were lost in the 1565 Great Siege of Malta and World War 2 on the island. Between 15,000 and 20,000 are believed to have died during the French blockade, with nearly all casualties being Maltese.
To what extent can we believe Borg?
“As much as we can believe any author of the period," Gauci replied.
"We are aware this is the opinion of a person who was probably heavily biased towards Birkirkara – for example, he says the first Maltese to die at the hands of the French was a Kalkariż, and he also says that during a battle in Mrieħel, the Madonna was siding with the Maltese.
“But once you remove the extra colour, as you would even with documentation by Ġian Franġisk Abela, among others, Borg’s diary provides a new understanding of the political situation under the French blockade, and the shift in power from the Knights of St John to the British Empire,” Gambin added.
Gambin noted Heritage Malta deemed the journal so important that it had exercised its ‘right of preference’ power that allows the national agency to purchase items considered of intrinsic national value.
“Once we acquired it following an auction, we conserved the journal and started looking into how to make it accessible to the public.”
But this does not stop at putting it on display through exhibitions, lectures or educational activities.
“We’re putting it online as it is extremely important that history is not elitist or exclusive: the more people read the diary, the better as they can all give their take on it.”
A water colour by Scolaro depicting the gun battery erected at tal-Borg, close to modern day Paola, to besiege the French garrison within Cottonera. These batteries were mostly designed by Michele Cachia from Żejtun - another 1798 Maltese patriot. Photo: Heritage Malta/Malta Maritime Museum
From Borg’s diary: the first victory
On Monday morning of September 3, soon after sunrise, Borg’s people stationed on the Birkirkara church bell tower raised the alarm about French troops emerging from Valletta and through Portes des Bombes.
Borg’s people were on the alert to protect Mdina from an invasion: 29 of them had a musket while the rest were carrying stones and other weapons ready to take on 300 French troops. They clashed at Fleur de Lys arch and the French side was defeated, writes Borg.
Having lost a captain and four Maltese soldiers, the French troops ran back to Valletta, while Borg’s men captured Angelo Mallia and Giovanni Borg.
According to Borg, this victorious battle prevented the French from pushing four canons to the countryside, however, it seemed to have encouraged people to revolt in Cospicua, two of whom were later executed by the French in Valletta.
Note: Michael Buhagiar also helped with transcribing the journal
Diorama representing the ‘Għargħar’ battery, or as it was also known at the time, Tat-Twila Battery, limits of San Ġwann, which was demolished after the blockade. It was manned by the insurgents from Birkirkara, commanded by Vincenzo Borg ‘Braret’, who had paid to construct this and other smaller batteries till Għar id-Dud, Sliema. He also had his headquarters nearby at ‘Ta Xindi’ farmhouse (still standing). This battery was the largest of all the batteries surrounding the Grand Harbour and blockading the French inside the maritime cities. The diorama was built according to information found in the journal and shows various episodes simultaneously. An in-progress photo of the project, built from scratch by Ivan Cocker at the Malta Maritime Model Atelier: Heritage Malta Digitisation Department
This article is being published as part of a series called Malta’s hidden treasures, a collaboration between the National Archives of Malta and Times of Malta. The project, forming part forms part of the European Digital Treasures co-funded by the European Union through the Creative Europe programme, allows readers to gain an insight into Maltese history, society through our archives.
You can discover more at the National Archives of Malta headquartered at the historical building of Santo Spirito in Rabat and other archives. If you are unable to visit the archives in person, you can access an online oral and visual archive on www.memorja.com
The website is the main repository of recent Maltese national and public memory and hosts hundreds of recollections dating back to the 1920s. | |||||
9289 | dbpedia | 3 | 81 | https://roadsandkingdoms.com/2015/know-before-you-go-to-malta/ | en | 19 Things to Know Before You Go to Malta | [
"http://cdn.roadsandkingdoms.com/uploads/2012/03/1.jpg",
"https://cdn.roadsandkingdoms.com/uploads/2015/07/The-town-of-Senglea.jpg?class=2600",
"http://cdn.roadsandkingdoms.com/uploads/2012/03/2.jpg",
"https://cdn.roadsandkingdoms.com/uploads/2015/07/Gozo-1.jpg?class=2600",
"http://cdn.roadsandkingdoms.com/... | [] | [] | [
""
] | null | [] | 2015-07-28T12:40:14-04:00 | Bells, yells, and feasts—intel for the navel of the Mediterranean. | en | /favicon.ico | Roads & Kingdoms | https://roadsandkingdoms.com/2015/know-before-you-go-to-malta/ | Bells, yells, and feasts—intel for the navel of the Mediterranean.
It’s crowded. Malta is one of the most densely populated countries in the world, with 423,000 souls packed into an area one-tenth the size of Rhode Island and one-fifth the size of Greater London. Most live on the congested island of Malta, with a few more spread onto the calmer Gozo, and the rest — all three of them — on Comino. But there’s still space for visitors: Tourism took off in the early 1960s and now accounts for 12% of Malta’s GDP. Its photogenic, ancient cities (the capital, Valletta, is a UNESCO Cultural Heritage Site) and turquoise lagoons and beaches keep travelers coming.
The Knights put Malta on the map. Malta is the navel of the Mediterranean, floating in the sea between Sicily and Libya. An ancient temple-building civilization, later Phoenician, Roman, Arab, Norman, and Aragonese occupations all made some mark on Maltese culture and left an impressive collection of UNESCO-anointed sites. Then for a couple of centuries from 1530, the Order of the Knights of St. John–originally hospitallers recruited from Europe’s noble families accompanying pilgrims during the Crusades–ruled Malta, pulling it culturally towards Europe and transforming it into a maritime power that gave the Ottomans a run for their money. The noble Knights also, quite literally, furnished Malta with Europe’s finest art and architecture. With the Knights’ power on the wane a couple of centuries later, Napoleon took the islands with little resistance. After two turbulent years of anti-clerical French rule, the Catholic Maltese asked Britain for help kicking out the French. The Brits, sensing opportunity, obliged, and remained for 164 years until Malta became independent in 1964. Malta joined the European Union in 2004.
Don’t follow the white taxis—they’re bad news. Locals give these a wide berth, for good reason. The white cabs at the airport are expensive, and the drivers are rude and slack about switching their meters on. It’s smarter to use one of the cab companies that do online bookings. Ecabs and John’s are both reliable. Buses are a cheap alternative and cover almost everywhere, and there is a limited night service too. (Malta also has one of the densest road networks in the world.)
Pastizzi is king. Maltese cuisine is Mediterranean-oriented, but the essential Maltese snack is the simple pastizz: a lozenge-shaped, greasy, cholesterol-charged pastry filled with ricotta or peas. Pastizzeriji are all over, but the pastizzi institution is the Crystal Palace Bar in Rabat, a hole-in-the-wall that closes for only two hours each day during the week. A coffee and a couple of pastizzi wil cost a couple of dollars. (But be warned that “pastizz” is also a derogatory term, and a euphemism for a woman’s more intimate parts.) Pastizzi might be one reason the Maltese rank high on the obesity scales worldwide; Maltese men rank 16th worldwide, and Maltese women are the most overweight in Europe. Pastizzi are not the only culprit, though. The Maltese are among Europe’s most exercise-shy folk.
Bunnies are food, not pets. Malta imports much of its food, so local fare has always been influenced by and adapted from outside cuisines – especially Italian, Sicilian, and North African. There is no official national dish, but a feast of stewed rabbit known as fenkata comes close. Some believe the popularity of fenkata is rooted in resistance to the hunting restrictions imposed by the Knights of St. John, then honed when the Maltese learned from French knights how to domesticate rabbits. Though there are hunted wild rabbits on the islands, these are usually lean and small. Rabbits for the table are more likely bred for the purpose. Variations include stuffat tal-fenek (rabbit stew), fenek moqli (fried rabbit), and spagetti biz-zalza tal-fenek (spaghetti in rabbit sauce). Restaurants specializing in rabbit are found in Mġarr and Baħrija in the north of Malta, and there is the legendary Charlie’s Inn in Salina, more affectionately known as Charlie l-maħmug (“Unhygienic Charlie”).
It’s best not to talk politics. The Maltese take their politics seriously, and both the Labour and Nationalist parties have a large and loyal following. Election turnouts are super high, and there is a party office-slash-club in every town and village. A lot of Maltese follow their party like a football club, through thick and thin. There were some politico-religious skirmishes in the 1960s and some violent incidents in the 1980s, but while these tensions have subsided, some bitter memories remain. When election time comes, some establishments prohibit all talk of politics, even putting up signs forbidding it.
Malta has a church for every day of the year. That’s what they say, but the number is actually somewhere around 359. Still, it’s a big number for such a small country (more than one for each square kilometer.) Malta’s language is rooted in its Arab past, but day-to-day culture has a big Roman Catholic footprint. Luke the Apostle and Paul of Tarsus were shipwrecked off Malta in 60 A.D., and Paul is credited with introducing Christianity to the islands and making Malta one of the earliest outposts of the faith. Catholicism is still serious business in Malta—abortions are illegal—and church attendance is among the highest in Europe. This enthusiasm is reflected both in the outsize number of churches, and their baroque ostentation, mostly funded by parishioners themselves. And they’re not just any churches—St. John’s Cathedral in Valletta is a wonder to behold, and owns two Caravaggios—including his largest and only signed work, which is proudly displayed in the church’s oratory.
Pika makes Malta go round. Like the German schadenfreude, pika doesn’t translate well, but the closest word is something like “rivalry”. Towns and villages strive hard to outdo each other at their feasts, with fireworks displays, sports, or the height of the village flagpole. This probably explains why a village of 3,000 in Gozo built the world’s third-highest unsupported dome, and why the town of Mosta has the world’s fourth-largest unsupported dome. Intra-community pika can be stronger still: If one town’s band club builds new premises, the other is likely to beg, steal, and borrow to build a larger one. For a long time the spire of the Anglican Cathedral was Valletta’s highest pinnacle, until the Roman Catholic Carmelites built a huge dome next to it with the lantern stretching a few crucial feet higher than the “heathen” spire.
In summer, you can’t avoid the festa. All Maltese towns and villages celebrate their patron saint in style with weeklong activities leading up to feast day, which climaxes with a procession, music, and fireworks. The most impressive fireworks displays are in the south of the island, where the villages of Żurrieq, Mqabba, Qrendi, Għaxaq, and Gudja compete fiercely. Santa Marija in August brings fireworks geeks from all over, because several feasts are celebrated simultaneously, naturally with fireworks befitting the occasion.
Every village has a band. Sometimes two. A relic of British regimental marching bands common during the Empire’s heyday in Malta, philharmonic band clubs started up in the 19th century hand-in-hand with village festas, and are an integral part of village life, with their bars functioning as popular local hangouts. They are generally a mix of volunteer and semi-professional musicians brandishing woodwind, brass, and percussion instruments. But band clubs do far more than perform music: They organise town social events, and are the linchpin of the loud and proud festas that dominate Maltese summers. A pika-fuelled highlight is the ritual of trash-talk-slash-chanting between rival band clubs. The most boisterous band marches are held in Ħamrun and Żabbar.
Breaking records is a national pastime. Guinness or otherwise, Malta has a fixation for setting (sometimes bizarre) records. Turu Rizzo was the first man to attempt a swim from Sicily to Malta in 1933, but he was thwarted by rough weather three miles from home. Fellow Maltese Nicky Farrugia succeeded in 1985. Albert Rizzo (grandson of Turu) was the first Maltese to get his name in the Guinness Book of Records when in 1980 he established a record for treading water, spending 72 hours and three minutes in the sea. The Lily Fireworks Factory of Mqabba created—and fired up—the world’s largest Catherine Wheel in 2011. The town of Qormi went for the world’s largest wine glass for their festival in 2012. The Zabbar local council set up the world’s largest dining table, measuring 359 meters (just over 1177 feet) along Zabbar’s main street in 2013.
Malta’s bathing waters are the cleanest in Europe. This is thanks to sewage treatment plants part-financed by the EU. But the most popular sandy beaches are near large hotels and can get quite crowded in summer; Comino’s famed Blue Lagoon is swarmed with day-trippers during weekends. Gozo has just one large sandy beach but is blessed with a good number of secluded rocky coves. Għajn Barrani, also in Gozo, is a good candidate for a secluded beachy getaway: a perfectly flat rock shelf with some huge boulders that provide welcome shade. There are no amenities, and it’s a kilometer (just over half a mile) on foot to get there, the last part on clay slopes. Blissfully, it’s not signposted either.
There will be noise. Lord Byron is said to have called Malta the island of yells, bells, and smells. Whether he really said this is disputed, but it may have stuck because it’s accurate on the bells at least. Deafening petards are let off as early as 8 a.m. on feast days and can go on—in healthy disregard for local laws—past 11 p.m. Church bell-ringing starts as early as 7 a.m. on feast days. Gas delivery trucks honk loudly to announce their presence, and vans selling doughnuts go one worse with a loudhailer playing a pre-recorded sales pitch. Most Maltese seem to naturally talk loudly and like their Italian neighbours, talk with their hands and gesticulate, even while driving. The gesticulating is mostly non-aggressive, even if it does not appear that way.
Malti is the only Semitic language written in Latin script. The distinctive Maltese language is also the only Semitic-origin language officially recognized as a European Union tongue, and provides translation work for many Maltese expats in Brussels. It is an ancient language descended from Siculo-Arabic (an Arabic dialect that developed in Sicily, then Malta) with a sprinkling of English, Italian, and French words.
Malta loves cars. The number of cars in Malta is staggering. At the last count, there were 337,000 motor vehicles, and around 50 new car licences are issued daily. Car maintenance is a refined art and old models such as the Hillman Minx, Volkswagen Beetle, and the Triumph Herald are still around. The original 1970s Escort MK1 is a cult car in Malta, and British Bedford trucks from the 1950s and 1960s still make rounds selling household items or paraffin. Until public transport was overhauled in 2011, some of the buses were over 50 years old, and most of the bus bodies were built locally, with vernacular decoration added in the form of finely painted designs and script called tberfil.
You can become Maltese—at a price. Malta raised eyebrows in 2013 when it launched its International Investment Program, making it possible for anyone with enough cash to become a Maltese citizen—and therefore snag a European Union passport. The criteria include passing a “Fit and Proper” test, contributing €650,000 into a National Development & Social Fund, making an investment in property of at least €350,000 or investing €150,000 in bonds or shares approved by the Maltese government to be kept for at least five years.
Immigration is a sensitive topic. Thanks to its location, over the last decade Malta has been a way station for migrants departing from the North African coast (mostly Libya) on rickety boats, hoping to get to mainland Europe. In 2012, Malta received the highest number of asylum seekers for its population. The Maltese are divided on the issue. Some have dubbed this Malta’s ‘third siege’(the first was when the Knights of St. John withstood the Ottoman forces in 1565, and the second during World War II when Malta was bombarded by the Italians and then the Germans) and some feel that the European Union should have a fairer burden-sharing policy, because Malta is tiny and already crowded. There were some public protests against illegal immigration, but these are now discouraged and condemned by all political parties.
Popeye lived here. Malta has often served as a backdrop for Hollywood movies: Brad Pitt and Angelina Jolie closed off a whole beach to build a film set for the upcoming film By the Sea. Game of Thrones scenes were shot all over, and Russell Crowe battled tigers at Fort Ricasoli in Gladiator. But there’s also a more permanent film settlement: In 1980, set designers built an entire pirates’ village for Robert Altman’s musical Popeye adaptation, with a bald Robin Williams in the title role. The movie had mixed reviews, but the surreal Sweethaven Village still stands and is open for visitors.
Where to get away from the crowd. The Maltese do not generally indulge in leisure walking, so large stretches of the countryside are usually people-free. Majjistral Park in the north is a silent refuge six times the size of Valletta, with a labyrinthine boulder scree. Almost all of the island of Gozo is quieter and greener, and some Maltese now have a second weekend home there just to escape the crowd on the main island. | ||||
9289 | dbpedia | 1 | 77 | https://travel.gc.ca/assistance/embassies-consulates | en | Embassies and consulates by destination | https://travel.gc.ca/wet-boew/themes-dist-15.0.0-gcweb/GCWeb/assets/favicon.ico | https://travel.gc.ca/wet-boew/themes-dist-15.0.0-gcweb/GCWeb/assets/favicon.ico | [
"https://travel.gc.ca/wet-boew/themes-dist-15.0.0-gcweb/GCWeb/assets/sig-blk-en.svg",
"https://wet-boew.github.io/themes-dist/GCWeb/GCWeb/assets/wmms-blk.svg"
] | [] | [] | [
""
] | null | [] | null | Embassies and consulates by destination | en | /wet-boew/themes-dist-15.0.0-gcweb/GCWeb/assets/favicon.ico | null | This directory contains contact information for government offices that provide consular services to Canadian citizens abroad. Not all government offices provide full consular services. This directory also includes Australian and Swedish offices around the world that, by special agreement, provide consular services to Canadians. For up-to-date, detailed information on a particular office, visit that office’s website or contact it directly. | |||
9289 | dbpedia | 2 | 22 | https://www.facebook.com/photo.php%3Ffbid%3D1338523783243323%26id%3D190676374694742%26set%3Da.198613597234353%26locale%3Den_GB | en | Facebook | https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico | https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico | [
"https://facebook.com/security/hsts-pixel.gif"
] | [] | [] | [
""
] | null | [] | null | Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an. | de | https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico | https://www.facebook.com/login/ | ||||
9289 | dbpedia | 1 | 20 | https://www.nytimes.com/2017/11/30/t-magazine/malta-cultural-crossroads.html | en | Malta, Where the West Was Born | [
"https://static01.nyt.com/images/2017/11/14/t-magazine/tmag-malta-slide-O9HF/tmag-malta-slide-O9HF-articleLarge.jpg?quality=75&auto=webp&disable=upscale"
] | [] | [] | [
""
] | null | [
"Claire Messud"
] | 2017-11-30T00:00:00 | The country has been home to the Phoenicians, the Greeks, the Romans and the Ottomans — which might explain the allure of this Mediterranean gem. | en | /vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico | https://www.nytimes.com/2017/11/30/t-magazine/malta-cultural-crossroads.html | MALTA’S CENTER UNTIL the 16th century, the golden-walled city of Mdina, sits on a hill with a view over its thick ramparts and across scrubby plains to Valletta, the current capital, and the glittering sea. My family and I had arrived there — having flown in from London the night before — by public bus from the busy terminal outside Valletta’s gates, along with a few taciturn locals bearing bouquets of flowers, presumably heading to Sunday lunch with relatives in the adjacent modern town of Rabat, and a gaggle of chatty Italians, keen, like ourselves, to visit the so-called “silent city.” And indeed, on this July afternoon, as the black-clad priest and his caretaker padlocked the vast doors of St. Paul’s Cathedral, passed us with their heads bowed and scurried away into the tiny city’s sun-washed maze, the streets were silent except for us, the tourists. The occasional decorated horse clopped by, pulling British or Italians upon a painted cart. Our own footsteps echoed in the silent canyons between cloistered monasteries, convents and private houses, until we rounded a corner into a square near the Carmelite Priory and were suddenly surrounded by young visitors buying trinkets and postcards, taking photographs, swigging, in the heat, from sweating plastic water bottles. A block farther on, all was quiet again. This small, perfect town felt as if I’d dreamed it, a hermetic Mediterranean fantasy, a curious and singular combination of Arab influence and profound Catholicism, the stretching vista of sandy earth and olive trees descending to the impeccable azure sea, punctuated by an occasional British red postbox.
All my life I’d wanted to visit Malta. My interest stemmed in part from family lore: My French grandfather’s grandfather was a Maltese immigrant to French Algeria, born in 1820 in Rabat, just outside Mdina’s walls; our name, Messud, is a distortion of Mifsud, to this day common in Malta. (I recently, and surprisingly, encountered the name in relation to the Mueller investigation: It was Joseph Mifsud, a Maltese national, who had allegedly offered to put the Trump campaign foreign policy adviser in contact with the Kremlin.) Then, too, I’d been intrigued by the few details passed on to me along with my ancestor’s birth certificate: details of the island’s particular, rich history from prehistoric times to the present. My interest was inevitably writerly: My ancestors crisscrossed the Mediterranean from France, Italy and Spain to Algeria and back to France, thence to Beirut, from Salonica to Istanbul to Morocco. Malta sits like a jewel in the middle of that storied sea, 100 miles south of Sicily and 240 miles northeast of Tunisia.
We started with Mdina because in Malta, on Sundays, most of the shops are still closed, and we’d been warned by our hotel that Valletta would be dozy. Religion and history are Mdina’s raison d’être, however, and the museums were open. In addition to visiting churches, we stopped at the Palazzo Falson, the former home of a prosperous local artist and collector named Olof Frederick Gollcher (whose Swedish ancestry made him no less passionately Maltese). Here, we could glimpse what lay behind Mdina’s millennium-old walled streets: the elegantly proportioned rooms of a typical townhouse, of course; but also the haven of its essential leafy courtyard, shaded from the midday sun and further calmed by its gently trickling fountain. The museum cafe was closed for renovations, and we ended up instead buying burgers from a stand outside the city walls, beyond the stately but unpeopled Howard Gardens (fashioned from the city’s former moat) in a municipal park of a kind familiar to me from my childhood in Sydney, Australia: It’s a British convention, the manicured open space with a green kiosk selling snacks and a separate structure housing well-kept public loos. Along its rim stood a row of Victorian-era terraced houses, looking for all the world as though they were in Margate or Brighton, each villa bearing a nameplate like “Winchester” or “Windward-ho.” If I hadn’t already known that Malta belonged to Britain for over 150 years, I would have deduced it then — we could only have been in a former British colony.
BUT MALTA IS by no means trapped in its past. Named one of the two European Capitals of Culture for 2018, Valletta has been exhilaratingly revitalized by the architect Renzo Piano’s 2015 reconstruction and re-envisioning of its city gate, parliament building and opera house (badly bombed in World War II). The tourists on the city’s streets and at the island’s beautiful beaches — around 2 million visitors a year — are notably young: The nation is progressive on LGBTQ rights, has a lively party reputation and is justly famous for its scuba diving. In the past few years, it has become a trendy, readily accessible, less overrun alternative to Ibiza or Crete, and one where almost everyone speaks English. But the island has been in the news for darker reasons, too, most recently on Oct. 16, when the Maltese journalist Daphne Caruana Galizia was assassinated near her home by a car bomb. She had been investigating government corruption in her home country, and in recent years had focused her attention on the infamous Panama Papers, drawing links to those surrounding Malta’s prime minister, Joseph Muscat.
Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.
Thank you for your patience while we verify access.
Already a subscriber? Log in.
Want all of The Times? Subscribe. | |||||
9289 | dbpedia | 2 | 75 | https://www.tititudorancea.com/z/valletta_malta.htm | en | Valletta, Malta | [
"https://www.tititudorancea.com/lib/head-travel-info-32c-tiny.png",
"https://www.tititudorancea.com/lib/edfiles/gm/skyline_of_valletta_21_crop_w4c.jpg",
"https://www.tititudorancea.com/lib/jump_offsite.gif",
"https://www.tititudorancea.com/lib/edfiles/gm/grand_harbour_21_crop_w4c.jpg",
"https://www.tititudo... | [] | [] | [
"Valletta",
"Malta"
] | null | [] | null | Valletta, Malta | en | /apple-touch-icon.png | null | Valletta or Il-Belt is the capital of Malta. It is both the southernmost and the least populated national capital in the European Union and one of only two without rail based public transit.
A harbour city, Valletta preserves much of its 16th century architectural heritage built under the Hospitallers. Valletta was one of the earliest sites inscribed on the UNESCO World Heritage List. Referred to colloquially as Il-Belt ("The City"), it takes its name from its founder, Grandmaster Jean Parisot de Valette.
Get in
By car. Most bus routes and many arterial roads converge on Valletta. However, inside the city there are many one-way streets and some pedestrian zones. Parking can be difficult. There is a large multi-storey car park in Floriana, about half a kilometre from the City Gate entrance to Valletta.
By bus. In front of the main gate of Valletta is the main bus station for the entire island, rather than buslines covering the island in a grid, most of them spread out from here and return to here.
By boat. For those opting not to fly to Malta, Virtu Ferries runs ferries from Pozzallo and Catania on the island of Sicily, Italy. A much shorter journey can be done by Valletta Ferry Services across beautiful Marsamxett harbour from Sliema and past Manoel Island, for just â¬1.50. Considerably cheaper then paying for an harbour cruise.
Another little known way is to visit Vittoriosa by bus and then have the Maltese version of the gondola, the so called Dghajsa bring you back in style across the spectacular Grand Harbour to Valletta, and drop you off just by Victoria gate for â¬3.50.
By plane. The island's sole airport is Malta International Airport (MLA) (located in Luqa). The airport is the main hub for flag carrier Air Malta as well as a base for Ryanair with numerous flights all around Europe and the Mediterranean countries. The airport is also served seasonally by numerous European airlines from their respective hubs, but increasingly flights are available year-round. The X4 bus runs from the airport to Valletta, with generally two buses per hour taking about 20 minutes, costing â¬2.00 in summer.
Get around
The Valletta peninsula is only a couple of kilometres in length and so the ideal way is to do everything on foot, which enables you to take many shortcuts via stairs. However, the city is built on a ridge, and is steep in parts (requiring walking up and down stairs in some places), which can be tiring.
The alternative would be doing it by car which is not ideal for visitors due to lack of parking space, direction signs and the fact that the streets are very narrow, often one way and confusing if unfamiliar. Most of the main tourist attractions are along the main street (Triq ir-Republika) which does not involve steep hills. Another possibility is to rent one of the horsecarts (Karozzin), but be sure to haggle over the price.
By taxi. A fleet of electric min-cabs operate during the daytime in Valletta, with a maximum fare of â¬5.00.
By bus. Bus route 133 operates a circular path around Valletta, departing from the bus terminus going round the peninsula including the Valletta Waterfront, Fort St. Elmo and many other locations. However, since most of Valletta is better accessible on foot, it may be advised to use this bus only to visit a particular location rather than for general sightseeing.
By lift. • Barrakka Lift (near the Saluting Battery). Nov - May: 7:00 - 21:00, Jun - Oct: 7:00 to 24:00. a two cabin lift between the waterfront and the main city level, taking 23s to cover 58m. â¬1.00.
See
• St. John's Co Cathedral. Is unremarkable from the outside but incredibly ornate on the inside. Each of the different 'langues' (knights of a particular nationality had their own langue) has a their own chapel lined along the side of the nave in which they try and outdo each other in splendor. The barrel shaped ceiling is a single huge fresco, the lifework of famed artist Mattia Preti. And last but not least the floor is entirely taken by knight's graves all intricately inlaid marble in different colours, a recent book on the subject describes it as the 'most beautiful floor in the world.'
This relatively unknown cathedral can count itself one of the most impressive in Europe. Open 9:30AM and 4:30PM on weekdays and 9:30AM and 12:30PM on Saturdays. Entrance is through the Carappechia Annex on Republic Street in between St John's Street and St Lucy Street, directly opposite the Law Courts.
• The Cathedral Museum. Holds two works by Caravaggio who was briefly himself a Knight, one of them being his masterpiece the famous huge "Beheading of St. John the Baptist."
• Palace of the Grand Masters, +356 21249349. daily 09.00 â 17.00 (armoury sometimes closed for functions). Now is the President's office and the Maltese parliament. The staterooms, when accessible are quite impressive. It also houses the Knights' armoury which is open to visitors daily from 9AMâ5PM. â¬10.00.
• The Malta Experience, St Elmo Bastions, Mediterranean St, +356 243776, +356 251284. Despite not being cheap visitors who have any interest in culture or history and who haven't exhaustively read up on the country before coming here would do well by starting their visit to Malta by going here as it is an excellent introduction to the country. ââ¬16.
• The Upper Barrakka Gardens (at the upper south side of the peninsula). The gardens offer a jaw dropping view of the Grand Harbour.
• The National Museum of Archaeology, Auberge de Provence, Republic St, +356 2122 1623. daily 09.00 - 18.00 (17:00 in Jan, Feb). â¬5.00.
• Fort St. Elmo (National War Museum). Apr - Sep daily 09.00-18.00; Oct - Mar daily 09.00 - 17.00. Built at the tip of the peninsula by the knights after the Dragut Raid of 1551. During the Great Siege of 1565 the Turks made the mistake of choosing to first take this fort, for which they had planned a week. Instead the knights and soldiers present fought desperately for a month, buying essential time.
The knights in the fort knew they were fighting to the death, and so rather than being taken off the ramparts when wounded, knights would fight on seated in chairs until they couldn't even lift their arms anymore. Today the fort houses the National War Museum and the Police Academy. The National War Museum is mainly focussed on World Wars 1 and 2, but covers the period from the Bronze age onwards. â¬10.00.
• Fortifications of Valletta. The imposing defence walls and ramparts at the entrance to Valletta built by the Knights in the late 16th century are interesting to explore.
• The National Library (Bibliotheca), 36 Old Treasury Street, +356 2123 6585. An evocative old library on Republic Square, next to the Grandmaster's Palace. Only part of it is open to the public: you will need to take a Passport or other Photo ID to get in. The entire archives of the Knights of St. John from the Crusades in the 11th century until 1798 when Napoleon took Malta, are kept here, in true Maltese style in rickety wooden filing cabinets.
• The Sacra Infermeria (Mediterranean Conference Centre). The great hospital built by the knights in the 16th century, open to everyone, it had the highest level of healthcare available in Europe at the time. It was mostly destroyed during WWII, it was rebuilt and now functions as a conference centre. It is rarely open to the public.
• The Casa Rocca Piccola, 74 Republic St., +356 2122 1499. A Maltese Noble Family House on Triq ir-Republika, a few hundred yards past the Grand Master's Palace on the right hand side. Very enjoyable.
• St. James Cavalier. A fortress opposite the Auberge of Castille (today the Prime Minister's office) which was built as part of the elaborate defence systems of Valletta. Today it houses a 'Centre for Creativity', with its own theatre, cinema, music room and exhibition halls. Its twin, St. John Cavalier is currently the embassy of the Knights of St. John who are, like the Vatican, recognised by several countries as a sovereign entity.
• Hal Saflieni Hypogeum, Located on Triq Ic Cimiterju, Paola (Reachable by any bus route to Paola (e.g. Route 1,2,3) and a short walk from the bus stops.), +356 2142 4231, fax: +356 2124 4231. Eight tours are conducted daily, starting on the hour from 9AM till 4PM (last tour).
The Hal Saflieni Hypogeum is a subterranean structure excavated c. 2500 B.C. Thought to be originally a sanctuary, it became a necropolis in prehistoric times. It is the only prehistoric underground temple in the world. To ensure its conservation, the siteâs microclimate is strictly regulated. For this reason, the site is open to a maximum of 80 visitors each day. Each tour is limited to ten visitors.
A tour of the site starts with a brief introductory exhibition and multilingual audio-visual film focusing on the temple building peoples and the Hypogeumâs relationship to Maltaâs temple sites. Booking in advance on the Heritage Malta website is highly advised. If unable to book in advance, tickets for tours the next day at 12:00pm and 4:00pm are sold at the Valletta Museum of Fine Arts the day prior. They are sold at a first come, first serve basis.
Depending on the season, lining up prior to the opening of the museum is a necessity for purchasing tickets. Plan on lining up anywhere from half an hour to an hour and a half in advance to ensure ticket purchases. â¬30.00 available from website, â¬35.00 from the museum.
• Tarxien Temples, Located on Triq It Tempji Neolitici, Tarxien. 9AM-5PM daily, last admission 4:30PM. This site, dating from 3600 to 2500 BC, is the most complex of all temple sites in Malta and consists of four megalithic structures. â¬6.00.
• Lascaris War Rooms. daily 10:00 - 17:00. Underground complex which was used as the British HQ during the defence of Malta in World War 2 â¬10.
• St Paul's Pro-Cathedral, Independence Square. daily 10:00 - 15:00. Anglican cathedral built in 1844, with memorials to the World War 2 defence of Malta.
• Malta Postal Museum, 135 Archbishop Street. Mon - Fri 10:00 - 16:00, Sat 10:00 - 14:00. Museum run by Maltapost, including a working post office. â¬5.00.
• City Gate (Porta di terra). The fifth incarnation of the main entrance to the city was built between 2011 and 2014 to design of the Italian architect Renzo Piano. The first gate on this site was built in 1569.
• Parliament House. Malta Parliament building built between 2011 and 2015 at a cost of â¬90 million to a design by Renzo Piano. The building's design of two large stone blocks on stilts is controversial, but it has low emissions with solar panels on the roof. Public access to the building is restricted.
Do
• Coastal Walk. You can take a spectacular walk along the sea around the outside of the city walls. If you go to the mooring place where the ferry for Sliema leaves, there is the possibility to walk over the rocks towards the tip of the peninsula and then around it coming back up into the city just next to the Malta Experience. This walk takes about 30 minutes and is done by virtually no-one.
• St George's Square. At night in St George's Square, there is a lovely water fountain, with coloured spouts of water which pop up and down - a fantastic play opportunity for children. They WILL get wet, so don't let them go near if they are wearing their best clothing. Great fun for kids.
• Audio Guide. To get further historical information about the numerous places of interest through Valletta it can be useful to get an audio guide. It is available in different languages from the Archeology Museum in Republic Street. You can choose independently from the 24 stops and it is not necessary to follow the given order. Stops can easily be skipped or visited in another sequence when tired or full of the new information.
• Saluting Battery, Battery Street. A gun is fired twice a day, at noon and 16:00.
• Manoel Theatre (Maltese: It-Teatru Manoel), +356 21246389. Is 'La Scala' in miniature, a very beautiful 17th century theatre in original state. One of the oldest active theaters in Europe, it is the place for many classical music performances but also for instance the hilarious Christmas Panto. Old Theatre St, Tel: 356/22-26-18.
• Pjazza Teatru Rjal (Open Air Theatre), Casa Cassar, Triq il-Vittorja, +356 22478100. Open theatre on the site of the former Royal Opera House which was destroyed by a bomb in 1942. The outdoor theatre was designed by Renzo Piano and opened in 2013.
• Valletta International Baroque Festival. Annually in January. Festival of baroque music concerts and operas.
Buy
The main street of Valletta is Republic street, a busy pedestrian zone leading down the middle of the Peninsula from the main gate down to Republic square, this is where many of the better shops are located, although it cannot quite compete with Sliema for clothing.
The best souvenir shop can be found at the Malta experience, but there are many other reasonable souvenir shops in Valletta. At the beginning of the Republic street there are several reasonable souvenir shops but prices are far cheaper if you walk 20 meters down South street (turn left if you have the bus station behind you) which crosses Republic street very soon after you have entered through the city gates.
The best bookshop of Malta is definitely the one formerly known as Sapienzas (known as the Agenda Bookshop as of 2008) on Republic street but can be a bit more expensive. Agenda Bookshop, 26 Republic St, +356 2123 3621.
There is a daily market selling cheap clothing in the parallel street to Republic street called Triq il-Merkanti, or Merchants street.
Eat
Valletta has a good selection of decent restaurants, especially along the waterfront. Since most tourists stay in Sliema or on the north coast of the island there are fewer of the trashy variety, although it does have the usual fast-food chains. Look out for traditional bakeries, with steaming fresh bread for mere cents.
Budget
• La Mère Restaurant, 174 Merchant Street (very close to old market), +356 2122 3256, e-mail: info@lamere.com.mt. Mon-Sat noon-2:30 pm then 7:00pm-10:30pm, Sun closed. Indian restaurant with a dash of Maltese, Med and Arabian in a cosy and homey atmosphere.
• Luciano, 21/22 Merchant Street (Adjacent to St. Johnâs Cathedral), +356 2123 6212, e-mail: bookings@vallettaboutique.com. Good food for reasonable prices in a charming location near cathedral - big portions. On 3rd floor of Luciano Hotel.
Mid-range
• De Robertis (Castille Hotel Roof Top Restaurant), Castille Square (corner of St Paul's St), +356 2124 3677. Daily noon - 2.30 pm, 7 - 10 pm. Great view and tasty food.
• Da' Pippo Trattoria, 136 Melita St, +356 2124 8029. Daily 11.30 am - 3.30 pm. A place where locals go for lunch. Good seafood.
• Caffe Cordina, 244/5 Republic St, +356 2123 4385. 8 am - 7 pm Mon-Sat, to 4 pm Sun. Venerable cafe, popular for lunch or for pastries & coffee in the coffee bar. Mixed reviews of the food.
• Malata Restaurant, St Georges Palace Sq, +356 2123 3967. If one is looking for a place in Valletta to have dinner on a terrace, then this is a nice place to go slightly later in the evening when the square in front of the Grand Master's palace is almost emptied of parked cars.
Splurge
• Pintonino Restaurant, Waterfront, Floriana, +356 2122 7773. Tucked a few meters away from the Valletta waterfront, a fine restaurant that offers great food and a selection of more than 150 wines.
Drink
• Trabuxu Wine Bar, 2 Strait Street, +356 2122 3036. Tue-Sat 7 - 11 pm. A charming wine bar in an ancient cellar serving light meals. It's at the beginning of a small alley parallel to Republic street, look for the wooden sign with the corkscrew. The bistro is opposite, on South Street.
• Rampila Restaurant and Wine bar (Rampila), St John's Cavalier (Enter city via City Gate, first left then left again, you'll see an olive tree, an old stone bench and the railings around the entrance to Rampila.), +356 2122 6625. daily noon - 10.30 pm. Maltese / Med fusion restaurant and wine bar in the impressive bastions. One can enjoy a fine plate of fresh seafood, meat, game, pasta or risotto there or enjoy a platter and/or dips accompanied by wine from an extensive selection.
Sleep
Budget
• Asti Guesthouse (Casa Asti), 18 St Ursula St, +356 2123 9506. Small guesthouse. Rooms not en-suite, but three double bathrooms between nine rooms means there is no problem with accessing facilities. Price includes breakfast in a lovely room with a huge chandelier. 20â¬.
Mid-range
• British Hotel, 40 Battery St, +356 2122 4730, e-mail: reservations@britishhotel.com. Friendly two-star. Has fantastic staff and a really cool bar with one of the best views in Valletta. $75.
• Osborne Hotel, 50 South St, +356 2124 3656. 3-star, located in a converted palace. 200â¬.
• Valletta G-House, 60 North St (near Fort Elmo), +44 7765 4321, e-mail: aldo@vallettahouse.com. Artist's private townhouse, sleeps two. Large bedroom with striking floor tiles and traditional 'galleria', rustic kitchen with all mod-cons and lounge. â¬150 / night.
Splurge
• Casa Ellul, 81 Old Theatre Street, Valletta VLT 1429, Malta (central, on block between West St & Old Mint St), +356 21 224 821, e-mail: info@casaellul.com. 4-star boutique hotel on a quiet street in central Valletta. Has eight suites (most with balconies) ranged around a central courtyard, with free Wi-Fi, flat-screen TVs and minibars, as well as tea and coffee-making facilities.
• Grand Hotel Excelsior, Great Siege Rd, Floriana, +356 2125 0520, e-mail: info@excelsior.com.mt. 5-star hotel set in 16th C ramparts.
• The Phoenicia, The Mall, Floriana, +356 2122 5241, fax: +356 2123 5254, e-mail: info@phoeniciamalta.com. Check-in: 2PM, check-out: noon. 5-star luxury Art-Deco hotel located just outside of the main gate. 250⬠per room per night.
• Valletta Suites, St Lucia St, +356 7948 8047. Boutique hotel with 3 self-contained suites within a 17th C townhouseË Maison La Vallette, Valletta Nobile and Lucia Nova. â¬140 / suite / night.
Stay safe
Apart from some restaurants and bars open in the evening Valletta still has next to nothing happening in terms of nightlife, so apart from Republic street the streets are quite empty late at night. Most of the usual petty crime that travelers are confronted with happens in Sliema and St Julians, but it's something to keep in mind.
Go next
Almost all of Malta's bus routes start from the large roundabout just outside the main gate, making everywhere in the country accessible. There is also the ferry which goes to Sliema.
• Mdina
• Vittoriosa (aka Birgu)
• Gozo
Valletta is itself a UNESCO World Heritage Site but two more can be found in the suburb of Tarxien, in the form of the Megalithic Temples and the Hypogeum. (Wikivoyage)
YOU MAY ALSO LIKE | |||||
2661 | dbpedia | 3 | 41 | http://www.filmreference.com/film/84/Taylor-Hackford.html | en | Taylor Hackford Biography (1944?-) | [
"http://www.filmreference.com/bs/i/film-sm.png",
"https://a.advameg.com/matomo.php?idsite=29&rec=1"
] | [] | [] | [
""
] | null | [] | null | en | null | Theatre, Film, and Television Biographies
Joan Greenwood to James Handy
Taylor Hackford Biography (1944?-)
Full name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress;maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director; divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage)Rio D.; (second marriage) Alexander Littman. Addresses: Agent: WilliamMorris Agency, 151 El Camino Dr., Beverly Hills, CA 90212.
Nationality
American
Gender
Male
Occupation
Producer, director
Birth Details
December 31, 1944?
Santa Barbara, California, United States
Famous Works
CREDITS
Film Work
Director
Teenage Father (short film), New Visions, 1978
The Idolmaker, United Artists, 1980
An Officer and a Gentleman, Paramount, 1982
Against All Odds, Columbia, 1984
White Nights, Columbia, 1985
Chuck Berry: Hail! Hail! Rock 'n Roll, 1987
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988
Blood In ... Blood Out (also known as Blood In, Blood Out ... Bound by Honor and Bound By Honor), Buena Vista, 1993
Dolores Claiborne, Columbia, 1995
The Devil's Advocate, Warner Bros., 1997
Proof of Life, Warner Bros., 2000
Producer
Teenage Father (short film), New Visions, 1978
(With Bill Gilmore) Against All Odds, Columbia, 1984
(With Gilmore) White Nights, Columbia, 1985
(With Bill Borden) La Bamba, Columbia, 1987
(With Laura Ziskin and Ian Sander) Everybody's All American (alsoknown as When I Fall in Love), Warner Bros., 1988
(With Jerry Gershwin) Blood In ... Blood Out (also known as Blood In, Blood Out ... Bound by Honor and Bound By Honor), Buena Vista, 1993
(With Chuck Mulvehill) Dolores Claiborne, Columbia, 1995
(And editor) When We Were Kings (documentary), Gramercy, 1996
Greenwich Mean Time (also known as G:mt), Icon Film Distribution, 1999
Proof of Life, Warner Bros., 2000
Executive Producer
(With Stuart Benjamin) Rooftops, New Visions, 1989
(With Benjamin) The Long Walk Home, Miramax, 1990
(With Benjamin) Sweet Talker (also known as Confidence), New Visions, 1991
(With Benjamin) Defenseless, New Visions/Seven Arts, 1991
(With Benjamin) Mortal Thoughts, Columbia, 1991
Queens Logic, 1991
The Devil's Advocate, Warner Bros., 1997
Television Producer
Specials
Bonnie Raitt and Paul Butterfield, PBS, 1974
Rick Nelson: It's All Right Now, The Nashville Network, 1990
Also producer of Sonny Rollins.
WRITINGS
Films
Teenage Father (short film), New Visions, 1978
Song, "Show Me Your Tattoo," The Devil's Advocate, Warner Bros., 1997
Further Reference
OTHER SOURCES
Periodicals
People Weekly, November 3, 1997, p. 153; January 19, 1998, p. 102 | |||||||
2661 | dbpedia | 0 | 14 | https://www.cinematherapy.com/birgitarticles/ray.html | en | Ray | [
"https://www.cinematherapy.com/images/marqueetext.jpg",
"https://www.cinematherapy.com/images/line.gif",
"https://www.cinematherapy.com/images/line.gif",
"https://www.cinematherapy.com/images/line.gif"
] | [] | [] | [
"cinematherapy",
"cinema-therapy",
"cinema",
"advanced cinematherapy",
"bibliotherapy",
"therapy",
"healing",
"self help",
"self-help",
"art therapy",
"family therapy",
"movie therapy",
"video work",
"film recommendations",
"film lists"
] | null | [
"Franklin Seal"
] | null | Everything you might want to know about cinematherapy: this site is aimed at both the self-help seeker and the therapist, providing basic guides and in-depth theory, film recommendations, links to all cinematherapy info on the Web, training opportunities and info on forming your own support group. | /favicon.ico | null | Therapeutic Movie Review Column
By Birgit Wolz, Ph.D., MFT
Ray
Director: Taylor Hackford
Producers: Taylor Hackford, Stuart Benjamin, Howard Baldwin, Karen Baldwin
Screenwriter: James L. White
Stars: Jamie Foxx, Kerry Washington, Regina King, Clifton Powell, Curtis Armstrong, Sharon Warrent Mulroney, Len Cariou, Howard Hesseman, Kathy Bates
MPAA Rating: PG 13
Year of Release: 2004
Review
Ray tells the life story of the late iconic musical genius and American legend, Ray Charles. Although this movie plays primarily between 1948 and 1965, it also cuts back to the artist’s roots. Charles was born into a poor family in Albany, Georgia. At age five he witnessed the death of his younger brother. In a memory that haunted him throughout his life, he stood nailed to the spot while the little boy drowned in a bath basin. In her deep despair his mom yelled at Ray, ”why didn't you call for me to rescue the boy?” A few months later, Charles contracted glaucoma, and went completely blind at age seven. He blamed himself for the accidental death and carried lifelong guilt that, the movie argues, contributed to his eventual drug addiction.
With the staunch support of his fiercely independent single mother, who insisted he make it on his own in the world, Charles found his calling and his gift behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer discovered his own sound, which revolutionized American popular music. His work reached worldwide fame when he incorporated gospel, country, jazz and orchestral influences into his inimitable style.
This film demonstrates how Ray Charles contributed to tearing down the walls that separate people and styles. As he revolutionized music, he simultaneously fought cruel prejudices against the blind, and racial segregation in the very clubs that launched him. He also championed artists’ rights within the corporate music business.
As Ray’s fame grew, so did his weakness for drugs and women, until they threatened to strip away the very things he held most dear. The genius of Ray Charles was nearly destroyed through the use of heroin, as he spent years in denial.
It was not until he was about to lose his family and his career, and spend years in prison, that he cleaned up. He broke down the barrier of drugs, which had caused segregation in his own life: the separation from his wife and kids. As the movie demonstrates the challenging process through which Ray Charles finally was able to defeat his own personal demons, it brings our attention to an inspiring and unforgettable true story of human triumph.
Cinema Alchemy:
My client, Barbara, (54) was dissatisfied with her life. Since her childhood she had unsuccessfully tried to lose weight. Her work in a managerial position in a big organization for more than 20 years had become increasingly dissatisfying. Because writing poetry and painting pictures inspired her, we had explored her artistic talents and dreams. But she still rarely engaged in creative pursuits.
One day Barbara came to her session telling me that she was deeply touched by the movie Ray. In response to my inquiry she told me that what effected her most were two things: Ray Charles’ amazing creativity and the fact that he may have developed blindness bec“If he had already been blind when his brother drowned, he could not have blamed himself for the death.” The direction in which this answer seemed to point surprised me.
From experience I knew that, in all likelihood, my client was moved by Ray's tragedy and had shared this response with me, because she was ready to express and explore previously unexplored preconscious material. My next question was a stab in the dark though: I asked her how the connection between a theme of responsibility and physical symptoms might have appeared her own life.
Consequently we explored whether a part of Barbara’s psyche still might hold onto a need for protecting her mom. As this understanding deepened over time, my client developed the capacity to keep her weight off.
I also asked Barbara whether she remembers certain experiences of her own creativity, unfolding in similar ways to the one she had seen on the screen. When she recalled several incidences, we explored these stories for a while. By doing so, as well as by bringing her attention to the physical sensations that were associated with remembering these experiences, she deepened her connection with her artistic nature. Pretty soon Barbara's inner work bore fruit. Holding Ray Charles in the back of her mind, she found deep and consistent joy in her creative pursuits.
Theoretical contemplations:
Because he wanted the real story told, Ray Charles was deeply involved in this film project for years, until his death in June 2004.
Biographically inspired movies frequently have a more powerful impact on the viewer than those that are based on a fantasy screenplay. I found that many of my workshop participants and clients, like Barbara, feel more deeply touched by a biographical motion picture, because they empathize strongly with the historical figure that they perceive behind the film character.
The opposite effect can also be true for some viewers. If this type of film hits too close to home, it sometimes activates a defensive structure and therefore inhibits deeper self exploration.
With Barbara, I used a part of the Cinema Alchemy approach that I call the Evocative Way. This method borrows from dream work. Our clients’ emotional responses to movies, like their nighttime dreams, can serve as a window to their more hidden layers of consciousness. Like exploring their dreams, inquiring into clients’ responses to movie scenes or characters can bring their preconscious inner world to a conscious level.
With Barbara, I used a part of the Cinema Alchemy approach that I call the Evocative Way. This method borrows from dream work. Our clients’ emotional responses to movies, like their nighttime dreams, can serve as a window to their more hidden layers of consciousness. Like exploring their dreams, inquiring into clients' responses to movie scenes or characters can bring their preconscious inner world to a conscious level.
As clients understand their emotional reactions to a movie, they get to know themselves in ways they previously were not aware of. The expanded awareness often helps them let go of unhealthy patterns and reconnect with their authentic self. If they resonate with a movie character in a positive or admiring way, a subsequent inquiry can help these clients to discover their latent and not fully conscious capacities and inner resources.
The Evocative Way helped Barbara let go of inhibitions to her artistic nature. After Ray became the catalyst for increased awareness of old unhealthy patterns in her relationship with her mother, she eventually overcame longstanding problems.
Guidelines for questions:
Suggestions for clients while they watch the film:
• Focus on the metaphorical meaning of this movie for you.
• What parts of the movie touch you most?
• What character do you most identify with and when?
Questions after the movie:
• As you reflect on the parts that touched you most, how does the movie character's experiences remind you of your own? Do certain themes in the film reflect themes of your own life?
• Do you get a glimpse of the capacities that you recognize in an admired movie character inside yourself? How do you feel when you sense the potential of these inner resources?
Birgit Wolz wrote the following continuing education online courses:
Cinema Therapy - Using the Power of Movies In the Therapeutic Process, which guides the reader through the basic principles of Cinema Therapy.
Cinema Therapy with Children and Adolescents - This course teaches Cinema Therapy with young clients. It includes numerous movie suggestions, which are categorized according to age and issues. It serves therapists, teachers, and parents.
Positive Psychology and the Movies: Transformational Effects of Movies through Positive Cinema Therapy - This course teaches how to develop clinical interventions by using films effectively in combination with positive psychotherapy. It serves for mental health practitioners and anybody who is interested in personal growth and emotional healing.
Therapeutic Ethics in the Movies - What Films Can Teach Psychotherapists About Ethics and Boundaries in Therapy, which covers: confidentiality, self-disclosure, touch, dual relationships and out-of-office experiences (i.e., home visits, in-vivo exposures, attending a wedding, incidental encounters, etc.)
Boundaries and the Movies - Learning about Therapeutic Boundaries through the Movies, which covers informed consent, gifts, home office, clothing, language, humor and silence, proximity and distance between therapist and client, and, finally, sexual relations between therapist and client.
DSM: Diagnoses Seen in Movies - Using Movies to Understand Common DSM Diagnoses. | ||||||
2661 | dbpedia | 0 | 43 | https://arktimes.com/entertainment/movie-reviews/2004/11/04/ray-of-light | en | ‘Ray’ of light | [
"https://i0.wp.com/arktimes.com/wp-content/uploads/2024/03/WHITE-AT-LOGO-600PX-wide-Madeline-Chosich.png?fit=600%2C115&quality=80&ssl=1",
"https://i0.wp.com/arktimes.com/wp-content/uploads/2019/04/949628-2004_11-2_13-24-56-222.jpg?fit=150%2C201&quality=89&ssl=1",
"https://i0.wp.com/arktimes.com/wp-content/uploa... | [] | [] | [
""
] | null | [
"David Koon"
] | 2004-11-04T00:00:00 | After so many bad films have washed under this particular bridge, it takes a lot for a movie to really nail me back in my seat anymore. That said, “Ray” is one of those films. | en | Arkansas Times | https://arktimes.com/entertainment/movie-reviews/2004/11/04/ray-of-light | After so many bad films have washed under this particular bridge, it takes a lot for a movie to really nail me back in my seat anymore. That said, “Ray” is one of those films.
If you don’t read any further, read this: If you love music, if you love movies, if you love the story of an against-all-odds winner, run to see this one. If “Ray” doesn’t get an Oscar nomination for Best Picture, there is even less justice in the world than I thought.
“Ray” is, of course, the biopic of the great Ray Charles, following the blind piano virtuoso from age 8 until the late 1960s, when he successfully kicked the heroin addiction that had plagued him since his early days on the road. I must admit that when I heard Charles himself had given his blessing to the production and storyline of “Ray” before his death earlier this year, I didn’t expect much. My thinking was that any film that simultaneously tries to honor and capture its subject is bound to be the well-scrubbed version of things, all the glory and none of the guilt (while dead men can’t sue for defamation, it’s another matter when the subject of your hard-hitting drama is alive, kicking and litigious). Imagine my surprise, then, when we get Charles in all his warty glow: a man who often has a chip on his shoulder against God and the universe, who instantly punishes weakness in others even as he completely overlooks his own, who goes howling after every woman in arm’s reach.
For every moment you find yourself cheering for Charles’ resilience in a world that doesn’t know what to do with him (when he schmoozes a hostile, Jim Crow-era bus driver by telling him he lost his sight at Omaha Beach, for instance), there will be another scene where his out-and-out cruelty toward the people who love him will almost force you to look away. The result approaches one of the rare, true depictions of a whole human being on film, and it is an absolutely stunning experience to watch it unfold.
Jamie Foxx plays Charles. Known for his tough-guy and comedic roles, Foxx has been taking on some meatier fare of late, most significantly a great turn as a cabbie kidnapped by a killer in “Collateral” with Tom Cruise. This role, however, is a broad jump beyond anything he has tried before (helped along considerably by the fact that the classically trained Foxx actually plays the piano in the film). The term “channeling Ray Charles” has made the rounds among critics, and it absolutely fits here. It’s not just the voice, it’s everything: the talk, the look, the way his lip curls, the way he walks and answers the telephone and smokes a cigarette. By the end, when director Taylor Hackford begins cutting back and forth between Foxx at the piano and what looks like old concert footage, you’ll undoubtedly find yourself wondering, as I did, whether the footage is really Charles, or if it is Foxx, doing his thing.
In short, “Ray” is an absolute joy, something not seen in American film in many a year. See it. Soon.
— By David Koon
? In Argentina in 1952, two young college students bought a ragged-out 1939 Norton motorcycle and set off on a life-changing trip across South America, for no other reason than to do it. While that might make a good movie in itself, what makes it a Big Deal, however, is the fact that one of the young men aboard was Ernesto “Che” Guevara, the communist revolutionary who famously helped Fidel Castro win control of Cuba — the same Che Guevara who was assassinated in Bolivia after being captured by CIA-sponsored soldiers (see the wall of your average politically active college student for a photo).
I had heard the good press about “Motorcycle Diaries” and had not thought much of it. Movies about cultural heroes — especially of the political stripe — have a tendency to be long-angle shots of vast white monuments, totally afraid of showing their subject’s faults, sense of humor, weaknesses (you know, all that stuff that is the difference between humans and marble statues).
Seeing “Motorcycle Diaries” however, I know what all the talk was about. No matter your opinion of Guevara’s politics, it’s clear he cared first and foremost about helping the poor and the downtrodden. Here, as we watch the solidly middle-class Guevara (Gael Garcia Bernal, who broke on the scene in “Y Tu Mama, Tambien”) and Alberto Granado (Rodrigo de la Serna) ride and then trudge through the beautiful terrain of Peru, Chile and Argentina, we watch them go through a sort of Buddha-like awakening to the suffering of the world: people living in poverty, people exploited for labor at a Chilean copper mine, non-contagious lepers treated like pariahs and segregated from the world. In these scenes, director Walter Sales’ masterful lenswork assures the characters usually don’t have to say a thing — all you need to know is transmitted in a language of half-glances and firelight.
All this is not to say that “Motorcycle Diaries” was a black-clad funeral for a hero. Though emotion and humor don’t often translate as well as they should, this was a movie that I found myself laughing out loud at several times, and actually getting choked up over other scenes. Though Menudo-idol good-looking Bernal might have been miscast as Guevara — and the script works a little too hard to make him George Washington-grade honest — in the end, this is a movie that snags one of the hardest things to capture on film: not birth, but a birth of conscience; a normal person waking up to an unjust world and setting his mind to do something about it. Even if you had no idea who Che Guevara was or what he stood for later in life, the results for any viewer would be the same: a stunningly beautiful film about the awakening of a truly compassionate mind.
— By David Koon | |||||
2661 | dbpedia | 3 | 82 | https://variety.com/2022/tv/news/rio-hackford-dead-mandalorian-1235233527/ | en | Rio Hackford, Club Owner and Actor, Dies at 52 | [
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://variety.com/wp-content/uploads/2022/04/Rio-Hackford.jpg?w=1000&h=562&crop=1",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/ass... | [] | [] | [
""
] | null | [
"Pat Saperstein"
] | 2022-04-16T00:43:22+00:00 | Actor and impresario Rio Del Valle Hackford, who appeared in "Jonah Hex," "Swingers," "Treme" and "The Mandalorian," died Thursday. | en | Variety | https://variety.com/2022/tv/news/rio-hackford-dead-mandalorian-1235233527/ | Actor and club owner Rio Del Valle Hackford, who appeared in films and TV shows including “Jonah Hex,” “Swingers,” “Treme” and “The Mandalorian,” died Thursday in Huntington Beach, Calif. He was 52.
His brother Alex Hackford said he died after an illness.
Rio Hackford, who was the son of director Taylor Hackford, was remembered by friends for being a “connector of all sorts of people,” said his friend, screenwriter D.V. DeVincentis.
“Not simply obsessed with movies and how they mirrored and compelled, he was something more: a superfan of innumerable scenes, of particular gestures of unsung actors, weird career turns, roaring comebacks, cinema swan songs,” DeVincentis wrote on Instagram.
Hackford was known for his joie de vivre and generous embrace of artists at his clubs including Matador and One-Eyed Jacks in New Orleans, where he also owned Pal’s Lounge. One-Eyed Jacks was a popular venue for alternative acts, and reopened in a new location after closing during the pandemic.
In San Francisco, he owned Homestead, and in Los Angeles he renovated the Monty bar just west of downtown.
Popular on Variety
“He was a great magnet to creative people, with a Zelig-like path that could make a page-turner of a biography. He loved the alchemy of personalities and talents, and was one of the great facilitators in this respect,” DeVincentis continued.
In “The Mandalorian,” he was the on-set performer of the droid IG-11, who was voiced by Taiki Waititi.
Most recently, he played a manager in “Pam & Tommy.”
Hackford had small appearances in movies like playing a junkie in “Pretty Woman” and a bartender in “Strange Days” before appearing as Skully in “Swingers.” The Skully character, who has a beef with Sue, was known as “House of Pain” or “Hip Hop” in the ’90s indie favorite.
In supernatural Western “Jonah Hex,” he played Graydon Nash, and in New Orleans-set “Treme,” he was Toby on several episodes.
He also directed music videos for acts including Josh Homme’s Desert Sessions and Corrosion of Conformity.
He is survived by his wife, musician Libby Grace; two children; brother Alex; his father; and stepmother Helen Mirren. | |||||
2661 | dbpedia | 0 | 18 | http://www.nicksflickpicks.com/ray.html | en | Davis.com: Ray | [] | [] | [] | [
""
] | null | [] | null | null | Academy Award Nominations and Winners: Best Picture Best Director: Taylor Hackford ★Best Actor: Jamie Foxx Best Costume Design: Sharen Davis Best Film Editing: Paul Hirsch ★Best Sound: Scott Millan, Greg Orloff, Bob Beemer, and Steve Cantamessa Golden Globe Nominations and Winners: Best Picture (Musical/Comedy) ★Best Actor (Musical/Comedy): Jamie Foxx Other Awards: Screen Actors Guild Awards: Best Actor (Foxx) Los Angeles Film Critics Association: Best Picture; Best Actor (De Niro) National Society of Film Critics: Best Actor (Foxx) Boston Society of Film Critics: Best Actor (Foxx); Best Supporting Actress (Warren; tie) National Board of Review: Best Actor (Foxx) British Academy Awards (BAFTAs): Best Actor (Foxx); Best Sound | ||||||||
2661 | dbpedia | 1 | 0 | https://www.imdb.com/title/tt0350258/ | en | Ray (2004) | [
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:143-4627329-4452769:FZWB4XG5EY5E3Z17JAHV$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DFZWB4XG5EY5E3Z17JAHV:0",
"https://m.media-amazon.com/images/M/MV5BMTQxNDQwNjQzOV5BMl5BanBnXkFtZTcwNTQxNDYyMQ@@._V1_QL75_UX190_CR0,0,190,281_.jpg",
"https://m.media-amazon.... | [] | [] | [
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null | [] | 2005-01-06T00:00:00 | Ray: Directed by Taylor Hackford. With Jamie Foxx, Kerry Washington, Regina King, Clifton Powell. The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s. | en | IMDb | https://www.imdb.com/title/tt0350258/ | First of all, it is sheer joy to hear the legend perform such wonderful and timeless music. This movie and soundtrack is a tour de force. Ray Charles is unique and amazing. I truly adored the film as it was inspiring and entertaining throughout.
Jamie Foxx has become one of the premiere actors in Hollywood as is clearly shown in Ray and he should get an Oscar for this role, it is unprecedented. In fact, everyone who worked on this film should receive accolades. I really liked Kerry Washington who played the exceptional wife...Ray Charles obviously married well. Regina King is a fine actress as well as the extraordinary Sharon Warren who plays a struggling young mother.
In all honesty, I'd say this whole project was providentially arranged. The entire cast was perfect, great screenplay and awesome settings...major props to the director Taylor Hackford and crew for doing such a splendid job in bringing the life of Ray Charles to the screen so flawlessly. This is my picture of the year, certainly one of the best biographical films ever made. | |||||
2661 | dbpedia | 0 | 9 | http://www.cineoutsider.com/reviews/films/r/ray.html | en | Ray film review | http://www.cineoutsider.com/graphics/facebook_logos/outsiderlogo_square_review.jpg | http://www.cineoutsider.com/graphics/facebook_logos/outsiderlogo_square_review.jpg | [
"http://www.cineoutsider.com/graphics/frontpage/outsider_header_bar_hd.png",
"http://www.cineoutsider.com/menus/menu_general/1_leftbar.png",
"http://www.cineoutsider.com/menus/menu_general/2a_home_up.png",
"http://www.cineoutsider.com/menus/menu_general/3a_discreviews_up.png",
"http://www.cineoutsider.com/m... | [] | [] | [
""
] | null | [] | null | null | "Never trust a junkieâ¦"
"Listen to him, man!"
Bill Hicks died much too soon; not that he could have done a lot against pancreatic cancer to prevent it.
In the age of Bush and Blair we need Hicks like Trainspotting's lavatories need bleach. Where is our Bill, the 80's Lenny Bruce? As one of the US's most politically motivated stand ups, Hicks rallied against those that would pollute and cheapen the soul of the 'real thing'. NOT Coca Cola. His rants against Bush Snr. and the US's own Gulf war in the 80s (before they let the Brits share the 'glory' for its sequel) can be effortlessly transplanted to today, their relevance and parallels striking. Hicks died in February 1994 at the age of 32, a true crime against a better nature. The Spice Girls of his era were 'The New Kids on the Block', a manufactured pop band that captured the spirit of the eighties. That's not a compliment. The New Kids were good role models for US youth. Ho hum. They said 'No' to drugs and behaved impeccably. Hah! Hicks thundered "When did mediocrity and banality become a good image for your children? I want my children to listen to people who fuckin' ROCKED!" Hicks performed a dialogue on stage playing a man and his son appreciating the real thing. I'm paraphrasing from memory:
"Dad, the man has a blood blister on his lipâ¦"
"LISTEN to the fucking music!"
In short, don't worry about or consider the womanising, the heroin addiction, the blindness, the psychological damage from an horrific accident in his childhood or anything else (pretty sure Ray had no blood blisters), LISTEN to the music, man⦠Ray Charles sings 'the real thing'. Hell, Ray Charles IS the real thing. Director Taylor Hackford's labour of love (its production eerily overlaps its subject's death in 2004) is a biopic that delivers, another excellent attempt to cram an extraordinary life in under three hours. The best you can do is slice off a sliver of concentrated personality, maintain the merest but strong whiff of character from a lifetime chronicled and hope the work is appreciated for its ambition. Hackford does a great, unfussy job and lets RAY soar by letting the strong look-alike but talented Jamie Foxx do wonders. Hackford, to his credit, simply gets out of Ray's way.
Ray (Charles) Robinson (Sugar Ray had commandeered the 'Robinson' name in that era) was a blind, black man from the south of the US just after World War II. Stated that simply, it's a wonder he made it over the state line. He does so here by suggesting he was blind because of the injuries he sustained in the war. A racist bus driver concedes to the braver man and helps him on the bus. As Ray walks past camera, a grin tells us that a little white lie is a better weapon against black-hating bigots than any club or gun. But in those days, all that prejudice was 'how things were'. My own father still tells the story of his sitting down to get a hair-cut in the south of the US and being physically thrown out, told that the barbers 'was fur coloreds' (sic). He was as amazed at segregation then as I am now that it actually existed. A liberal, knee jerk, reaction to the injustice that history consistently illustrates? No matter. It still makes me go "What?"
Structurally, the film charts young Ray's progress while inter-cutting with selected memories and nightmarish watery visions from childhood. His extraordinary mother (played to the hilt with visible strength by Sharon Warren) was pragmatic from the very start. She lost a son (while young Ray watched, convinced his brother was play acting for attention) and had to stand by helplessly as her remaining boy lost his sight. There is something terribly tragic about watching the boy continually wiping the grey gunk from his eyes knowing the blackness is descending. I was touched every time we went back to Ray's childhood. The scene in which the young Ray falls, hurts himself, calls for his mother and then realises how he can listen to navigate the world is the most moving of the film. His mother witnesses the whole thing and despite the overwhelming inducement to intervene (and as a parent I can say with some qualification that the temptation must have been overwhelming), to her credit she doesn't and is moved to tears as Ray reveals proof that he has really listened. It's also proof to her that he will not accept the status of 'invalid'. Tough love doesn't get much tougher than this.
Something Hackford plays front and centre (a gift for a biopic) was the turbulent social upheavals that accompanied Ray Charles' ascent to the higher stages of popular music. By his simple refusal to play in Georgia because of segregation being in force, he provided choke to the engine of social change. It's almost a flippant throwaway in the film. Foxx is being led to the auditorium whilst an enlightened young man calls out to him from the protesting crowd, urging him to 'see' if nothing else, the logic of integration. I think the easy way in which Ray changes his mind is a nod to the fact that Ray only 'sees' one thing - music. Black and white are concerns for those who can see (with a nod to the subtext that only the blind can see in this instance). Ray concedes the political hot-potato as a truism and in that simple act of defiance becomes a heroic figure for many during the sixties. As if to prove the veracity of the story, Hackford consistently drops in colour newsreel footage, wide shots which would be prohibitively expensive to produce. At first, its graininess was a jolt, perhaps a budgetary necessity but in hindsight, I believe this footage is used to continually remind us that 'all this' was true.
Hackford plays strong cards against the way society treats its 'invalids'. Ray's band, at the start of his career, routinely uses his blindness against him and his reluctant sexuality as some sort of indentured rent deal. The first person who comes into Ray's life respecting the music and how good they could be for each other is Ahmet, a small time, immigrant record producer. Realising Ray's potential, he rescues him from a grubby hotel room and after an impromptu jam session, gets Ray to reveal what's inside. Up until this point, Ray had been mimicking well known singers thinking 'thatâs what the audience likesâ¦' But after the delightful origins of 'Do The Mess Around' (if this was literally true, then it's glorious), itâs all a rocket to the top. Richard Schiff plays Ahmet's partner Jerry, who loves Ray's music and urges people to see past all the negatives and just revel in that sound. It's quite something to see a very familiar face with the beard removed, hair added to a bald head, running around sixties America with a great passion for soul. It was also nice to see him stay in one piece after Spielberg had this intelligent actor literally ripped in half by two T Rexes in the awful The Lost World. Schiff, of course, plays Toby Zeigler from The West Wing.
Despite the shades, the awkward but distinctive gait and the hands out feeling for the unexpected, Foxx's Ray is first a man of ambition and secondly, he happens to be blind. It's this strength of will that carries with it in its wake an interesting and debatable morality. I use 'debatable' in a literal sense as I don't want to attach even a soupçon of disapproval from my own point of view. Being on the road for a musician (whilst having a home and wife) must be akin to shooting a movie on location. As a young film runner on location twenty years ago, the costume assistant fell into hysterics after I told her that I had no location liaison - no sexual playmate - while away from home. She was genuinely aghast, like it was some rule I had broken. She informed me that it was not only common knowledge, de rigueur for crews to play around, it was also tolerated by those left at home. I was certain that couldn't be true and to think 20 years later I'm seeing it in a different light.
Ray's life is split, schizoid like, between the loving arms of his wife and subsequent children and the lure of the road where his love life plays by entirely different rules. Now for a conventional Hollywood hero, this may well have been a problem (ain't the truth grand? Can you imagine a suit suggesting the film-makers cut the affairs to keep Ray sympathetic?) He's a tough sell particularly because he does not stop having affairs on the road. I would imagine a normal audience would be put off by that. Another character flaw, his dependence on heroin, also plays into the arguments that Ray is an unsympathetic character. I think I've figured out why and how Ray and indeed Ray the movie gets away with it.
The music.
Listen to the music. Ray is the music and in the most Hollywood-ian of speeches, Ray's wife B tells him that it's not just time with the children and her that he will be deprived of in gaol (for heroin smuggling)⦠Music will be denied him, something he probably couldn't live without. I think thatâs built in to the movie's soul, its own soul (in a word). I think that Foxx makes Ray real and real and flawed is always interesting. It's a bonus that it's also a genuinely touching movie. | ||||||
2661 | dbpedia | 3 | 20 | https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hackford-taylor-1944 | en | Hackford, Taylor 1944(?)– | [
"https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg"
] | [] | [] | [
"Hackford",
"Taylor 1944(?)–PERSONALFull name",
"Taylor Edwin Hackford; born December 31",
"1944 (some sources cite December 3 or 1945)",
"in Santa Barbara",
"CA; son of Joseph and Mary (a waitress; maiden name",
"Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and... | null | [] | null | Hackford, Taylor 1944(?)–PERSONALFull name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littm Source for information on Hackford, Taylor 1944(?)–: Contemporary Theatre, Film and Television dictionary. | en | /sites/default/files/favicon.ico | https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hackford-taylor-1944 | PERSONAL
Full name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littman. Education: University of Southern California, B.A., 1968.
Addresses:
Agent—Scott Greenberg, Creative Artists Agency, 2000 Avenue of the Stars, Los Angeles, CA 90067.
Career:
Director and producer. KCET-TV (PBS affiliate), Los Angeles, began as mailroom clerk, became director, producer, investigative reporter, and writer, 1970-77; Hackford-Littman Films, Los Angeles, director, producer, and writer, 1977-79; New Visions, Inc., founder, mid-1970s; New Visions Pictures, partner and chair, 1988-91; Venice International Film Festival, jury member, 2000 and 2001; U.S. Peace Corps, volunteer in Bolivia, 1968-69.
Member:
Directors Guild of America (vice president), Writers Guild of America, West.
Awards, Honors:
Silver Reel Award, San Francisco International Film Festival, 1972; local Emmy awards, investigative reporting category, 1974 and 1977; Academy Award, best live-action short film, 1979, for Teenage Father; ShoWest Award, director of the year, National Association of Theatre Owners, 1983; Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, 1983, for An Officer and a Gentleman; Tokyo International Film Festival Award, best director, 1993, for Bound by Honor; Film Society Award for Lifetime Achievement in Directing, San Francisco International Film Festival, 2005; Academy Award nomination, Golden Satellite Award nomination, International Press Academy, and Critics Choice Award nomination, Broadcast Film Critics Association, all best director, Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, Academy Award nomination (with others), best motion picture of the year, and David di Donatello Award nomination, best foreign film, all 2005, and Grammy Award (with others), best compilation soundtrack album for motion picture, television, or other visual media, National Academy of Recording Arts and Sciences, 2006, all for Ray; Best of Show Award, Music DVD awards, Home Media magazine, 2007, for Hail! Hail! Rock 'n' Roll; Robert B. Aldrich Achievement Award (with Paris Barclay), Directors Guild of America, 2007.
CREDITS
Film Director:
Teenage Father (short film), New Visions, 1978.
The Idolmaker (also known as Rock machine), United Artists, 1980.
An Officer and a Gentleman, Paramount, 1982.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
Hail! Hail! Rock 'n' Roll (music documentary; also known as Chuck Berry Hail! Hail! Rock 'n' Roll and Chuck Berry: Hail! Hail! Rock 'n' Roll), Universal, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Executive Producer:
Rooftops (also known as Combat Dance), New Visions, 1989.
The Long Walk Home, Miramax, 1990.
Defenseless, New Visions/Seven Arts Pictures, 1991.
Mortal Thoughts, Columbia, 1991.
Queens Logic, Seven Arts Pictures, 1991.
Sweet Talker (also known as Confidence), New Visions, 1991.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Film Producer:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
La Bamba (also known as Let's Go), Columbia, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
When We Were Kings (documentary), Gramercy Pictures, 1996.
G:MT Greenwich Mean Time (also known as G:mt), Icon Film Distribution, 1999.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Work; Other:
Film editor, When We Were Kings (documentary), Gramercy Pictures, 1996.
Film Appearances:
The director, To Grandma with Love (short film), Total Sol Films, 2003.
Himself, Bukowski: Born into This (documentary), Magnolia Pictures, 2004.
Vince Vaughn's "Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland" (documentary; also known as Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland), 2006, Picturehouse Entertainment, 2008.
Television Producer; Specials:
Bonnie Raitt and Paul Butterfield, PBS, 1974.
Rick Nelson: It's All Right Now, The Nashville Network, 1990.
Executive producer, Genius: A Night for Ray Charles, CBS, 2004.
Also worked on programs about various other musicians, including John Prine, Sonny Rollins, Leon Russell, and Cat Stevens.
Television Work; Pilots:
Executive producer and director, E-Ring (also known as Pentagon, D.O.S.—Division des operations speciales, and E-Ring—Aporrites apostoles), NBC, 2005.
Television Work; Other:
Director, Economic Love-In, KCET-TV (PBS affiliate), 1973.
Television Appearances; Specials:
Himself, The Score, Trio, 2003.
Himself, Bleep! Censoring Hollywood, American Movie Classics, 2005.
Himself, Budd Boetticher: A Man Can Do That, TCM, 2005.
Television Appearances; Awards Presentations:
(In archive footage) The 77th Annual Academy Awards, ABC, 2005.
36th NAACP Image Awards, Fox, 2005.
The 59th Primetime Emmy Awards, Fox, 2007.
The 64th Annual Golden Globe Awards, NBC, 2007.
Television Appearances; Episodic:
Himself, First Works (also known as Firstworks), 1989.
Himself, "The Making of ‘Proof of Life,’" HBO First Look, HBO, 2000.
Himself, "Richard Gere," Biography (also known as A&E Biography: Richard Gere), Arts and Entertainment, 2004.
Himself, Sunday Morning Shootout, American Movie Classics, 2004.
RECORDINGS
Videos:
Director, "Say You, Say Me," The Lionel Richie Collection, Universal Music & Video Distribution, 2003.
Himself, Pas de Deux: Making "White Nights" (short), Columbia/TriStar Home Video, 2004.
Himself, Budd Boetticher: An American Original, Paramount Home Video, 2005.
Himself, An Officer and a Gentleman: 25 Years Later (short), Paramount Home Entertainment, 2007.
Music Video Director:
Phil Collins, "Against All Odds," 1984.
Lionel Richie, "Say You, Say Me," 1985.
WRITINGS
Screenplays:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Song "Show Me Your Tattoo," The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
(Story) Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Author of other screenplays, including Cry Dance.
OTHER SOURCES
Periodicals:
Entertainment Weekly, February 4, 2005, p. 92.
Movieline, November, 2000, pp. 70-74.
People Weekly, November 3, 1997, p. 153; January 19, 1998, p. 102.
Variety, February 14, 2005, p. S34. | |||||
2661 | dbpedia | 3 | 77 | http://www.tonymedley.com/2004/Ray.htm | en | Ray | [
"http://www.tonymedley.com/images/articles2.gif",
"http://www.tonymedley.com/images/books2.gif",
"http://www.tonymedley.com/images/reviews2.gif",
"http://www.tonymedley.com/images/sports2.gif",
"http://www.tonymedley.com/images/home2.gif"
] | [] | [] | [
""
] | null | [] | null | null | Ray (10/10)
by Tony Medley
In the past year or so, Ive seen some of the best films of my life. Freaky Friday was one of the best comedies Ive ever seen. Passion of the Christ was the best religious film. Miracle was by far the best sports film. The Notebook was at the top of the romance list.
Now Ray joins that select group as one of the best musical biographies. What I most liked about it wasnt the music, which is terrific, or the acting, which is exceptional, or the directing (Taylor Hackford), which is superb. No, what I most liked about it was that the two most admirable people in the film were Rays mother, Aretha (Sharon Warren, making her film debut, and it deserves an Oscar nomination), and wife, Della Bea (Kerry Washington).
Rays long-suffering wife stood by him as long as she could through his drug addiction and infidelities. Although the film doesnt show it, she finally had to leave him when his lifestyle was threatening her family.
Of course, Rays success is inspirational and remarkable. Starting out as a 7 year-old blind, penniless, fatherless black boy in the south, he became world famous, creating music loved by millions. How many of us could have coped with such disadvantages? But my heart went out to the two women who supported him, especially his mother. Faced with the loss of her younger son and the blindness of her older son, Aretha refused to allow him to be a victim or to feel sorry for himself. She immediately made him take care of himself, going to the point of not responding to him when he fell and begged for help, and, finally, sending him off to a school for the blind, even though she loved him dearly and didnt want to part from him. She died at a youthful 31, a wonderful woman about whom Ray said, This was the most important person in my life. If theres a hero in this story, its Aretha. She was the poorest of the poor, washed clothes to earn a living, lost her youngest son and selflessly sent her other son off to a place where he could be trained by people she knew were more competent than she in dealing with the blind. She died young, anonymously, and never knew the fame her son achieved or the pleasure he brought to the world. But without her it never would have happened.
After years of barnstorming on the Chitlun Circuit, Rays career blossomed when he signed with Atlantic Records and got involved with Ahmet Ertegun (Curtis Armstrong) and Jerry Wexler (Richard Schiff). Atlantic became the premier Rhythm & Blues label in the 50s and the nations leading Soul label in the 60s. Ertegun, who also was involved in the early success of Big Joe Turner, The Drifters, The Coasters, Aretha Franklin and Led Zeppelin, saw Charles talent, signed him, and stuck with him. When Ray subsequently didnt let sentimentality enter into a decision when he got a better offer from ABC, Ertegun and Wexler were devastated, but Ertegun remained a good friend.
Rays drug addiction and infidelities are chronicled without soft-pedaling them. Another truth is the way Ray treated his longtime manager and friend, Jeff Brown (Clifton Powell), who led him to his early success, but was brutally replaced by Joe Adams (Harry Lennix) who became Rays manager for the next 40 years. Adams is represented as a scheming opportunist, manipulating Ray to fire Brown. The real Adams was from Watts, an actor who vied for roles in the 50s with Harry Belafonte and Sidney Poitier, was a Tuskegee Airman, and was the first black DJ to be broadcast from coast to coast. He obviously did all right for Ray, so, even though he comes across negatively in the film, maybe Ray knew what he was doing when he replaced Brown with Adams. This was a tough decision, but the film doesnt do enough to go into it and to show that, in the end, it was probably the right decision for Rays career.
Director Hackford expertly warps time instead of telling the story chronologically. We bounce back and forth among several time periods. There is fascinating archival color footage of New York and Los Angeles in the 40s and 50s interspersed. One shot identifies Los Angeles in 1950, but it clearly wasnt 1950 because the cars were all 30s vintage. Five years after World War II ended, most of the cars in Los Angeles were post-1945.
Jamie Foxxs interpretation of Ray is astonishingly faithful to the man as most of us remember him. How could he not win the Oscar? Just so you know, even though Foxx is apparently able to do a good approximation of Rays voice, all the music in the film is Jamie Foxx lip-syncing Ray Charles voice. As Music Supervisor Curt Sobel says, Ray Charles was just too great not to use him when we had the chance. Among the many songs interspersed throughout the narrative which create the rhythm and pace of the tale are I got a Woman (which, after its release in 1954, was credited as the birth of Soul by combining sacred Gospel with secular Rhythm & Blues), Drown in my Own Tears, Whatd I say, Georgia on my Mind, Hit the Road, Jack, Unchain my Heart, and I Cant Stop Loving You.
When the script (James L. White) was submitted to Charles, he approved it with only two minor changes, both factual and neither of which had to do with the more controversial aspects of his life. White spent many hours with Charles, and with Della, his former wife and life-long confidante in writing the script.
This is a long, two and one half hour film about a complex man. But it doesnt drag and it's not judgmental. The story is compelling and the music is terrific. All I can say is, dont miss it.
October 28, 2004 | ||||||||
2661 | dbpedia | 3 | 2 | https://www.britannica.com/biography/Taylor-Hackford | en | Taylor Hackford | American director | [
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/91/223091-131-A986B08A/relief-Zoroastrian-god-Ahura-Mazda-Persepolis-Iran.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/51/190751-131-B... | [] | [] | [
"Taylor Hackford",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null | [] | null | Other articles where Taylor Hackford is discussed: Helen Mirren: The Madness of King George, Gosford Park, and The Queen: In 1997 she married director Taylor Hackford. | en | /favicon.png | Encyclopedia Britannica | https://www.britannica.com/biography/Taylor-Hackford | |||||
2661 | dbpedia | 0 | 63 | https://aalbc.com/reviews/ray.htm | en | [] | [] | [] | [
""
] | null | [] | null | null | ||||||||||
2661 | dbpedia | 3 | 3 | https://www.imdb.com/name/nm0000431/bio/ | en | Taylor Hackford | [
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-9619320-6707300:27MQM1KQSBB22WY61PDW$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D27MQM1KQSBB22WY61PDW:0",
"https://m.media-amazon.com/images/M/MV5BMTc0MDgzODI1NV5BMl5BanBnXkFtZTcwMzkwMzIzMQ@@._V1_QL75_UX90_CR0,1,90,133_.jpg",
"https://m.media-amazon.co... | [] | [] | [
"Taylor Hackford",
"Biography"
] | null | [
"IMDb"
] | null | Taylor Hackford. Producer: Ray. In addition to helming the iconic feature hits Ein Offizier und Gentleman (1982), Gegen jede Chance (1984), Ray (2004), and the cult thriller Im Auftrag des Teufels (1997), Taylor Hackford has directed the films Dolores (1995), Ein Leben voller Leidenschaft (1988), and Lebenszeichen - Proof of Life (2000). Taylor developed and produced La Bamba (1987), the most successful Latin-themed feature film in history. Mr. Hackford has... | en | IMDb | https://www.imdb.com/name/nm0000431/bio/ | In addition to helming the iconic feature hits Ein Offizier und Gentleman (1982), Gegen jede Chance (1984), Ray (2004), and the cult thriller Im Auftrag des Teufels (1997), Taylor Hackford has directed the films Dolores (1995), Ein Leben voller Leidenschaft (1988), and Lebenszeichen - Proof of Life (2000). Taylor developed and produced La Bamba (1987), the most successful Latin-themed feature film in history. Mr. Hackford has been an active member of the Directors Guild of America for over 40 years, including twice as elected President of the DGA, beginning in 2009. | |||||
2661 | dbpedia | 3 | 76 | https://www.telegraph.co.uk/culture/film/starsandstories/9902569/Taylor-Hackford-interview-for-Parker-I-didnt-want-J-Lo-for-her-beauty.html | en | Taylor Hackford interview for Parker: 'I didn’t want J-Lo for her beauty' | [
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg",
"https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg",
"https://www.telegraph.co.u... | [] | [] | [
"ece_frontpage",
"culture_news",
"film",
"culture",
"film_makers_on_film",
"film_news",
"celebrity_news",
"stars_and_stories",
"john_hiscock"
] | null | [
"Jeremy Wilson",
"Jim White",
"Henry Bodkin",
"Oliver Brown",
"Benedict Smith",
"John Hiscock"
] | 2013-03-08T07:00:00+00:00 | Taylor Hackford, director of 'An Officer and a Gentleman', tells John Hiscock about making his first crime thriller, Parker, and life with 'fantastic' Helen Mirren . | en | /etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/core/resources/icons/favicon.ico | The Telegraph | https://www.telegraph.co.uk/culture/film/starsandstories/9902569/Taylor-Hackford-interview-for-Parker-I-didnt-want-J-Lo-for-her-beauty.html | "I said, 'Listen baby, I’m not interested in the most beautiful woman and all the glamour; I want somebody real and I want somebody messy, kind of on the edge,'" the director-producer recalled. "I wanted to see another side of her."
His unusual approach worked, and 44-year-old Lopez, who was going through a divorce from husband Marc Anthony and having a difficult time emotionally, signed on to co-star with Jason Statham.
"She could have said, 'Well, thanks, Taylor, so long,' but she didn’t," said the 68-year-old director. "I think it was because I said I didn’t want her beauty, I wanted something else, that she did the movie."
Parker is the first crime thriller in Hackford’s vastly diverse oeuvre, although, he says, he has been a fan of the genre for many years, dating back to Point Blank, which starred Lee Marvin and was the first of many movies based on the Parker books.
"The wonderful thing about Parker is that he is completely unapologetic about what he does. He’s a thief, he’s capable of extreme violence but he’s not a psychopath. He only steals from people who can afford the loss."
We met at a poolside party in Beverly Hills and talked a few days later in a hotel suite in Los Angeles. The bearded, courtly Hackford sipped from a cup of tea and talked eloquently of filmmaking, music and his life with his Oscar-winning wife Helen Mirren.
His promotional duties for Parker were keeping him in California while Mirren was in London rehearsing for Peter Morgan’s play The Audience (opening next week), in which she again plays the Queen.
They met in 1985, when he cast her in his movie White Nights, and were married on New Year’s Eve 1997 in Scotland. The couple divide their time between a home in Los Angeles and a Georgian house by the Thames in Wapping.
Their work schedules often keep them apart, and Hackford’s duties as president of the Directors' Guild of America mean he has to spend a certain amount of time in California.
"Helen is just a fantastic partner for me and I was very lucky in finding my true mate in life," he said.
"She’s the real deal. She’s very witty and can use her humour and so on but she’s a serious artist. You get a clarity and an honesty from Helen which is only more real when you live with her. The great thing about her is that she’s defied Hollywood, which is tyranny for actresses. When they’re young and beautiful they have a career, and as they get older, it gets less. With my wife it’s been different. She’s continued to blossom and be celebrated, which is fantastic."
Since his documentary Bukowski earned him acclaim in 1973 and his Teenage Father won an Oscar for best short film in 1978, Hackford has produced and directed feature films exploring a wide variety of subjects, including the sudsy An Officer and a Gentleman, an adaptation of Stephen King’s novel Dolores Claiborne, and the Satanic-influenced The Devil’s Advocate.
But he has fared best with musical biographies based on the lives of rock and roll pioneers such as Ritchie Valens in La Bamba, Chuck Berry in Hail! Hail! Rock’n’ Roll and Ray Charles in Ray, which was 15 years in the making and earned him an Oscar nomination.
All his movies have at least one thing in common: "I make films about working-class people because that’s where I come from," he said. “My code as a filmmaker is to always do something I’m passionate about, not do something just because it’s offered. And that’s hard in this business because there are trends, and if you don’t want to go with the trend you may not be working. An actor does maybe three films a year but when a director does a film it takes two years if you’re lucky, so if you get on that train, you’d better love it and you’d better have something to say.
"Only one thing attracts me to a project and that’s the script. I read the script for Parker and I was sold. It’s an intelligent action picture full of intrigue and strong characterisations. I saw an opportunity to try my hand at doing a tough crime piece and the thing I loved about Parker was that he has a set of rules he follows and he has a certain integrity."
For his next project he is hoping to return to the field of musical biographies and is talking with Aretha Franklin, who was at her peak in the 1960s and early Seventies, about producing and directing a movie based on her life.
"Music defines us in so many ways, and the period when I came of age in the Sixties was a very fertile time. It's when America and society changed and I don’t believe that time period is replicated today.
"Yes, there’s popular music and there are very talented people, but in terms of music really affecting our lives in social ways, I think that time period of the late Fifties, Sixties and Seventies is kind of crucial." | ||||
2661 | dbpedia | 0 | 8 | https://www.commonsensemedia.org/movie-reviews/ray | en | Ray Movie Review | [
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png",
"https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w",
"https://w... | [] | [] | [
""
] | null | [
"Nell Minow"
] | 2005-01-30T00:00:00 | Excellent portrayal of extraordinary musician. Read Common Sense Media's Ray review, age rating, and parents guide. | en | /themes/custom/common_sense/images/favicons/favicon-16x16.png | Common Sense Media | https://www.commonsensemedia.org/movie-reviews/ray | Jamie Foxx creates such a real and vivid person that we almost forget that he is re-enacting someone else's life. The movie's two greatest strengths are Foxx's incendiary and fully-inhabited performance and Charles' peerless music. There are also outstanding supporting performances, including Kerry Washington as Charles' wife Della Bea, Regina King as back-up singer (and mistress) Margie, and Curtis Armstrong as Atlantic records executive Ahmet Ertegun.
But RAY focuses too much on Charles' personal life, and not enough of the process, inspiration, collaboration, or the passion that made the music. It also tries to cover too long a time span, and has too many undeveloped peripheral characters. It over-simplifies the influences and developments in Charles' life and music with too-frequent revelatory flashbacks that tie his reactions and each of his songs to particular revelations and turning points. But there are many moments of great power as Charles says he must be paid in singles so he cannot be cheated and insists on owning his own music instead of letting the studio control it. He breaks through musical barriers that separate R&B from country and societal barriers that allow a black man to perform in segregated venues. And every time he plays and sings, it is pure magic. | ||||
2661 | dbpedia | 1 | 1 | https://www.rogerebert.com/reviews/ray-2004 | en | Ray movie review & film summary (2004) | [
"http://b.scorecardresearch.com/p?c1=2&c2=6324575&cv=2.0&cj=1",
"https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg",
"https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg",
"h... | [] | [] | [
""
] | null | [
"Roger Ebert"
] | null | Ray Charles became blind at age 9, two years after witnessing the drowning death of his little brother. In a memory that haunted his life, he stood nailed to the spot while the little boy drowned absurdly in a bath basin. Why didn't Ray act to save him? For the same reason all 7-year-olds do dumb and strange things: Because they are newly in possession of the skills of life and can be paralyzed by emotional overload. No one seeing the scene in "Ray," Taylor Hackford's considerable new musical biography, would think to blame the boy, but he never forgives himself. | en | /assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png | https://www.rogerebert.com/ | https://www.rogerebert.com/reviews/ray-2004 | If he had already been blind, he could not have blamed himself for the death and would not have carried the lifelong guilt that, the movie argues, contributed to his eventual drug addiction. Would he also then have not been driven to become the consummate artist that he was? Who can say? For that matter, what role did blindness play in his genius? Did it make him so alive to sound that he became a better musician? Certainly he was so attuned to the world around him that he never used a cane or a dog; for Charles blindness was more of an attribute than a handicap.
Jamie Foxx suggests the complexities of Ray Charles in a great, exuberant performance. He doesn't do the singing -- that's all Ray Charles on the soundtrack -- but what would be the point? Ray Charles was deeply involved in the project for years, until his death in June, and the film had access to his recordings, so of course it should use them, because nobody else could sing like Ray Charles.
What Foxx gets just right is the physical Ray Charles, and what an extrovert he was. Not for Ray the hesitant blind man of cliche feeling his way, afraid of the wrong step. In the movie and in life, he was adamantly present in body as well as spirit, filling a room, physically dominant, interlaced with other people. Yes, he was eccentric in his mannerisms, especially at the keyboard; I can imagine a performance in which Ray Charles would come across like a manic clown. But Foxx correctly interprets the musician's body language as a kind of choreography, in which he was conducting his music with himself, instead of with a baton. Foxx so accurately reflects my own images and memories of Charles that I abandoned thoughts of how much "like" Charles he was and just accepted him as Charles, and got on with the story.
The movie places Charles at the center of key movements in postwar music. After an early career in which he seemed to aspire to sound like Nat "King" Cole, he loosened up, found himself, and discovered a fusion between the gospel music of his childhood and the rhythm & blues of his teen years and his first professional gigs. The result was, essentially, the invention of soul music, in early songs like "I Got a Woman."
The movie shows him finding that sound in Seattle, his improbable destination after he leaves his native Georgia. Before and later, it returns for key scenes involving his mother Aretha (Sharon Warren), who taught him not to be intimidated by his blindness, to dream big, to demand the best for himself. She had no education and little money, but insisted that he attend the school for the blind, which set him on his way. He heads for Seattle after hearing about the club scene, but why there and not in New York, Kansas City, Chicago or New Orleans? Certainly his meeting with the Seattle teenager Quincy Jones was one of the crucial events in his life (as was his friendship with the dwarf emcee Oberon, played by Warwick Davis, who turns him on to pot).
The movie follows Charles from his birth in 1930 until 1966, when he finally defeats his heroin addiction and his story grows happier but also perhaps less dramatic. By then he had helped invent gospel, had moved into the mainstream with full orchestration, had moved out of the mainstream into the heresy of country music (then anathema to a black musician) and had, in 1961, by refusing to play a segregated concert in Georgia, driven a nail in the corpse of Jim Crow in the entertainment industry.
In an industry that exploits many performers, he took canny charge of his career, cold-bloodedly leaving his longtime supporters at Atlantic Records to sign with ABC Paramount and gain control of his catalog. (It's worth noting that the white Atlantic owners Ahmet Ertegun and Jerry Wexler are portrayed positively, in a genre that usually shows music execs as bloodsuckers.) Charles also fathered more children than the movie can tell you about, with more women than the movie has time for, and yet found the lifelong love and support of his wife, Della Bea Robinson (Kerry Washington).
The film is two and a half hours long -- not too long for the richness of this story -- but to cover the years between 1966 and his death in 2004 would have required more haste and superficial summary than Hackford and his writer, James L. White, are willing to settle for. When we leave him, Ray is safely on course for his glory years, although there is a brief scene set in 1979 where he receives an official apology from his home state of Georgia over the concert incident, and "Georgia on My Mind" is named as the state song.
Charles' addictions were to drugs and women. He only beat drugs, but "Ray" is perceptive and not unsympathetic in dealing with his roving ways. Of the women we meet, the most important is his wife Della Bea, played by Washington as a paragon of insight, acceptance and a certain resignation; when one of his lovers dies, she asks him, "What about her baby?" "You knew?" says Charles. She knew everything.
His two key affairs are with Ann Fisher (Aunjanue Ellis), a blues singer, and Margie Hendricks (Regina King), a member of his backup group, the Raelettes. Who knows what the reality was, but in the film we get the sense that Charles was honest, after his fashion, about his womanizing, and his women understood him, forgave him, accepted him and were essential to him. Not that he was easy to get along with during the heroin years, and not that they were saints, but that, all in all, whatever it was, it worked. "On the road," says Margie, in a line that says more than it seems to, "I'm Mrs. Ray Charles."
The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special. Yes, there are moments when an incident in Ray's life instantly inspires a song (I doubt "What'd I Say?" translated quite so instantly from life to music). But Taylor Hackford brings quick sympathy to Charles as a performer and a man, and we remember that he directed made "Hail! Hail! Rock and Roll," a great documentary about Chuck Berry, a performer whose onstage and offstage moves more than braced Hackford for this film. Ray Charles was quite a man; this movie not only knows it, but understands it. | ||||
2661 | dbpedia | 0 | 19 | https://movies.fandom.com/wiki/Ray_(film) | en | Ray (film) | https://static.wikia.nocookie.net/filmguide/images/2/2b/Ray_poster.jpg/revision/latest?cb=20160330181145 | https://static.wikia.nocookie.net/filmguide/images/2/2b/Ray_poster.jpg/revision/latest?cb=20160330181145 | [
"https://static.wikia.nocookie.net/filmguide/images/e/e6/Site-logo.png/revision/latest?cb=20230601122650",
"https://static.wikia.nocookie.net/filmguide/images/2/2b/Ray_poster.jpg/revision/latest?cb=20160330181145",
"https://static.wikia.nocookie.net/filmguide/images/3/3a/Flag-icon-us.gif/revision/latest?cb=2012... | [] | [] | [
""
] | null | [
"Contributors to Moviepedia"
] | 2024-07-12T14:06:28+00:00 | Ray (2004) is an independent American musical biographical film chronicling the storied life and career of legendary blues musician Ray Charles. Written, produced and directed by Taylor Hackford, "Ray" stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix... | en | https://static.wikia.nocookie.net/filmguide/images/4/4a/Site-favicon.ico/revision/latest?cb=20230313154015 | Moviepedia | https://movies.fandom.com/wiki/Ray_(film) | Ray (2004) is an independent American musical biographical film chronicling the storied life and career of legendary blues musician Ray Charles. Written, produced and directed by Taylor Hackford, "Ray" stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix, Terrence Howard, Larenz Tate, Richard Schiff, and Regina King.
Charles himself had planned to attend an opening of the completed film, but died of liver disease in June, several months before its premiere.
Plot[]
The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s. The film touches on his brother's drowning death at a young age, and how it haunted him throughout his life, as well as his struggles with drugs, alcohol, racial issues in the civil rights era, and love interests.
Cast[]
Jamie Foxx as Ray Charles
C. J. Sanders as Young Ray Robinson
Sharon Warren as Ray Charles' mother, Aretha Robinson
Kerry Washington as Della Bea Robinson
Regina King as Margie Hendricks
Renee Wilson as Pat Lyle
Larenz Tate as Quincy Jones
Harry Lennix as Joe Adams
Clifton Powell as Jeff Brown
Curtis Armstrong as Ahmet Ertegun
Richard Schiff as Jerry Wexler
Kurt Fuller as Sam Clark
Richard A. Smith as Til
Patrick Bauchau as Dr. Hacker
Terrence Dashon Howard as Gossie McKee
Chris Thomas King as Lowell Fulson
Wendell Pierce as Wilbur Brassfield
Tequan Richmond as Ray Charles, Jr
Bokeem Woodbine as David "Fathead" Newman
Aunjanue Ellis as Mary Ann Fisher
Denise Dowse as Marlene Andres
Warwick Davis as Oberon
David Krumholtz as Milt Shaw
Johnny O'Neal as Art Tatum
Rick Gomez as Tom Dowd
Awards[]
Foxx received an Academy Award for Best Actor for his performance as well as the Golden Globe, BAFTA, Screen Actors Guild and Critics' Choice awards, becoming the second actor to win all five major lead actor awards for the same performance, and the only one to win the Golden Globe in the Musical or Comedy (rather than the Drama) category.
Images[] | ||
2661 | dbpedia | 0 | 81 | http://peacecorpsonline.org/messages/messages/467/2024300.html | en | Bolivia: Movies: Music: Hollywood: Philadelphia Inquirer: Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, mig | [
"http://PeaceCorpsOnline.org/messages/imagefolder/taylorhackford.jpg",
"http://PeaceCorpsOnline.org/messages/imagefolder/228pcolmagazinekerry.jpg",
"http://PeaceCorpsOnline.org/messages/imagefolder/114by228gaddivasquez.jpg",
"http://PeaceCorpsOnline.org/messages/imagefolder/160by228arnoldatconvention.jpg",
... | [] | [] | [
"October 27",
"2004: Headlines: COS - Bolivia: Movies: Music: Hollywood: Philadelphia Inquirer: Director Taylor Hackford (RPCV Bolivia)",
"who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film",
"might have been too close to his subject"
] | null | [] | null | Peace Corps Online | October 27, 2004: Headlines: COS - Bolivia: Movies: Music: Hollywood: Philadelphia Inquirer: Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject | null | October 27, 2004: Headlines: COS - Bolivia: Movies: Music: Hollywood: Philadelphia Inquirer: Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject Peace Corps Online: Directory: Bolivia: Peace Corps Bolivia : The Peace Corps in Bolivia: October 27, 2004: Headlines: COS - Bolivia: Movies: Music: Hollywood: Philadelphia Inquirer: Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject
By Admin1 (admin) (pool-141-157-9-111.balt.east.verizon.net - 141.157.9.111) on Saturday, October 30, 2004 - 12:00 am: Edit Post
Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject
Director Taylor Hackford (RPCV Bolivia), who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject
Ray'
The Philadelphia Inquirer
Jamie Foxx has Ray Charles down.
In "Ray," an otherwise depressingly conventional biopic, the actor brings the singer and musician to blood-pumping, nerve-jangling life. Cocking his head sideways, walking and talking in cadences familiar to anyone who ever saw the man in concert or on television, Foxx is uncanny. It's a performance that goes well beyond mimicry. It's lived-in. It's empathic. It's practically telepathic. The guy who engraves those Oscar statuettes can get a jump on things right now, if he wants to.
So it's a shame about "Ray," because Foxx is trapped in a movie that takes the music icon's unique story and turns it into cheesy, sentimental American Dream cliches.
Director Taylor Hackford, who worked with the jazz/R&B/country/pop star for 15 years in an effort to get his story on film, might have been too close to his subject. Charles' heroin addiction and womanizing aren't downplayed, exactly, but they become genericized. Yeah, he popped needles into his veins and sired a mess of illegitimate children, but that's just life on the road, right?
That's what's so wrong with "Ray" - that Hackford, who produced the similarly templated 1987 Richie Valens biopic, "La Bamba," does nothing writing-wise nor stylistically to bring sophistication and nuance to the telling of the tale.
The amazing plot points of Charles' biography (and they are amazing) get muted by less than extraordinary narrative devices, and less than extraordinary casting. (Those guys playing Atlantic Records music execs Ahmet Ertegun and Jerry Wexler - you've got to be kidding!)
Charles' determination in the face of daunting obstacles was, indeed, awe-inspiring. But it would have been nice to have less awe from the filmmakers.
The performer - who died four months ago at age 73 - was born in poverty, in rural Georgia. He witnessed the freak drowning of his brother and was tortured with guilt because of it. He lost his sight shortly thereafter, when he was 7, and was sent to a state-run school for the blind by a hard-toiling mother (Sharon Warren) who could have written the handbook on tough love.
By 17, he was touring the chitlin circuit as pianist in Lowell Fulson's band, enduring the indignities of racism, learning to fend for himself when it came to money (he insisted on being paid in $1 bills, so he couldn't be cheated) and women. He crosses paths with a scrappy Quincy Jones and comes into his own in the 1950s, thanks to his young wife, Della Bea (Kerry Washington), who urged him to jettison his chameleonlike vocal skills (he could mimic any of the day's hitmakers) and develop his own inimitable sound.
A savvy businessman and a sorry excuse for a parent and spouse, Charles broke down both racial and musical barriers in his decades-spanning, stellar career.
There's something else, apart from Foxx's portrayal, that saves the film from utter mediocrity: the music. Using Charles' original recordings - some familiar, others newly unearthed - "Ray" boasts a glorious songbook of rhythm-and-blues, bop, boogie, jazz, country and pure pop.
It's the soundtrack of a life, quite literally.
___
RAY
2 stars
Produced by Howard Baldwin, Karen Baldwin, Taylor Hackford and Stuart Benjamin, directed by Hackford, written by James L. White, photography by Pawel Edelman, music by Ray Charles and various artists, distributed by Universal Pictures.
Running time: 2 hours, 33 mins.
Ray Charles/Jamie Foxx
Della Bea/Kerry Washington
Margie Hendricks/Regina King
Jeff Brown/Clifton Powell
Parent's guide: PG-13 (profanity, sexual content, drugs, adult themes)
(c) 2004, The Philadelphia Inquirer.
When this story was posted in October 2004, this was on the front page of PCOL:
Kerry reaches out to Returned Volunteers
The Kerry campaign wants the RPCV vote. Read our interview with Dave Magnani, Massachusetts State Senator and Founder of "RPCVs for Kerry," and his answers to our questions about Kerry's plan to triple the size of the Peace Corps, should the next PC Director be an RPCV, and Safety and Security issues. Then read the "RPCVs for Kerry" statement of support and statements by Dr. Robert Pastor, Ambassador Parker Borg, and Paul Oostburg Sanz made at the "RPCVs for Kerry" Press Conference.
RPCV Carl Pope says the key to winning this election is not swaying undecided voters, but persuading those already willing to vote for your candidate to actually go to the polls.
Take our poll and tell us what you are doing to support your candidate.
Finally read our wrap-up of the eight RPCVs in Senate and House races around the country and where the candidates are in their races. Director Gaddi Vasquez: The PCOL Interview
PCOL sits down for an extended interview with Peace Corps Director Gaddi Vasquez. Read the entire interview from start to finish and we promise you will learn something about the Peace Corps you didn't know before.
Plus the debate continues over Safety and Security. Schwarzenegger praises PC at Convention
Governor Schwarzenegger praised the Peace Corps at the Republican National Convention: "We're the America that sends out Peace Corps volunteers to teach village children." Schwarzenegger has previously acknowledged his debt to his father-in-law, Peace Corps Founding Director Sargent Shriver, for teaching him "the joy of public service" and Arnold is encouraging volunteerism by creating California Service Corps and tapping his wife, Maria Shriver, to lead it. Leave your comments and who can come up with the best Current Events Funny? Peace Corps: One of the Best Faces of America
Teresa Heinz Kerry celebrates the Peace Corps Volunteer as one of the best faces America has ever projected in a speech to the Democratic Convention. The National Review disagreed and said that Heinz's celebration of the PCV was "truly offensive." What's your opinion and can you come up with a Political Funny?
Read the stories and leave your comments.
Some postings on Peace Corps Online are provided to the individual members of this group without permission of the copyright owner for the non-profit purposes of criticism, comment, education, scholarship, and research under the "Fair Use" provisions of U.S. Government copyright laws and they may not be distributed further without permission of the copyright owner. Peace Corps Online does not vouch for the accuracy of the content of the postings, which is the sole responsibility of the copyright holder.
Story Source: Philadelphia Inquirer
This story has been posted in the following forums: : Headlines; COS - Bolivia; Movies; Music; Hollywood
PCOL14510
64
. | |||||||
2661 | dbpedia | 3 | 83 | http://www.harrisonengle.com/biography.htm | en | [Signal Hill Entertainment] | [
"http://www.harrisonengle.com/images/HE_Shoots.jpg",
"http://www.harrisonengle.com/images/HE_Shoots_2.jpg",
"http://www.harrisonengle.com/images/HE_Shoots_3.jpg",
"http://www.harrisonengle.com/images/TR_Oath.jpg",
"http://www.harrisonengle.com/images/TR_Speech.jpg",
"http://www.harrisonengle.com/images/HE... | [] | [] | [
""
] | null | [] | null | null | HARRISON ENGLE
DIRECTOR / PRODUCER
BIOGRAPHY
Harrison Engle has always loved the challenges of filmmaking. He has directed and produced more than eighty productions, and filmed in thirty states, Canada, the Caribbean and abroad. Known for his creative vision and versatility, he has sought out quality projects that express his wide-ranging interests. Born in Washington, D.C., Harrison grew up in Detroit, Michigan. His father was an automobile executive and entrepreneur, and his mother instilled in him an appreciation of the arts. Harrison appeared professionally as a young magician and actor on stage, radio and television. Starting with the family 8mm camera, he began making films at 11. He made a variety of films before twenty, including animation, comedies, dramas and documentaries. A performing arts major at famed Cass Technical High School, he graduated in communications from Wayne State University.
Harrison received an MFA in Film from Columbia University. In New York, he directed off-Broadway theater, radio plays such as Lanford Wilsons This is the Rill Speaking, and dramatic shorts. His comedy short, Railroaded, includes the first film score composed by Philip Glass. His dance short, Sun Dance, is in the Dance Film Collection at Lincoln Center. Honing his craft, Engle was a cinematographer for the BBC and editor for CBS network. He worked with documentarian Willard Van Dyke, with wide-screen filmmaker Francis Thompson, and with renowned television producer Robert Saudek (Omnibus).
In Los Angeles in the 80's and 90's, Harrison directed a series of critically acclaimed documentaries and dramatic films. He achieved national success with his feature documentary, The Indomitable Teddy Roosevelt. Premiering on ABC in 1986 in prime time, sponsored by AT&T, the fi lm has uniquely been shown on three networks. Screened at many festivals, it is regarded as a classic for its rousing score and its creative and influential mix of historic footage and artful recreations. Reviewers praised the quality of the directing, writing, editing and archival footage. Extraordinary, moving, magnificent! said Tom Shales, critic for the Washington Post. The two-hour program is a stunner the product of inspired direction by Harrison Engle, said Howard Rosenberg in the Los Angeles Times. The program was named one of the best programs of the year by The New York Times.
Harrisons affinity for music was further seen in his documentary, Benny Carter: Symphony in Riffs, which was named Jazz Movie of the Year by the Los Angeles Times. Engle was also a production executive on the motion picture DA, starring Martin Sheen, which was shot in Ireland and produced by FilmDallas Pictures. He created tributes for seven Academy Awards telecasts, honoring industry legends such as James Stewart, Billy Wilder and George Lucas (narrated by Steven Spielberg.) For the American Film Institute, he supervised the theatrical feature America at the Movies, and co-executive produced three AFI Life Achievement Award Specials on CBS.
In 1998, he directed the historical feature The Legend of Two-Path. The elaborate production has a cast of 40 and was filmed on location at Roanoak Island, North Carolina and at studios in Winston-Salem. Other television documentaries include War and Peace, a look at the great war films narrated by James Woods ("AFI's 100 Years 100 Movies," TNT), Future Flight, about visionary deep space voyages hosted by Christopher Reeve (Discovery), and Pillar of Fire, a two-hour history of the founding of Israel narrated by Jason Robards (TNT).
Harrison Engle is a member of the Directors Guild of America. He is past president of the In ternational Documentary Association, where he founded the IDA Awards, served as publisher of their magazine, Documentary, and chaired the first International Documentary Congress, hosted by Walter Cronkite. He also designed the organizations motion logo. Harrison has served on media arts panels for the National Endowment for the Humanities and the Rockefeller Foundation. He has lectured on film at USC, UCLA, North Carolina School of the Arts and other schools, and written articles for publications such as Film Comment. In 2004-5, he was faculty for the Harold Lloyd Master Seminars at the American Film Institute, which presented such noted filmmakers as Alexander Payne (Sideways), Taylor Hackford (Ray), and Charlie Kaufman (Eternal Sunshine of the Spotless Mind).
Today, Harrison enjoys the process of filmmaking more than ever. I love to find a story that illuminates the human condition, he says, and then to use the most artistic and dramatic ways to put that story on screen. Its a joy to reach and touch an audience. | ||||||||
2661 | dbpedia | 0 | 4 | https://historicalhistrionics.wordpress.com/2011/08/08/ray/ | en | “Ray”: An oversimplified biography (Guest article) | [
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2012/05/cropped-anonymous-banner.jpg",
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2011/08/thats-racist-kid.gif?w=500",
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2011/08/ray-poster.jpg?w=202&h=300",
"http... | [] | [] | [
""
] | null | [] | 2011-08-08T00:00:00 | (Before the article in question starts today, I just want to extend my thanks to the lovely Ashley Hirt for writing the article! If anybody else wants to write a guest article, please let me know. With the said, read the review.) Ray Released: 2004 Starring: Jamie Foxx, Regina King, Kerry Washington Period of history… | en | https://s1.wp.com/i/favicon.ico | Historical Histrionics | https://historicalhistrionics.wordpress.com/2011/08/08/ray/ | (Before the article in question starts today, I just want to extend my thanks to the lovely Ashley Hirt for writing the article! If anybody else wants to write a guest article, please let me know. With the said, read the review.)
Ray
Released: 2004
Starring: Jamie Foxx, Regina King, Kerry Washington
Period of history in focus: 1950s – 1960s America (Birth of Rock & Roll)
A few vital facts about “race music” –
Rhythm & blues, soul, gospel, and jazz were all labels for the music that would become known as rock & roll.
The term “race record” was first used in 1922 and was primarily a marketing term, advertising music to African Americans.
As seen in the film, there was a great deal of resistance to the “secularization” of African American religious music. Ray Charles built his fame in large part by co-opting gospel techniques into his popular music. Today, we think nothing of hearing hymn-based chord progressions in our music. But at the time, this concept was pretty controversial in the black community.
The events in this film were only a decade or two removed from the era when black musicians were not welcome as guests in the sold-out clubs they performed in – and vestiges of this Jim Crow-era racism were still around in the South as late as the 1970s.
The formula for success when tackling racial issues in Hollywood seems to be simple: daring to even make a “controversial” racial film is a radical, searing, bold move and is Oscar-worthy in itself. Movies about the struggles of minorities are typically universally adored because hey, who wants to admit they hated “The Color Purple?”
The only controversy stems from the fact that Hollywood ineptly portrays protagonists of color as either flawed redemption seekers or squeaky-clean paragons of virtue, as if having an anti-hero of color is somehow going to draw accusations of racism.
Hollywood’s black characters are too often one-dimensional.
Because Hollywood holds actual racial dialogue in complete disdain and invests itself instead in clichés, stereotypes, and pandering, the tendency exists in the film industry to trivialize and over-sentimentalize subjects of color.
The most recent example of this is “Ray,” the 2004 biopic of Ray Charles that established Jamie Foxx as a legitimate acting/musical threat and triggered a wave of films depicting the titans of black popular music (“Dreamgirls,” also starring Foxx, and “Cadillac Records” followed in 2006 and 2008, respectively). This is the music that triggered radical social change and, in some cases, racial turmoil. Taylor Hackford, the director of “Ray,” focuses his film not on Charles’ tremendous trail-blazing musical accomplishments but instead invests substantial screen time in the schmaltz of Charles’ various family tragedies and struggles with heroin addiction. This, predictably, concludes with Ray conquering his demons and assuming his rightful place in musical legend as a result. The truth is slipperier than that.
At the beginning of the film, Hackford focuses on Ray’s relationship with his mother. Aretha Robinson is portrayed as a tough-loving, hard-working sharecropper and the sole nurturer of Ray’s tenacious streak. According to Ray’s biography, however, another woman guided his early years. The ex-wife of his absent father, Mary Jane was the softness to Aretha’s toughness, the nurturer foil to Aretha’s tough-love approach. Ray’s stubborn sense of independence was surely derived from his biological mother, but his pleasure-seeking instincts were a result of Mary Jane’s indulgence. Aretha made certain to keep Ray dependent only on himself, assigning him daily chores to perform even as he lost his sight. These two women contributed the traits that made Ray Charles such a complex human being. Hackford never deigns to acknowledge this dichotomy of parenting or the effect it had on Charles’ psyche.
Instead, Hackford depicts Ray’s love of drink, women, and heroin as a numbing agent for the loss of his younger brother George. While George’s death was a significant trauma, Ray never really suffered immense grief until the loss of his mother while he was away at a school for the blind. “The death of my mother Aretha, that had me reeling. For days I couldn’t talk, think, sleep or eat. I was sure enough going crazy,” he told David Ritz. This disconnect from his support system was a defining moment in Ray’s life.
Ray was fortunate to attend an incredible institution, the Florida School for the Deaf and Blind, where he channeled his talent and grief into a formidable musical education. Here, he excelled at playing Chopin and Mozart and developed skill on the clarinet; it was here that he learned a critical trait for his future success: arranging. He was steeped in a classical style and became proficient at classical theory, a skill that he would creatively develop with infusions of gospel and soul.
Hackford’s film, instead of mentioning any of this character-building background, focuses on an odd subplot where Ray hangs out with Quincy Jones and later fires his first manager for skimming his money. Far be it for me to criticize the creative decisions of a Hollywood director (snort), but it seems to me that there is a fascinating subtext to Ray’s story that already exists. Why fabricate a schmaltzy redemption tale centered around Ray’s brother, when the true details of his youth are far more interesting?
Ray’s early years are dramatically depicted as a gradual swan dive into heroin addiction and conflicts with equally strung-out band members. This is not a “Trainspotting”-esque portrayal of heroin addiction; Ray’s life of drugs is surrounded by velvet pillows and women, not Exorcist babies.
The film doesn’t exactly portray Ray’s cadre of women in a positive light either; his female backup singers are just sassy, slutty window dressing. In fact, most of Ray’s associates and sidemen are given a less-than-accurate depiction, but hey, the movie’s about Ray, right?
You’re stereotypes, bitches – this is storytelling!
Perhaps the most egregious offense made by the film is the faux racial tension it fabricates – why make up racial issues when the truth was definitely worse than fiction? The scene where Charles arrives at a Georgia performance venue and is met by protestors is pure fiction. In reality, Charles received word from a group of black students about the promoter’s policies, and he never traveled to Georgia, preferring to simply cancel the appearance. The assertion that he was “banned” from performing in Georgia is also a complete fabrication. The promoter did sue Charles, but the idea that he was somehow banned from the state for making a racial stand is absurd. Why would the state of Georgia choose Charles’ hit “Georgia On My Mind” as its STATE SONG if the man was persona non grata in the state?
This is just sloppy writing, but it’s typical of the Hollywood attitude toward race relations – things were certainly bad, but it’s simply insulting to make up events of discrimination. In “Dreamgirls” a record producer, also played by Jamie Foxx, engages in the practice of payola to get his girls on the radio. Payola was the act of pay-for-play – disc jockeys held considerable power in the era before corporate radio, and producers of “race records” were known to slip a few bills under the table to get a record in rotation. In “Dreamgirls,” this action by Foxx’s character is what eventually causes his downfall, and the film treats this revelation as sweet redemption for the victims of the producer’s underhanded tactics. They sure showed him!
What that film neglects to mention is that payola was common practice at all levels of music, including plenty of white artists. Payola was only pursued as a crime after it was revealed that black artists were resorting to bribes to hear their music on the radio. Low-level bureaucrats were sufficiently outraged enough to make a federal case out of payola, and those disc jockeys that pocketed money for spinning “race records” were censured and humiliated. DJ Alan Freed was a vocal supporter of African American music, and was the most notable casualty of this sudden disdain for music industry bribery.
A common music business practice only became taboo when African American artists used it to disseminate their art into the mainstream. Stay classy, America.
Much of the latter half of “Ray” is devoted to Ray’s struggle to kick heroin. If the film is to be believed, Ray quit the habit and was forever a squeaky-clean musician who sprouted wings and a halo for the last decades of his life. He is also portrayed as settling down and remaining steadfastly faithful to his wife.
Ray Charles was a complex man, a bit of an anti-hero. He was disgustingly talented, but self-destructive. He was a loving man, but a womanizer. The film desperately scrambles to resolve all of the threads of tension it spins, putting a bow on the story of an American icon. Everyone leaves happy, Ray is suitably redeemed, and Hollywood gets their stock happy ending.
You know where I’m going with this. Complex characters don’t magically become boring and upright.
Heroin was no longer a part of his life, but Ray spent the rest of his days drowning in gin, and smoked kilos of marijuana every day. As David Ritz writes, “he was hardly a spokesman for sobriety.”
Ray Charles was certainly a vital component of the development of American rock & roll. He mixed jazz, gospel, and blues styles into a highly original and unique concoction that hasn’t been successfully imitated. He was also a tenacious, complicated man, fighting against his own handicaps and racial undercurrents to find success in the bare-knuckled brawl that is the music industry.
It’s just puzzling that Hollywood would choose to reduce such an individual to a neat, box-office-friendly package, rather than depict the true complexities of Ray’s character. Instead, this film positively DRIPS with schmaltz and sentimentality. Ray Charles was many things, but sentimental was not one of them. Jamie Foxx’s portrayal rightfully earned great respect, as Foxx managed to capture the dichotomies of the man with aplomb. Imagine if the writers had been brave enough to give him some real material!
Of the film about his life, Ray said: “Hollywood is a cold-blooded motherfucker. It’s easier to bone the President’s wife than to get a movie made. So I say God bless these cats… And now that it’s happening, maybe I’ll have a better chance of being remembered. I can’t ask for anything more.”
Doesn’t really sound like a sentimental man. Too bad that’s what we got.
Sources:
David Ritz, “It’s a Shame about Ray.” Slate Magazine – http://www.slate.com/Default.aspx?id=2108507
Grove Music Online, “Ray Charles.” This site is subscriber-only, but is the go-to music encyclopedia.
Guthrie P. Ramsey, “Race Music.” Terrific book about the birth of black music and rock & roll.
Katherine Charlton, “Rock Music Styles: A History.” Good overview text of all styles of rock music.
IMDB, Ray. http://www.imdb.com/title/tt0350258/
NEXT WEEK:
Expect an update on “The Last Samurai” starring Tom Cruise. I am planning on watching the film on Wednesday or Thursday (you can find updates about this at my Twitter feed at the right side of the blog or at @hhistrionics) and posting soon after. | ||||
2661 | dbpedia | 0 | 54 | https://txst.locate.ebsco.com/instances/0e1fddf9-4359-5ddc-9c96-61ee6ba74e27%3Foption%3Dsubject%26query%3DSingers--Drama%26sort%3D-publicationYear | en | EBSCO Locate | https://txst.locate.ebsco.com/favicon.ico | https://txst.locate.ebsco.com/favicon.ico | [] | [] | [] | [
""
] | null | [] | null | EBSCO Locate | en | /favicon.ico | null | ||||
2661 | dbpedia | 3 | 17 | https://www.geni.com/people/Taylor-Hackford/6000000009129214467 | en | Taylor Hackford | [
"https://www.geni.com/images/rotating_world.gif?1722953652",
"https://www.geni.com/images/transparent.gif?1722953652",
"https://www.geni.com/images/transparent.gif?1722953652",
"https://www.geni.com/images/transparent.gif?1722953652",
"https://www.geni.com/images/transparent.gif?1722953652",
"https://www.... | [] | [] | [
"family tree",
"genealogy",
"trace your ancestry",
"family tree maker",
"family tree search",
"family tree charts",
"family statistics",
"ancestors",
"research"
] | null | [] | 2020-01-05T18:35:35-08:00 | Genealogy for Taylor Hackford family tree on Geni, with over 260 million profiles of ancestors and living relatives. | en | /touch-icon-iphone.png | geni_family_tree | https://www.geni.com/people/Taylor-Hackford/6000000009129214467 | http://en.wikipedia.org/wiki/Taylor_Hackford
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Personal life:
Hackford has been married to Academy Award-winning actress Helen Mirren since 1997. Hackford met Mirren when he was directing her in White Nights although their first meeting did not go well. He kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn’t hold back her fury." Hackford and Mirren wed in 1997 after 12 years together. As a young woman Mirren had vowed never to marry.
Hackford has two grown children from his two previous marriages.
Filmography:
Director and producer -
* Bukowski—1973
* Against All Odds—1984
* White Nights—1985
* Everybody's All-American—1988
* Dolores Claiborne—1995
* Devil's Advocate—1997 (executive producer)
* Proof of Life—2000
* Ray—2004
* Love Ranch—2010
Director -
* Teenage Father—1978
* The Idolmaker —1980
* An Officer and a Gentleman—1982
* Chuck Berry Hail! Hail! Rock 'n' Roll—1987
* Blood In Blood Out—1993
* Smooth Criminal: The Michael Jackson Story—2007
Producer -
* La Bamba—1987
* The Long Walk Home—1990 (executive producer)
* When We Were Kings—1996
* G:MT - Greenwich Mean Time—1999
Actor -
* Bukowski: Born into This—Himself (2003)
Awards:
Hackford received an Academy Award for Live Action Short Film for Teenage Father in 1979. He received two Oscar nominations in 2004 for the Ray Charles biopic Ray. He was awarded the 2005 Film Society Award for Lifetime Achievement in Directing. | ||||
2661 | dbpedia | 0 | 15 | https://www.latimes.com/archives/la-xpm-2004-nov-03-et-ray3-story.html | en | The soul of ‘Ray’ | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | [
"https://ca-times.brightspotcdn.com/dims4/default/01b129d/2147483647/strip/true/crop/3190x2133+5+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F90%2Fc0%2F9974db2a4a32afa2f5d02082df72%2Fthe-greatest-showman-14.JPG 320w,https://ca-times.brightspotcdn.com/dims4/default/5... | [] | [] | [
""
] | null | [
"Patrick Goldstein"
] | 2004-11-03T00:00:00 | Capturing the spirit, if not each event, of the late musical legend's amazing life. | en | /apple-touch-icon.png | Los Angeles Times | https://www.latimes.com/archives/la-xpm-2004-nov-03-et-ray3-story.html | Taylor HACKFORD, like many others, has no trouble remembering the first time he met Ray Charles. It was 1987, not long after Hackford had directed “Hail! Hail! Rock ‘n’ Roll,” a documentary about Chuck Berry, and produced “La Bamba,” a widely praised biopic about teen idol Ritchie Valens. For Charles, ever vigilant about protecting his artistry, Hackford was one of the few filmmakers with enough credibility to earn an audience with the iconic star whose groundbreaking 50-plus year career hurdled nearly every barrier in pop music.
When Charles’ son, Ray Jr., approached Hackford about doing a film on his father, the director hurried down to Charles’ RPM Studios to meet the man whose music he’d admired since he heard “I’ve Got a Woman” back in the fifth grade. Hackford sat patiently in Charles’ office until Ray strode up to him, stuck out his hand and said, “Hey, Taylor, I heard lots about you -- put some skin in the pocket.”
During the meeting, Charles glided across the room, keeping up a constant patter, never reaching out to guide himself past a table or chair. “Ray was walking around like it was nothing,” Hackford recalls. “He said, ‘Did you see those Lakers on TV last night? Man, they were in trouble till Magic made that last shot. No one could guard him.’ And I’m thinking, ‘This must be a complete hoax. This guy can see!’ ”
When it comes to compelling lives, it’s hard to top the heroic odyssey of this blind man from the Deep South who emerged as one of modern music’s most influential artists before dying this June at 73. Born into poverty in rural Georgia in 1930, Charles lost his sight at 6 and was orphaned at 15, but before his mother died, she told him, “You will never hold a tin cup and beg.” Fiercely independent ever after, Charles not only became a star, but refused to be confined to the R&B; ghetto. Once Hackford heard Charles’ whole story he thought to himself -- who wouldn’t want to make a movie out of that life?
Seventeen years later, after Hackford finally got the film made, “Ray” is blazing like a comet, buoyed by stellar reviews, box-office success and a tidal wave of best actor Oscar buzz for Jamie Foxx’s incandescent portrayal of the singer. But when Hackford pitched the story of the indomitable Charles, he was turned down everywhere. After years of research and abortive attempts to complete the project, Hackford finally ended up in 2002 with a finished script written by James L. White, who’d worked on several unproduced biopics. The only person who took an interest in the project was Philip Anschutz, the Denver-based real estate and media tycoon who agreed to co-finance the film with a studio partner. Hackford took the project out to all the major studios, with Foxx attached to star. Everyone, including Warners, Sony, Fox and Paramount, took a pass, even with Anschutz’s investment.
According to Hackford, the studios thought the project, eventually made for $40 million, involved too much risk and expense. The executives were concerned about backing what was essentially a period African American film; too black, they said, to appeal to white audiences, too old-fashioned to appeal to the young hip-hop crowd. Black films don’t travel, they told him, so no one could count on any overseas income either.
Hackford went back to Anschutz, who agreed to finance the entire film and find a distributor afterward. “Phil really loved Ray Charles,” Hackford says. “He was touched by his music. He’s a moral conservative and I’m an old-fashioned liberal, but when it came to Ray and what he meant to us, we felt exactly the same way.”
Anschutz isn’t just a moral conservative. He’s Hollywood’s leading moral conservative, known in Variety-ese as a “faith-based billionaire.” An evangelical Presbyterian who has backed a number of conservative causes and politicians, including Colorado senatorial aspirant Pete Coors, Anschutz has established several production companies that have invested heavily in a variety of family-friendly films, most notably this year’s Jackie Chan flop, “Around the World in 80 Days.”
It’s impossible not to wonder why a devout family-values advocate would bankroll a movie about an inveterate womanizer who endured years of heroin addiction, swore like a sailor and earned his stardom with a string of sex-drenched R&B; hits, notably “I’ve Got a Woman” and “What’d I Say.” Alas, Anschutz isn’t talking; the press-shy financier, who hasn’t given a formal interview since 1976, wouldn’t comment. Hackford says Anschutz had one nonnegotiable precondition -- the film had to have a PG-13 rating, which precluded the kind of salty language that Hackford, a lifelong music connoisseur, assumed was commonplace among R&B; musicians of the time.
“It was a big issue with us,” says Hackford, who began his career in the late 1960s producing blues concerts and documentaries at KCET. Music remains close to his heart. When we first had lunch, Hackford arrived with the new biography of Howlin’ Wolf under his arm. He lives part-time in America’s most music-friendly city, New Orleans, where last year he filmed most of “Ray.” Hackford says he and Anschutz had such bitter fights over the PG-13 dictum that he twice walked off the project. “I basically told him, ‘If you want to sugarcoat this, put it on TV on some religious channel.’ But if it’s a real movie, it has to tell the truth. When it comes to Ray’s life, I thought it deserved an R, maybe even an X.”
But when the director shared his concerns, he got a surprising response. “Ray said, ‘Man, don’t listen to me now. Listen to me back then. I didn’t use [swear words] in the ‘50s.’ ” The film’s screenwriter, White, an African American who grew up in the South, concurred. “When Mr. Charles came up, black men didn’t curse a lot, especially not in public. Black men had to make themselves look presentable -- even if they were a janitor, they’d put on a three-piece suit to walk to work. So they were careful about how they talked.”
Hackford finally relented on the language issue. But to get a PG-13 he still had to fight with the MPAA, which normally gives an R to films that portray drug use. Hackford beseeched the ratings board to make an exception for “Ray.” “If this were a fictional film, they wouldn’t have allowed it,” he says. “But this movie is about an artist whose addiction could destroy everything he created. I told them if they were ever going to encourage people to make a choice in their lives, why not show someone who made the right choice, who chose their art, not self-destruction?”
The movie business has long had an insatiable appetite for films about artists and their struggles, be it with their muse, their demons or their lovers. It’s a wide net, as filmmakers tend to envision virtually everyone as a tormented artist, from boxers like Jake La Motta to mathematicians like John Forbes Nash. Each year at Oscar time we get a hefty dose of dramas about artists and their discontents. A roster of recent entries includes “The Hours,” “The Pianist,” “Frida” and “A Beautiful Mind,” as well as “Sylvia,” “De-Lovely,” “8 Mile” and “Adaptation.”
What distinguishes “Ray” from most biopics is that it doesn’t powder its artist-hero in fairy dust or sanitize him with saintly cliches, as happens all too often in films about African Americans. The movie grapples with a difficult psychological truth -- that the same stubborn fury that fueled Charles’ survival instincts and insatiable drive as a musician also cut him off from friends and lovers, leaving him emotionally remote and a prisoner to his self-destructive appetites. As Owen Gleiberman put it in Entertainment Weekly, “Ray’s tragic flaw is the flip side of his most admirable quality: As a musician and a man, he’s wired not to compromise his will.”
“Ray” also takes pains to show how Charles’ art intersected with the politics of his time. One of the film’s most telling scenes portrays a reunion between Charles and Quincy Jones (played by Larenz Tate) at the 1961 Newport Jazz Festival. By then, Quincy had been living in Paris, where black music was appreciated as art, not disposable jukebox fare. When he hears Ray is going off to play one-nighters across the South, Quincy says, with thinly veiled contempt: “Down South? Man, I can’t do that no more. A black man’s a ‘boy’ in Mississippi, even if he’s 80 years old.” Ray airily dismisses Quincy’s concerns. But within a few years it is Charles who refuses to perform at a concert in Georgia because the audience inside is segregated.
The exchange offers an intriguing insight into the elastic art of biopic storytelling. Quincy Jones never met up with Charles at Newport, though the topic was discussed elsewhere. The film uses similar license in a scene where Atlantic Records founder Ahmet Ertegun shares his concern with Charles over the musician’s heroin habit. It didn’t take place at all; it was based on a conversation Ertegun had with Eric Clapton when the guitarist recorded for Atlantic in the early 1970s.
David Ritz, who collaborated with Charles on his autobiography, “Brother Ray,” recently wrote a piece in Slate complaining about the film’s omissions, saying it ignores the jazz side of Charles’ makeup, his post-heroin drinking and the death of Charles’ mother, which Ritz calls “the crucial heartbreak of his early life.” Virtually every biopic endures similar criticism -- let’s call it the “Rosencrantz and Guildenstern” school of grievances -- usually from people who see the movie’s subject only from their particular vantage point.
“What Ritz is essentially saying is, ‘I’m the only one who really knows Ray Charles,’ ” Hackford says. “What did he want -- a 14-hour movie? There are times when you have to take dramatic license. You can’t just get the facts right, you have to be true to the emotions too.”
Jones, a lifelong friend who was 14 when he first met Charles, confirms that the Newport Fest conversation is true to life. “We talked about that stuff all the time,” he explains. Playing the Chitlin Circuit, as it was known in the South in that era, black musicians had to endure all sorts of indignities. One night, when the black hotels were all full, Jones says he and singer Little Jimmy Scott slept in a funeral parlor next to a row of corpses.
“It wasn’t that much different in Las Vegas even in the late ‘60s,” Jones says. “Sammy Davis Jr. and Lena Horne would work the main rooms in Vegas, but they couldn’t even go into the casinos. In Europe, the first time you got off a boat or a plane, it was different. They valued our music. In America, they figured if the music was played by a black man in a bordello, it couldn’t be worth very much, could it?”
In retrospect, it seems inevitable that Charles’ ability to break boundaries as an artist would lead him to confront the even more rigid barriers of race in society. As Jones says, “Ray was a sightless man with more vision than anyone could imagine.” In an era when the civil rights movement was fighting segregation in American society, Charles was in the vanguard of integrating American music. And while the history books credit political figures as the driving force in societal change, who’s to say that Charles’ ability to touch the soul of white pop and country fans didn’t have just as much impact on societal prejudice?
“The things Ray Charles did to change American culture were just as important as any sit-ins or demonstrations in the civil rights movement,” Hackford says. “When he first got on that bus in Georgia and went to Seattle to launch his career, it was like Lenin getting into a sealed boxcar and going to Russia to foment revolution. When Ray started, there was no black music on the top of the charts. But once white teenagers started listening to black music in their rooms, how could they continue to believe that black people were inferior ever again?”
It’s a message that continues to resonate today. After Hackford completed “Ray,” he took the film to Kansas City for a research screening before a racially mixed audience. The test scores were so phenomenal that nobody believed them. “The studio people thought we must’ve cooked the books,” he says. Finally, Hackford’s agent persuaded Universal president Ron Meyer to see the film, knowing Meyer used to hitchhike to the Hollywood Palladium as a teenager to watch Charles perform. Unlike the other studios’ executives, who had private screenings, the Universal top brass saw the movie in Marina del Rey with a boisterous audience. The scores were just as good -- in fact, the audience rating for Jamie Foxx’s performance was higher than any numbers in the studio’s database. Universal agreed to distribute the film.
“People always talk about how much we’re divided as a country,” says Marc Shmuger, Universal Pictures vice-chairman. “But what you got from this film was a sense of healing.”
Ray Charles’ message was his music, which turned out to be just as liberating as any inspirational speech or well-meaning legislation. By the time of his death, that message had spread the gospel far and wide. Screenwriter White remembers the first time he talked with Della Bea Robinson, Charles’ ex-wife, about the complexities of their relationship. Pointing to the door leading into her room, she offered a simple parable. “On this side of the door Ray belonged to me,” she said. “And on that side of door, Ray belonged to the world.” | ||
2661 | dbpedia | 2 | 6 | https://www.britannica.com/biography/Ray-Romano | en | Ray Romano | Biography, TV Shows, Movies, & Facts | [
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/02/167702-004-C61F87A4/Ray-Romano-2009.jpg",
"https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-sta... | [] | [] | [
"Ray Romano",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null | [
"The Editors of Encyclopaedia Britannica"
] | 2007-10-04T00:00:00+00:00 | Ray Romano, American comedian and actor best known for starring in the television series Everybody Loves Raymond (1996–2005). His film career included the surprise hit The Big Sick (2017) and voice work for the popular animated feature Ice Age (2002) and its sequels. Read more about Romano’s life and career. | en | /favicon.png | Encyclopedia Britannica | https://www.britannica.com/biography/Ray-Romano | Ray Romano (born December 21, 1957, Queens, New York, U.S.) is an American comedian and actor perhaps best known as the bumbling well-intentioned father in the television show Everybody Loves Raymond (1996–2005), a witty and insightful portrayal of the quotidian travails of family life.
Romano’s upbringing in the middle-class Forest Hills section of Queens, New York, would later prove a rich mine for the wholesome family-friendly humour that became the comedian’s trademark. In the early 1980s, while studying to be an accountant and holding down a series of part-time jobs, Romano began performing stand-up comedy in New York clubs. In 1987 he decided to pursue stand-up as a career. Winning a citywide comedy contest in 1989 brought him valuable exposure, and in 1990 Romano made his first national television appearance on MTV’s Half-Hour Comedy Hour.
Britannica Quiz
Pop Culture Quiz
It was an appearance on the Late Show with David Letterman in 1995, however, that marked a turning point for Romano. Letterman was so impressed with his guest that he had his production company, Worldwide Pants Inc., develop a situation comedy around Romano’s humour. The first episode of Everybody Loves Raymond aired on September 13, 1996, and by the following year it was consistently among the most-watched shows on American television. The sitcom was frequently nominated for an Emmy Award for outstanding comedy series and won the honour in 2003 and 2005. For his role, Romano received the 2002 Emmy for best actor in a comedy series. After nine seasons, Everybody Loves Raymond ended its run in 2005. Romano later starred in the series Men of a Certain Age (2009–11), about a trio of male friends facing the challenges of middle age. Romano joined the cast of the television dramedy Parenthood in 2012 and continued with the series until it ended in 2015.
In the early 21st century Romano extended his humour to roles in film, beginning with the voice of Manfred, a woolly mammoth who helps return a human baby to its father, in the animated feature Ice Age (2002); he reprised the character in four sequels (2006, 2009, 2012, and 2016). In the dark comedy Eulogy (2004) he was cast as the maladjusted eldest son mourning the death of the family patriarch. That year he also appeared in Welcome to Mooseport, about a small-town political race, starring with Gene Hackman. Romano played a tabloid reporter in the dark comedy Rob the Mob (2014). His other film credits included The Big Sick (2017).
Romano returned to television as a record promoter in HBO’s short-lived Vinyl (2016), about the 1970s music scene in New York City, and then as a washed-up movie producer in Get Shorty (2017– ). His first comedy special in over two decades, Ray Romano: Right Here, Around the Corner, premiered on Netflix in 2019. That same year Romano was cast in the movie Paddleton, playing a bachelor whose similarly unmarried friend is diagnosed with a terminal illness, and he played an attorney in Martin Scorsese’s mob drama The Irishman. | ||||
2661 | dbpedia | 1 | 6 | https://www.britannica.com/biography/Ray-Romano | en | Ray Romano | Biography, TV Shows, Movies, & Facts | [
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/02/167702-004-C61F87A4/Ray-Romano-2009.jpg",
"https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-sta... | [] | [] | [
"Ray Romano",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null | [
"The Editors of Encyclopaedia Britannica"
] | 2007-10-04T00:00:00+00:00 | Ray Romano, American comedian and actor best known for starring in the television series Everybody Loves Raymond (1996–2005). His film career included the surprise hit The Big Sick (2017) and voice work for the popular animated feature Ice Age (2002) and its sequels. Read more about Romano’s life and career. | en | /favicon.png | Encyclopedia Britannica | https://www.britannica.com/biography/Ray-Romano | Ray Romano (born December 21, 1957, Queens, New York, U.S.) is an American comedian and actor perhaps best known as the bumbling well-intentioned father in the television show Everybody Loves Raymond (1996–2005), a witty and insightful portrayal of the quotidian travails of family life.
Romano’s upbringing in the middle-class Forest Hills section of Queens, New York, would later prove a rich mine for the wholesome family-friendly humour that became the comedian’s trademark. In the early 1980s, while studying to be an accountant and holding down a series of part-time jobs, Romano began performing stand-up comedy in New York clubs. In 1987 he decided to pursue stand-up as a career. Winning a citywide comedy contest in 1989 brought him valuable exposure, and in 1990 Romano made his first national television appearance on MTV’s Half-Hour Comedy Hour.
Britannica Quiz
Pop Culture Quiz
It was an appearance on the Late Show with David Letterman in 1995, however, that marked a turning point for Romano. Letterman was so impressed with his guest that he had his production company, Worldwide Pants Inc., develop a situation comedy around Romano’s humour. The first episode of Everybody Loves Raymond aired on September 13, 1996, and by the following year it was consistently among the most-watched shows on American television. The sitcom was frequently nominated for an Emmy Award for outstanding comedy series and won the honour in 2003 and 2005. For his role, Romano received the 2002 Emmy for best actor in a comedy series. After nine seasons, Everybody Loves Raymond ended its run in 2005. Romano later starred in the series Men of a Certain Age (2009–11), about a trio of male friends facing the challenges of middle age. Romano joined the cast of the television dramedy Parenthood in 2012 and continued with the series until it ended in 2015.
In the early 21st century Romano extended his humour to roles in film, beginning with the voice of Manfred, a woolly mammoth who helps return a human baby to its father, in the animated feature Ice Age (2002); he reprised the character in four sequels (2006, 2009, 2012, and 2016). In the dark comedy Eulogy (2004) he was cast as the maladjusted eldest son mourning the death of the family patriarch. That year he also appeared in Welcome to Mooseport, about a small-town political race, starring with Gene Hackman. Romano played a tabloid reporter in the dark comedy Rob the Mob (2014). His other film credits included The Big Sick (2017).
Romano returned to television as a record promoter in HBO’s short-lived Vinyl (2016), about the 1970s music scene in New York City, and then as a washed-up movie producer in Get Shorty (2017– ). His first comedy special in over two decades, Ray Romano: Right Here, Around the Corner, premiered on Netflix in 2019. That same year Romano was cast in the movie Paddleton, playing a bachelor whose similarly unmarried friend is diagnosed with a terminal illness, and he played an attorney in Martin Scorsese’s mob drama The Irishman. | ||||
2661 | dbpedia | 2 | 11 | https://dsq-sds.org/index.php/dsq/article/view/591/768 | en | Disability Studies Quarterly | [
"https://dsq-sds.org/public/journals/1/pageHeaderLogoImage_en_US.jpg",
"https://dsq-sds.org/templates/images/ojs_brand.png"
] | [] | [] | [
""
] | null | [] | null | en | null | That Ray Charles Robinson, as portrayed in Ray, was a musical genius is never in question. Yet his greater genius rests in overcoming society's and his own psychological handicapping impediments. Born to an unwed, uneducated mother, Ray survived hardscrabble 1940s southern poverty. Due to his mother's insistence that her illiteracy and social status would not condemn them to subservience, Ray was toughened for the struggles ahead.
The film illustrates five formative childhood events. First, Ray witnesses his mother confronting an unethical employer, who summarily fires Ms. Robinson. As they march home barefooted on a dusty, rut-filled road, Ray's mother says, "Scratch a lie, catch a thief," a truism Ray remembers later when he dismisses a manager for embezzling his earnings. Second, Ray's mother admonishes him, "Don't never let no one take advantage of you cuz you don't got no education." Later we see Ray attending school due to his mother's determination to help him escape her plight.
A third incident haunting Ray for decades was the tragic drowning of his younger brother. The disturbing image of small hands and feet flailing against the water's death grip appears to Ray again and again. Without being explicit, the film implies that Ray's handicapping drug abuse emanates from his psychological distress over having done nothing to save Georgie.
A fourth brief but important vignette shows Ray being mentored by a backstreet long-fingered black musician composing the blues. From him, Ray first learns how to coax improvised riffs from the piano that will become part of his musical repertoire.
The final telling childhood episode, for which Ray is best known, depicts his insidious, undiagnosed loss of vision, leaving him able to see only faint shadows. Again, his frail but feisty mother imbues him with the will to surmount this obstacle: "You promise me, Ray, don't let nobody ever make you no cripple." Bravely sending her sole surviving son away to a school for the blind, Ray's mother helps him succeed in a handicapping, often heartless world insensitive to "cripples."
As a young man, Ray makes his debut at a mediocre club in Los Angeles run by a monetarily and sexually voracious woman who insists on becoming Ray's manager. The film follows Ray's bus tours with a group to play in small "colored only" dives. These endless, meaningless gigs with musicians already addicted to drug-induced euphoria, coupled with Ray's terrifying flashbacks of Georgie's drowning, lead Ray to start using heroin. Despite marrying the love of his life and shrewdly negotiating record deals "better than Sinatra," Ray continues his drug-addicted decline. According to the movie, in fact, more than suffering racial discrimination, more than people's attempts to exploit him because he was blind, the most handicapping experience of Ray's life was self imposed: the seduction of the needle.
Ray is to be applauded for his (albeit belated) challenge to "whites only" southern concerts. One day in Atlanta, as he is escorted past black protesters not allowed to buy tickets to his performance, Ray recognizes that by going along with apartheid, he was contributing to it. Never again playing for whites-only venues, Ray helps dismantle an ingrained, handicapping Jim Crow system and advances the struggle to achieve equality.
Finally, too, and as reluctantly, Ray confronts his drug abuse and, in brief but grim scenes, fights the demons cold turkey. The biopic implies that only by receiving absolution for Georgie's death from a psychiatrist is Ray finally able to beat his worst disability: drug addiction.
While musically enthralling, the movie Ray, like the man himself, is nonetheless seriously flawed. Ray, the man, was a womanizer, a drug user, and more fueled by ambition than loyalty to friends. Ray, the movie, Hollywoodizes the story. While conceding many of its subject's shortcomings, the film focuses far more on rationalizing Ray's actions rather than fully acknowledging that Ray's controlling and sometimes cruel behaviors were choices he made to achieve his goals. The movie reduces the countless mistresses--and sometimes fathered children--left behind in his wake down to two. In both cases, the women are portrayed as seductresses hoping to barter Ray's fame into careers of their own.
Perhaps the worst criticism for the film, however, is the sudden and abrupt condensation of the last half of Ray's life into a two-minute voice over with words on the screen heralding Ray's nonstop performances without the crutch of drugs until his death. As a gerontologist, this reviewer reproves such a clumsy ending that reinforces the belief that aging is such a serious handicapping condition, it is unworthy even of film time.
Despite these criticisms, Ray stands as a tribute to a man who prevailed in spite of vision loss, racism, and drug addiction in the meanest of mean streets, the music industry. For that, the soundtrack, and Jamie Foxx's Academy-Awarded portrayal, the film is worth a look. | |||||||
2661 | dbpedia | 0 | 73 | https://www.srumosaic.com/ladies-and-gentleman-this-is-ray-charles/ | en | Ladies and Gentleman: This is Ray Charles – Mosaic | [
"http://www.srumosaic.com/wp-content/uploads/2012/10/mosaic-new-site-header-12-e1649436186361.png",
"https://www.srumosaic.com/wp-content/uploads/2024/04/Chondrus_crispus_-_Kohler–s_Medizinal-Pflanzen-034-230x150.jpg",
"https://www.srumosaic.com/wp-content/uploads/2023/12/markus-winkler-H8SQHzxVk-A-unsplash-230... | [] | [] | [
""
] | null | [] | null | en | https://www.srumosaic.com/ladies-and-gentleman-this-is-ray-charles/ | ||||||||
2661 | dbpedia | 3 | 26 | https://www.empireonline.com/people/taylor-hackford/ | en | Taylor Hackford News & Biography | [
"https://images.bauerhosting.com/legacy/media/6137/a6e4/0941/bec9/c3f7/c48c/freeman-pacino-mirren-devito.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=256&q=80 256w, https://images.bauerhosting.com/legacy/media/6137/a6e4/0941/bec9/c3f7/c48c/freeman-pacino-mirren-devito.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=... | [] | [] | [
""
] | null | [] | 1944-12-31T00:00:00 | Find out everything Empire knows about Taylor Hackford. Discover the latest Taylor Hackford news. | en | /assets/empire/favicon.ico | https://www.empireonline.com/people/taylor-hackford/ | ||||||
2661 | dbpedia | 0 | 24 | https://www.dallasobserver.com/film/messed-around-6383358 | en | Messed Around | [
"https://ib.adnxs.com/pixie?pi=4b2c427d-c0be-4a9e-953e-5be02128779f&e=PageView&script=0",
"https://secure.adnxs.com/seg?add=33064615&t=2",
"https://www.dallasobserver.com/images/air/circle-xmark-sharp-solid.svg",
"https://www.dallasobserver.com/images/air/search-short.svg",
"https://www.dallasobserver.com/i... | [] | [] | [
"Reviews",
"Ray Charles",
"Taylor Hackford",
"Jamie Foxx",
"Greenville",
"Film Reviews",
"Film & TV"
] | null | [
"Robert Wilonsky"
] | 2004-10-28T04:00:00 | As Ray Charles, Jamie Foxx turns an ordinary bio into an extraordinary one | en | /favicon.ico | Dallas Observer | https://www.dallasobserver.com/film/messed-around-6383358 | Ray, director Taylor Hackford's 15-years-in-the-making biography of Ray Charles, begins as you might hope: with 1959's "What'd I Say (Part 1)" pulsing on the soundtrack, the organ's low moans building toward that familiar, funky frenzy. It almost serves as an early climax, a bracing thrill served up before a word of dialogue has been delivered. The song, which will resurface later in the movie as Charles (played by Jamie Foxx) composes it on the spot to fill a night's worth of entertainment, is the highest high note available to a director trying to hit the low notes, too, of which there were many in the life of one of pop music's most beloved sons of bitches. Soon enough the toes stop tapping, and the easy smile engendered by a timeless R&B single fades; the echo dissipates into a more melancholy, melodramatic song about a blind kid from Greenville, Florida, who does bad things but grins his way through to the other side.
Charles never shied away from the awful truth. His 1978 autobiography, Brother Ray (co-written with David Ritz), tells all and hides nothing, from Charles' serial infidelities ("If a chick wants to get with me, and I want to get with her, we'll work it out") to his smack habit ("I was hip to drugs from every angle") to his being an infamous skinflint. Curse words were dropped casually; so, too, were admissions of guilt over hitting women and ruining his marriage and ditching smack (but not weed and gin) only when jail time loomed. Such dark revelations ran counter to the grinning, amiable façade Charles proffered onstage, surrounded by the string sections and backup singers that ladled syrup on the bitterness beneath.
Were it not for the performance of Foxx, the movie, which touches every base and slows to a crawl near home plate, would sink even when the score soars. (Hackford uses the original records, and Ray's soundtrack plays like a greatest hits, from the early jumpin'-jive of "Mess Around" to the Atlantic soul to the ABC corn.) But Foxx transcends the movie, to the point of elevating it beyond its status as conventional biopic told conventionally. His is less impression than inhabitation, a complete submersion of the actor into the character till you forget they're two separate people.
Hackford loves his subject, the iconoclast who became an influence who became an institution, and doesn't necessarily apologize for him. Ray doesn't skimp on the sordid tales of how he nearly missed the birth of his son because he was in bed with another woman, or how he mistreated longtime friends and bandmates when money was involved, no more than it gives short shrift to the music that made him immortal, his heroic fusion of blues and gospel, and forays into country and big-band bop and fondness for saccharine ballads. But Hackford, in his square and eventually overlong biography that's far better to listen to than to look at, lets Charles off the hook more than Brother Ray did himself. Hackford almost suggests that Charles was allowed his indiscretions because he was traumatized as a child (when he was 5, Ray witnessed his younger brother George drown in a wash tub; he lost his sight shortly after to undiagnosed glaucoma) and lionized as an adult. The art, in Hackford's presentation of James White's screenplay, makes up for the artist's flaws; we forgive because of what he gave and gave up.
The women in the cast are uniformly astonishing, especially Regina King as Margie Hendricks, the Raelette who let Ray into her bed, and Kerry Washington as Della, the wife Charles treated like an afterthought. Most notable of all is first-timer Sharon Warren as Aretha Robinson, Ray's mother and the woman who would never let her boy's blindness stand in his way; the scene in which she forces Ray to fend for himself in the darkness, despite every maternal instinct to guide her son, is overwhelming.
One huge problem with Ray is that it doesn't feel real; it possesses the slick, sterile artifice of a 1980s made-for-TV movie. People here don't talk the way they do in real life. Every key moment in Charles' career is marked by someone informing him that, wow, yeah, this is a key moment in his career. "Nobody's ever combined R&B and gospel," says Atlantic's Ahmet Ertegun (Curtis Armstrong) during Charles' early days on the label. "You're onto something big here." It happens repeatedly, as though Hackford feels compelled to remind his audience of Charles' significance. And every event in his life is marked by the birth of a song: After he beds Della, Ray jumps to the piano to play "I've Got a Woman"; a breakup with Hendricks leads right into "Hit the Road, Jack"; and so on, to the point where you might believe Charles was as autobiographical a performer as, say, Joni Mitchell. | ||||
2661 | dbpedia | 3 | 71 | https://headhuntershorrorhouse.fandom.com/wiki/Taylor_Hackford | en | Taylor Hackford | https://static.wikia.nocookie.net/headhuntershorrorhouse/images/5/53/Taylor_Hackford.jpg/revision/latest?cb=20110911112244 | https://static.wikia.nocookie.net/headhuntershorrorhouse/images/5/53/Taylor_Hackford.jpg/revision/latest?cb=20110911112244 | [
"https://static.wikia.nocookie.net/headhuntershorrorhouse/images/5/53/Taylor_Hackford.jpg/revision/latest/scale-to-width-down/225?cb=20110911112244",
"https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d",
"https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1",
"https://sta... | [] | [] | [
""
] | null | [
"Contributors to Headhunter's Horror House Wiki"
] | null | Also directed and produced the film version of Dolores Claiborne, which was based on a 1992 novel written by Stephen King. Taylor Hackford at IMDB Taylor Hackford at Wikipedia Taylor Hackford at AllRovi.com | en | /skins-ucp/mw139/common/favicon.ico | Headhunter's Horror House Wiki | https://headhuntershorrorhouse.fandom.com/wiki/Taylor_Hackford | This page is similar in name or subject to other pages.
See also Taylor for a complete list of references to clarify differences between these closely named or closely related articles. | ||
2661 | dbpedia | 3 | 67 | https://www.npr.org/2004/10/28/4130849/taylor-hackford-takes-on-a-legend-with-ray | en | Taylor Hackford Takes On a Legend with 'Ray' | [
"https://media.npr.org/chrome_svg/npr-logo.svg",
"https://media.npr.org/chrome/programs/logos/morning-edition.jpg",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesat_sq-cbde87a2fa31b01047441e6f34d2769b0287bcd4-s100-c85.png",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiest... | [] | [] | [
""
] | null | [
"Alex Chadwick"
] | 2004-10-28T00:00:00 | NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz. | en | NPR | https://www.npr.org/2004/10/28/4130849/taylor-hackford-takes-on-a-legend-with-ray | Taylor Hackford Takes On a Legend with 'Ray'
NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz. | |||||
2661 | dbpedia | 3 | 88 | https://www.tvguide.com/celebrities/helen-mirren/bio/3030173424/ | en | Helen Mirren Biography | [
"https://www.tvguide.com/a/img/resize/19dfd30088df0be4b0e6cae1d9d5293f5b2b45c8/catalog/provider/10/9/10-E712C766-017D-4CDE-81CE-F7DF0A44E05C.png?auto=webp&fit=crop&height=300&width=200"
] | [] | [] | [
""
] | null | [] | null | Read all about Helen Mirren with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide. | en | /favicon.ico | TVGuide.com | https://www.tvguide.com/celebrities/helen-mirren/bio/3030173424/ | Fast Facts
Frustrated with her career in her twenties, she visited a hand reader who said the height of her success wouldn't happen for another 20 years
He was right
Called her Prime Suspect role "the biggest break of my career
" Made her directorial debut by helming the "Happy Birthday" segment of the 2001 TV-movie On the Edge
In the 2002 TV-movie Door to Door, she played William H
Macy's mother even though he's only five years her junior
Named Dame of the British Empire in 2003
Nominated for three 2007 Golden Globes for her performances in Elizabeth I, The Queen and Prime Suspect: The Final Act
She won statuettes for the first two, portraying Queen Elizabeth I and II, respectively
Played a brothel madam in Love Ranch, a film directed by husband Taylor Hackford
Has served as an ambassador for the human rights organization Oxfam
Awards
2018Golden Globe-Best Performance by an Actress in a Motion Picture - Musical or Comedy: nominated
2015Golden Globe-Best Performance by an Actress in a Motion Picture - Comedy or Musical: nominated
2015Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Leading Role: nominated
2015Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Supporting Role: nominated
2015Screen Actors Guild Awards-Outstanding Performance by a Cast in a Motion Picture: nominated
2015Critics' Choice Awards-Best Supporting Actress: nominated
2014Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: nominated
2013Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Television Movie or Miniseries: winner
2013Emmy-Outstanding Lead Actress in a Miniseries or a Movie: nominated
2013BAFTA Film Awards-Best Leading Actress: nominated
2013Golden Globe-Best Performance by an Actress in a Motion Picture - Drama: nominated
2012Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Leading Role: nominated
2010Independent Spirit Awards-Best Female Lead: nominated
2010Golden Globe-Best Performance by an Actress in a Motion Picture - Drama: nominated
2009Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Leading Role: nominated
2009Oscar-Best Performance by an Actress in a Leading Role: nominated
2007BAFTA Film Awards-Best Actress in a Leading Role: winner
2007Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: winner
2007Golden Globe-Best Performance by an Actress in a Motion Picture - Drama: winner
2007Critics' Choice Awards-Best Actress: winner
2006National Board of Review-Best Actress: winner
2006Satellite Awards-Best Actress - Drama: winner
2006Southeastern Film Critics Association-Best Actress: winner
2006Toronto Film Critics Association-Best Actress: nominated
2006Utah Film Critics-Best Actress: winner
2006Washington D.C. Film Critics Association-Best Actress: winner
2006Women Film Critics Circle-Best Actress: winner
2006New York Film Critics Online-Best Actress: winner
2006New York Film Critics Society-Best Actress: winner
2006San Francisco Film Critics Circle-Best Actress: winner
2006National Society of Film Critics-Best Actress: winner
2006Boston Society of Film Critics-Best Actress: winner
2006Venice Film Festival-Best Actress: winner
2006Dallas/Fort Worth Film Critics Association-Best Actress: winner
2006British Independent Film Awards-Best Actress: nominated
2006Chicago Film Critics Association-Best Actress: winner
2006San Diego Film Critics Association-Best Actress: winner
2006Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Television Movie or Miniseries: winner
2006Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Leading Role: winner
2006Oscar-Best Performance by an Actress in a Leading Role: winner
2006Iowa Film Critics Association-Best Actress: nominated
2006Emmy-Outstanding Lead Actress in a Miniseries or a Movie: winner
2006Kansas City Film Critics Association-Best Actress: winner
2006Las Vegas Film Critics Association-Best Actress: winner
2006London Film Critics Association-Best Actress: nominated
2006London Film Critics Association-Best British Actress: winner
2006Los Angeles Film Critics Association-Best Actress: winner
2006Oklahoma Film Critics Circle-Best Actress: winner
2006Online Film Critics Association-Best Actress: winner
2006Phoenix Film Critics Association-Best Actress: winner
2004Golden Globe-Best Performance by an Actress in a Motion Picture - Musical or Comedy: nominated
2004Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: nominated
2003Emmy-Outstanding Lead Actress in a Miniseries or a Movie: nominated
2003Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: nominated
2003European Film Awards-European Actress: nominated
2002Critics' Choice Awards-Best Acting Ensemble: winner
2002Golden Globe-Best Performance by an Actress in a Supporting Role in a Motion Picture: nominated
2002Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Television Movie or Miniseries: nominated
2001New York Film Critics Circle-Best Supporting Actress: winner
2001National Society of Film Critics-Best Supporting Actress: winner
2001Screen Actors Guild Awards-Outstanding Performance by a Cast in a Motion Picture: winner
2001Los Angeles Film Critics Association-Best Supporting Actress (Runner-up): winner
2001Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Supporting Role: winner
2000Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: nominated
1999Screen Actors Guild Awards-Outstanding Performance by a Female Actor in a Television Movie or Miniseries: nominated
1999Emmy-Outstanding Lead Actress in a Miniseries or a Movie: winner
1997Golden Globe-Best Performance by an Actress in a Miniseries or Motion Picture Made for Television: winner
1996BAFTA Film Awards-Best Actress in a Leading Role: nominated
1995Cannes Film Festival-Best Actress: winner
1994Oscar-Best Performance by an Actress in a Supporting Role: nominated
1985BAFTA Film Awards-Best Actress: nominated
1984Cannes Film Festival-Best Actress: winner | ||||
2661 | dbpedia | 0 | 65 | https://www.cochiselibrary.org/client/en_US/espanol/print/direct%3Fqu%3DSingers%2B--%2BDrama.%26d%3Dent%253A%252F%252FSD_ILS%252F0%252FSD_ILS%253A318506%257E%257E0%26pe%3Dd%253A%26ps%3D1000%26h%3D8 | en | System Error | [] | [] | [] | [
""
] | null | [] | null | /client/assets/5.1294/ctx//client/favicon.ico | null | We're sorry; this application has encountered an error. You may try clicking the browser Back button to return to the previous page or clicking the button below to return to the library's home page. If you get this error again, contact the library for assistance. | |||||||
2661 | dbpedia | 2 | 1 | https://www.rogerebert.com/reviews/ray-2004 | en | Ray movie review & film summary (2004) | [
"http://b.scorecardresearch.com/p?c1=2&c2=6324575&cv=2.0&cj=1",
"https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg",
"https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg",
"h... | [] | [] | [
""
] | null | [
"Roger Ebert"
] | null | Ray Charles became blind at age 9, two years after witnessing the drowning death of his little brother. In a memory that haunted his life, he stood nailed to the spot while the little boy drowned absurdly in a bath basin. Why didn't Ray act to save him? For the same reason all 7-year-olds do dumb and strange things: Because they are newly in possession of the skills of life and can be paralyzed by emotional overload. No one seeing the scene in "Ray," Taylor Hackford's considerable new musical biography, would think to blame the boy, but he never forgives himself. | en | /assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png | https://www.rogerebert.com/ | https://www.rogerebert.com/reviews/ray-2004 | If he had already been blind, he could not have blamed himself for the death and would not have carried the lifelong guilt that, the movie argues, contributed to his eventual drug addiction. Would he also then have not been driven to become the consummate artist that he was? Who can say? For that matter, what role did blindness play in his genius? Did it make him so alive to sound that he became a better musician? Certainly he was so attuned to the world around him that he never used a cane or a dog; for Charles blindness was more of an attribute than a handicap.
Jamie Foxx suggests the complexities of Ray Charles in a great, exuberant performance. He doesn't do the singing -- that's all Ray Charles on the soundtrack -- but what would be the point? Ray Charles was deeply involved in the project for years, until his death in June, and the film had access to his recordings, so of course it should use them, because nobody else could sing like Ray Charles.
What Foxx gets just right is the physical Ray Charles, and what an extrovert he was. Not for Ray the hesitant blind man of cliche feeling his way, afraid of the wrong step. In the movie and in life, he was adamantly present in body as well as spirit, filling a room, physically dominant, interlaced with other people. Yes, he was eccentric in his mannerisms, especially at the keyboard; I can imagine a performance in which Ray Charles would come across like a manic clown. But Foxx correctly interprets the musician's body language as a kind of choreography, in which he was conducting his music with himself, instead of with a baton. Foxx so accurately reflects my own images and memories of Charles that I abandoned thoughts of how much "like" Charles he was and just accepted him as Charles, and got on with the story.
The movie places Charles at the center of key movements in postwar music. After an early career in which he seemed to aspire to sound like Nat "King" Cole, he loosened up, found himself, and discovered a fusion between the gospel music of his childhood and the rhythm & blues of his teen years and his first professional gigs. The result was, essentially, the invention of soul music, in early songs like "I Got a Woman."
The movie shows him finding that sound in Seattle, his improbable destination after he leaves his native Georgia. Before and later, it returns for key scenes involving his mother Aretha (Sharon Warren), who taught him not to be intimidated by his blindness, to dream big, to demand the best for himself. She had no education and little money, but insisted that he attend the school for the blind, which set him on his way. He heads for Seattle after hearing about the club scene, but why there and not in New York, Kansas City, Chicago or New Orleans? Certainly his meeting with the Seattle teenager Quincy Jones was one of the crucial events in his life (as was his friendship with the dwarf emcee Oberon, played by Warwick Davis, who turns him on to pot).
The movie follows Charles from his birth in 1930 until 1966, when he finally defeats his heroin addiction and his story grows happier but also perhaps less dramatic. By then he had helped invent gospel, had moved into the mainstream with full orchestration, had moved out of the mainstream into the heresy of country music (then anathema to a black musician) and had, in 1961, by refusing to play a segregated concert in Georgia, driven a nail in the corpse of Jim Crow in the entertainment industry.
In an industry that exploits many performers, he took canny charge of his career, cold-bloodedly leaving his longtime supporters at Atlantic Records to sign with ABC Paramount and gain control of his catalog. (It's worth noting that the white Atlantic owners Ahmet Ertegun and Jerry Wexler are portrayed positively, in a genre that usually shows music execs as bloodsuckers.) Charles also fathered more children than the movie can tell you about, with more women than the movie has time for, and yet found the lifelong love and support of his wife, Della Bea Robinson (Kerry Washington).
The film is two and a half hours long -- not too long for the richness of this story -- but to cover the years between 1966 and his death in 2004 would have required more haste and superficial summary than Hackford and his writer, James L. White, are willing to settle for. When we leave him, Ray is safely on course for his glory years, although there is a brief scene set in 1979 where he receives an official apology from his home state of Georgia over the concert incident, and "Georgia on My Mind" is named as the state song.
Charles' addictions were to drugs and women. He only beat drugs, but "Ray" is perceptive and not unsympathetic in dealing with his roving ways. Of the women we meet, the most important is his wife Della Bea, played by Washington as a paragon of insight, acceptance and a certain resignation; when one of his lovers dies, she asks him, "What about her baby?" "You knew?" says Charles. She knew everything.
His two key affairs are with Ann Fisher (Aunjanue Ellis), a blues singer, and Margie Hendricks (Regina King), a member of his backup group, the Raelettes. Who knows what the reality was, but in the film we get the sense that Charles was honest, after his fashion, about his womanizing, and his women understood him, forgave him, accepted him and were essential to him. Not that he was easy to get along with during the heroin years, and not that they were saints, but that, all in all, whatever it was, it worked. "On the road," says Margie, in a line that says more than it seems to, "I'm Mrs. Ray Charles."
The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special. Yes, there are moments when an incident in Ray's life instantly inspires a song (I doubt "What'd I Say?" translated quite so instantly from life to music). But Taylor Hackford brings quick sympathy to Charles as a performer and a man, and we remember that he directed made "Hail! Hail! Rock and Roll," a great documentary about Chuck Berry, a performer whose onstage and offstage moves more than braced Hackford for this film. Ray Charles was quite a man; this movie not only knows it, but understands it. | ||||
2661 | dbpedia | 0 | 12 | https://www.movieforums.com/reviews/943079-ray.html | en | Movie Forums | [
"https://www.movieforums.com/images/logo_hover.png",
"https://www.movieforums.com/images/blackpixel_80.png",
"https://image.tmdb.org/t/p/w780/9hTcnPku0Z8FsTEx2eoUr5JmFEq.jpg",
"https://www.movieforums.com/community/customavatars/avatar79363_1.gif",
"https://www.movieforums.com/community/attachment.php?attac... | [] | [] | [
"movie forums",
"movie forum",
"movie reviews",
"movies",
"movie board",
"movie discussion",
"chat",
"movie awards"
] | null | [] | null | Movie Forums - Exactly what it sounds like | en | /apple-touch-icon-precomposed.png?v=2 | null | in
Ray is the riveting and richly entertaining film biography of blind musical icon Ray Charles, from his more than humble beginnings in rural Mississippi to his eventual super stardom as one of the leading R&B artists of this century.
Lovingly directed by Taylor Hackford, this film paints Charles as a man who, from childbirth had it instilled in him that he was not to allow his blindness to be a roadblock in achieving anything that he wanted to achieve and that remaining independent in spirit would get him where he wanted to be and would take away the liability of his handicap.
Taylor Hackford has always been a very self-indulgent director whose work (AN OFFICER AND A GENTLEMAN, WHITE KNIGHTS, DELORES CLAIBORNE, etc.)has always been meticulous in detail to the point where a 90 minute movie ends up being two and a half hours, and this movie is no exception. Almost two hours into the story, the film has only reached the year 1958, but interest is sustained due to some extraordinary performances, mainly the dazzling Oscar-winning performance by Jamie Foxx in the title role.
Foxx is nothing short of miraculous in his interpretation of Charles, a brilliant melding of acting genius and impersonation that is positively haunting in its accuracy for those of us who grew up with Ray. The elements of impersonation never become mimicry and Foxx's work in this role is nothing short of extraordinary...some of Ray's music is dubbed with Charles' voice and Jamie does some singing too but Foxx's performance is so precise, it's hard to tell when Ray is singing and when Foxx is.
Kerry Washington turns in a vivid performance as Ray's devoted wife, a patient church-loving woman who puts up with a lot (downplayed in this screenplay)but remains loyal to the man. Clifton Powell is very good as the leader of Ray's band and there is a powerhouse turn by Regina King, in a performance that should have earned her a Supporting Actress nomination, as one of Ray's back-up singers, who Ray has an affair with and gets pregnant. King has not been seen to such good advantage since JERRY MAGUIRE. There is also a mesmerizing and heartbreaking performance by Sharon Warren as Ray's no-nonsense mother.
Yes, the movie is about 30 minutes too long and the screenplay downplays and/or glosses over the downside of Ray's life, his drug abuse and womanizing in particular (the film portrays Ray as fathering one illegitimate child even though IRL he fathered about six I believe), but I think this was out of respect to the subject, who was still alive at the time this film was being made.
And there is plenty of Ray's music to revel in like "What I Say?", "Hit the Road Jack", "Georgia on my Mind", and "I Can't Stop Loving You". I love the scene where Ray is recording a new song and he's sent the backup singers home already and records all the back-up vocals himself. It's a little long and rambling, but still one of the best biopics of a real life showbiz figure to be mounted in years. | |||||
2661 | dbpedia | 3 | 10 | https://people.com/movies/who-is-taylor-hackford-helen-mirren-husband/ | en | Who Is Helen Mirren's Husband? All About Taylor Hackford | [
"https://people.com/thmb/W43V7SBvIGyY__zjQkMQHMl0qHY=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/Jordan-Chiles-Instagram-081024-01-8f30a7d2125a45dc89592454d003e198.jpg",
"https://people.com/thmb/W43V7SBvIGyY__zjQkMQHMl0qHY=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/Jordan-Chiles-Insta... | [] | [] | [
""
] | null | [
"Sarah Title",
"www.facebook.com"
] | 2022-12-15T16:09:00-05:00 | Helen Mirren has been married to award-winning director Taylor Hackford since 1997. Here is everything to know about the actress' husband. | en | /favicon.ico | Peoplemag | https://people.com/movies/who-is-taylor-hackford-helen-mirren-husband/ | Helen Mirren and her husband, Taylor Hackford, are both Oscar winners.
The actress starred in her first movie, The Age of Consent, when she was 22. She became a household name in TV during her time on Prime Suspect, which earned her an Emmy for outstanding actress in a mini-series or movie. Other major roles in her career include The Madness of King George, which earned her an Oscar nomination; Gosford Park, which earned her a second Oscar nomination; and The Queen for which she won an Oscar.
Hackford also has an impressive résumé, earning his first Academy Award in 1979 for the film Teenage Father. He and Mirren dated for a decade before getting married in Scotland in 1997 and they've been together ever since.
So, who is Helen Mirren's husband? Here's everything to know about Taylor Hackford.
He went to USC
Hackford grew up in Santa Barbara, California, and attended the University of Southern California but did not study film, despite becoming a successful director. Instead, he studied international relations and went to the Peace Corps. He also went to law school for two weeks and eventually got a job in the mail room at a public television station in Los Angeles.
"Every night I'd go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see," he told the Director's Guild of America in 2015. "And whenever I had a moment, I'd experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure — though I'd never shot 16 mm film in my life. I didn't screw up too badly, so they put me on camera doing political reporting, cultural affairs and music shows. As long as I didn't sleep or eat, I could do everything."
He is an award-winning director
Hackford has directed and produced many films. In 1979, he won the Academy Award for Best Live-Action Film for Teenage Father. His second film, An Officer and a Gentleman (1982), which starred Richard Gere and Debra Winger, garnered five Academy Award nominations. His other films include Against All Odds (1984), Blood In, Blood Out (1993), Dolores Claiborne (1995) and Ray (2004). Hackford was nominated for Best Achievement in Directing and Best Motion Picture of the Year for Ray.
He was also the president of the Director's Guild of America for two terms.
He's shot multiple music videos
Hackford has directed award-winning movies, but that's not all. He's also directed multiple music videos for Lionel Richie and Phil Collins. "In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it's a vocal or a guitar solo," he told the Director's Guild of America. When two or three or four guitarists are playing together, something's happening there, dialogue is being exchanged. Why would you cut any differently, when you're trying to understand what's being said?"
The Oscar winner said he's loved music from an early age and recalled the moment he discovered Ray Charles' songs. "The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That's why I spent 13 years trying to raise the money to make a biography of him."
He has two sons from previous marriages
The director welcomed his first son, Rio Hackford, with his first wife Georgie Lowres. After splitting from Loewres in 1972, he went on to wed Lynne Litman, with whom he shares son Alexander Hackford.
Hackford's elder son Rio starred in a variety of TV shows and movies including Pretty Woman, The Mandalorian, Treme, American Crime Story, Fred Claus, Swingers, True Detective and Pam & Tommy. He died in April 2022 at age 51 from uveal melanoma, a rare and aggressive form of cancer.
In an exclusive statement to PEOPLE, Hackford and Mirren said they were "both inspired by the life of our son and stepson, Rio Hackford, and heartbroken by his loss. His life showed us how to live in generosity and community." They added, "He shared his life's journey with so many who now mourn him, and at the same time, celebrate their fortune in knowing him."
He dated Mirren for a decade before getting married
Mirren and Hackford were together for 11 years before they got married in 1997 in Scotland. "I did very consciously choose my work over my relationships right up to the time that I met Taylor. I was 38 when I met Taylor, pretty late in life," Mirren told AARP in 2016.
"We got married in the end because we realized that we were going to be together forever," she explained. "We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married. I always said I have nothing against marriage; it just wasn't to my taste, like turnips. It took me a very long time to come round to acquiring the taste. I just had to meet the right turnip."
In February 2024, Hackford told PEOPLE that there was "instant passion" when he met Mirren.
“She’s a very sexy girl and she still is. But the reality is, over a period of time, you start to — you mature," he said. “She’s just a fantastic person to live with, to have a family with. We don’t have children [together], but I had children and she has nieces and nephews and we are all a very close-knit group and that’s lovely.”
He's very supportive of Mirren's acting career
Hackford has joined his wife of over 20 years on dozens of red carpets. He accompanied her to the 1999 Emmys, where Mirren won outstanding lead actress in a limited series for her role in The Passion of Ayn Rand. He was also present at the 2007 Academy Awards when she won Best Actress for her role in The Queen.
In 2010, the pair hit the red carpet for Mirren's action comedy Red. Hackford also visited Mirren's wax figure at Madame Tussauds in London that same year. When Mirren got her star on the Hollywood Walk of Fame in 2013, he posed for photos with her as well.
In January 2024, Hackford accompanied Mirren to the 81st annual Golden Globes, where she was nominated for best female actor in a TV series for her work in Taylor Sheridan's 1923. | ||||
2661 | dbpedia | 3 | 8 | https://www.themoviedb.org/person/18596-taylor-hackford%3Flanguage%3Den-US | en | Taylor Hackford | [
"https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg",
"https://media.themoviedb.org/t/p/w300_and_h450_bestv2/aAP9RYT7XxUiC2NZL9Hi2gEdxGB.jpg",
"https://media.themoviedb.org/t/p/w150_and_h225_bestv2/9deaag4AgDAgo6sG2pBfeV8BOgG.jpg",
"... | [] | [] | [
"Movies",
"TV Shows",
"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Teasers",
"Credits",
"Cast"
] | null | [] | null | Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013. | de | /assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png | The Movie Database | https://www.themoviedb.org/person/18596-taylor-hackford | Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013. | ||||
2661 | dbpedia | 3 | 92 | https://www.msn.com/en-us/movies/news/25-must-watch-musical-biopics/ss-AA1m3zUz | en | MSN | https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico | https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico | [] | [] | [] | [
""
] | null | [] | null | en | https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico | null | |||||
2661 | dbpedia | 3 | 84 | https://www.empireonline.com/people/sean-penn/2/ | en | Sean Penn News & Biography - Empire | [
"https://images.bauerhosting.com/legacy/empire-images/articles/584d924b3b6871fd0e45f128/zack-snyder.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=256&q=80 256w, https://images.bauerhosting.com/legacy/empire-images/articles/584d924b3b6871fd0e45f128/zack-snyder.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=384&q=80 3... | [] | [] | [
""
] | null | [] | 1960-08-17T00:00:00 | Find out everything Empire knows about Sean Penn. Discover the latest Sean Penn news. | en | /assets/empire/favicon.ico | https://www.empireonline.com/people/sean-penn/2/ | Sean Justin Penn (born August 17, 1960) is an American actor, screenwriter and film director, also known for his political and social activism. He is a two-time Academy Award winner for his roles in Mystic River (2003) and Milk (2008), as well as the recipient of a Golden Globe Award for the former and a Screen Actors Guild Award for the latter. Penn began his acting career in television with a brief appearance in a 1974 episode of Little House on the Prairie, directed by his father Leo Penn. Following his film debut in 1981's Taps and a diverse range of film roles in the 1980s, Penn emerged as a prominent leading actor with the 1995 drama film Dead Man Walking, for which he earned his first Academy Award nomination and the Best Actor Award at the Berlin Film Festival. Penn subsequently received another two Oscar nominations for Sweet and Lowdown (1999) and I Am Sam (2001), before winning his first Academy Award for Best Actor in 2003 for Mystic River and a second one in 2008 for Milk. He has also won a Best Actor Award of the Cannes Film Festival for She's So Lovely (1997), and two Best Actor Awards at the Venice Film Festival for Hurlyburly (1998) and 21 Grams (2003). | |||||
2661 | dbpedia | 0 | 86 | https://twentyfourframes.wordpress.com/2017/12/14/dolores-claiborne-1995-taylor-hackford/ | en | Dolores Claiborne 1995 (Taylor Hackford) « Twenty Four Frames | [
"https://twentyfourframes.wordpress.com/wp-content/uploads/2017/12/dolores-claiborne-1995-kathy-bates-30819297-1500-996.jpg?w=385&h=255",
"https://twentyfourframes.wordpress.com/wp-content/uploads/2017/12/dolores-claiborne-2.jpg?w=407&h=278",
"https://twentyfourframes.wordpress.com/wp-content/uploads/2017/12/do... | [] | [] | [
""
] | null | [] | 2017-12-14T00:00:00 | In my own personal hierarchy, Dolores Claiborne secures its spot as one of the best adaptations of a Stephen King novel. This film is a "horror" story sans chainsaws, hacked body parts or ghosts. Well, that last part is just partially correct, only here, the ghosts are psychological. Director Taylor Hackford and screenwriter Tony Gilroy… | en | https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=32 | Twenty Four Frames | https://twentyfourframes.wordpress.com/2017/12/14/dolores-claiborne-1995-taylor-hackford/ | In my own personal hierarchy, Dolores Claiborne secures its spot as one of the best adaptations of a Stephen King novel. This film is a “horror” story sans chainsaws, hacked body parts or ghosts. Well, that last part is just partially correct, only here, the ghosts are psychological. Director Taylor Hackford and screenwriter Tony Gilroy have given us a mature and cleverly made thriller with superb acting from Kathy Bates and Jennifer Jason Leigh.
The story centers on Claiborne (Kathy Bates), a housekeeper, and her daughter, Selena (Jennifer Lason Leigh) who have not seen each other in fifteen years. Selena works as a journalist in New York City. One day at work, she receives a fax containing a newspaper article from Bangor, Maine that states her mother is being held by the police, subject to arrest for the murder of her employer, Vera Donovan. Selena reluctantly forgoes a big assignment in Arizona and heads back to the small New England island where she grew up, and her mother still lives. Upon arriving, Selena meets Detective John Mackey (Christopher Plummer). Mackey is from the mainland and is heading up the investigation. He at first seems caring and concerned, but this facade hides a man with a personal agenda not yet revealed.
During the opening credits, we the audience, witnessed the incident between Dolores and Vera Donovan (Judy Parfitt) that led to her death. From the camera’s perspective, it sure looks like Dolores pushed the wheelchair-bound Vera down a flight of stairs; ready to finish the old lady off with a rolling pin to the head when the mailman walks in catching her in the act. However, as the perceptive viewer knows, the camera can lie or at least not reveal the entire truth.
Donovan was a mean woman, a perfectionist who demanded everything is done to her exact instructions. Laundry had to be hung outside and down a long set of cement steps even in the coldest of Maine weather. And make sure there were always six clothespins on each sheet hung, not five or seven. She liked her silverware highly polished, enough so she can see her face in each spoon. She paid Dolores pittance for her slave services. Dolores Claiborne had plenty of motive to kill the old lady.
The relationship between Dolores and Selena is strained to say the least. Temporarily released by the police as Mackey works on building his case, mother and daughter move back to Dolores’ dilapidated home where all the bad memories quickly come flowing back. Selena has no use for her mother who she believes may have been involved in her father’s death. A chain smoker and heavy drinker, help Selena bury her childhood traumas.
Director Taylor Hackford nicely weaves back and forth between the past and present, slowly unveiling the family history that has led to this bitterly broken mother and daughter relationship. In the end, there are no family fences mended; relationships are not magically healed. The hurt is still there, but some truths, long hidden have resurfaced, and may or may not lead to some understanding, peace and possibly even forgiveness.
Performances across the board are well done, but it’s the match-up of Kathy Bates and Jennifer Jason Leigh that stands out as they spar back and forth over the years and years of hurt, guilt, and distrust. The film has an excellent supporting cast led by Christopher Plummer, David Strathairn, John C. Reilly, Eric Bogosian and especially Judy Parfitt whose line, “Sometimes being a bitch is all a woman has to hang on to,” can serve as a motto for Dolores’ entire life.
For Bates, this was her second go around in a Stephen King story. Her first was Misery, where she memorably played the unhinged number one fan to romance author James Caan. Here though, Bates is not crazy, but a woman whose life has been hard; long-suffering, both at home with an abusive alcoholic husband and at work as a workhorse employee.
King admirers may be disappointed with the lack of shock value; the most frightening thing in this film is the broken lives these characters have been forced to live. | ||||
2661 | dbpedia | 0 | 69 | https://en.wikipedia.org/wiki/Parker_(2013_film) | en | Parker (2013 film) | [
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/47/Parker_2013_Movie_Poster.... | [] | [] | [
""
] | null | [
"Contributors to Wikimedia projects"
] | 2012-10-06T18:45:55+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Parker_(2013_film) | 2013 film by Taylor Hackford
ParkerDirected byTaylor HackfordWritten byJohn J. McLaughlinBased onFlashfire
by Donald E. WestlakeProduced by
Les Alexander
Steven Chasman
Taylor Hackford
Sidney Kimmel
Jonathan Mitchell
StarringCinematographyJ. Michael MuroEdited byMark WarnerMusic byDavid Buckley
Production
companies
Incentive Filmed Entertainment
Sierra Pictures
Sidney Kimmel Entertainment
Current Entertainment[1]
Alexander/Mitchell[1]
Anvil Films[1]
Distributed byFilmDistrict
Release dates
Running time
118 minutes[2]CountryUnited StatesLanguageEnglishBudget$31–35 million[3][4][1]Box office$46.2 million[4]
Parker is a 2013 American action thriller film directed by Taylor Hackford and written by John J. McLaughlin. Starring Jason Statham and Jennifer Lopez, the film is adapted from Flashfire, the 19th Parker novel written by Donald Westlake under the pen name Richard Stark. Primarily set in Palm Beach, Florida, Parker marked a departure for Hackford, who hoped to make it his first film noir. The film, produced on a $35 million budget, was conceived following Westlake's 2008 death, when producer Les Alexander secured the rights to it.
The film was premiered in Las Vegas, Nevada on January 24, 2013, and was released in the United States on January 25, 2013, where it generally received mixed reviews with many critics feeling the film as a poor adaptation of the book, and typical of Statham's sub-par action films of the past few years. Many found Statham well-fitted for the role of Parker and praised Lopez for providing comedic relief. It grossed $46 million worldwide at the box office.
Parker premiered on Netflix in the United States in March 2021, and a week later was briefly the #1 film on the streaming service.[5]
Plot
[edit]
Parker is a professional thief who is asked by his mentor Hurley to take charge of a job with a crew he does not know, consisting of Melander, Carlson, Ross, and Hardwicke. They succeed in robbing the Ohio State Fair, but Hardwicke alters part of Parker's plan, resulting in an unnecessary death. Enraged about the killing, Parker refuses to participate in a jewel robbery they offer. Needing his share of the Ohio loot to finance the bigger job anyway, Melander tells Hardwicke to kill Parker and they leave him on the side of the road. Parker survives and is picked up by farmers. After escaping from the hospital, Hurley directs Parker to New Orleans, where Hardwicke's brother tells him the crew are in Palm Beach, Florida.
Hurley tries to convince Parker to take his own money and leave the issue alone to protect him and his daughter Claire (who is also Parker's girlfriend) from retribution brought by Hardwicke's uncle Danzinger, a mob boss in Chicago. Parker refuses. Danzinger's hitman tries to capture Claire, but she escapes. Parker goes to Palm Beach and masquerades as a rich Texas oil baron named Parmitt looking for an expensive house. Real estate agent Leslie Rodgers shows him a supposedly vacant home recently purchased by someone named Rodrigo, which piques his interest. Leslie is a struggling divorcee, who asks Parker on a date, but he declines. When she checks his credit she finds his identity (obtained from one of Hurley's connections) is phony.
Desperate for money and a way out of her mother's condo, Leslie offers her help. When Parker tells her the next job is a jewel heist, Leslie says there is a jewel auction nearby. The hitman finds Parker and attacks him in his hotel, but Parker throws him from the balcony and escapes. A cop comes to Leslie's condo asking about Parmitt and the altercation (since she showed him houses). During the conversation, Leslie finds a bleeding Parker on her porch. She gets the cop to leave, promising him a list of the places she showed "Parmitt". Despite his injuries, Parker insists on carrying out his revenge against Melander's crew that night.
Melander and his crew enter the auction to set up speakers rigged with fireworks. Later, they enter as a fire team and steal the jewels, escaping by boat. Parker waits for them at their house; earlier, he broke in and planted guns and damaged their weapons' firing pins. When they return, he prepares to attack, but Leslie also arrives and is captured by Melander. With the help of one of his planted guns and the bent firing pins, Leslie and Parker manage to kill the entire crew. Parker gives Leslie the jewels for safe keeping and tells her he will find a way to fence them in the future. He subsequently kills Danzinger in Chicago, mails Leslie her cut a year and a half later and sends money to the farmers who saved him.
Cast
[edit]
Jason Statham as Parker
Jennifer Lopez as Leslie Rodgers
Michael Chiklis as Melander
Wendell Pierce as Carlson
Clifton Collins Jr. as Ross
Bobby Cannavale as Jake Fernandez
Patti LuPone as Ascension
Carlos Carrasco as Norte
Micah Hauptman as August Hardwicke
Emma Booth as Claire
Nick Nolte as Hurley
Production
[edit]
Conception
[edit]
Prior to this film, Parker had first appeared decades earlier in the 1962 novel The Hunter, written by Donald E. Westlake, which spawned a book series that included over twenty other novels.[6] He had also been depicted in several films including Point Blank (1967) and Payback (1999), among others.[6] Westlake always refused to let any adaptation name the character Parker unless producers agreed to adapt all the novels (Lee Marvin portrayed the character as Walker in Point Blank while Mel Gibson portrayed Porter in Payback). In 2008, following Westlake's death, his widow Abby, having been contacted by Les Alexander, a television producer who was a longtime acquaintance of Westlake's, agreed to sell the rights to one Parker novel (including the right to use Parker's name), with the option of several more being adapted later if the first film was successful.[7] Alexander hired a friend of his named John McLaughlin to write the screenplay for Parker, and then director Taylor Hackford became involved.[7] When the film opened, Taylor Hackford said in an interview that he did not think Westlake would have agreed to let Parker's name be used under these circumstances.[8]
Hackford directed the film, and Steven Chasman, Hackford, Alexander, Sidney Kimmel, and Jonathan Mitchell produced.[9] Hackford was excited to make Parker his "first sort of film noir", stating: "I don't want to get stuck in a genre. What I like the most about this piece of material is that you can take a genre piece like this and turn it into a great movie."[10] Speaking with Palm Beach Daily News about what led him to Parker, Hackford stated "I’m a fan of Donald Westlake. I really think he’s a fabulous writer … very unique in the area of crime because his Parker series". Hackford was attracted to Parker because he was a "strange character" and "sociopath" who, at the same time, is not a sociopath, describing him as "compelling".[7]
Pre-production and casting
[edit]
On April 18, 2011, Justin Kroll of Variety reported that Statham would play the role of Parker.[10][11] Of Parker, Statham has commented that he's "a man who lives by a certain moral code. ... So there’s a likeable quality to this anti-hero."[12] The actor noted that: "He’s involved in criminal activities but he perceives all business to be in some way crooked. He never steals from people who can’t afford it and he doesn’t hurt people that don’t deserve it."[6] During the film, Parker is seen posing as a priest and as a wealthy Texan named Daniel Parmitt from San Antonio.[13]
On June 21, 2011, it was revealed that Lopez was in talks to play "the female lead, a character named Leslie, who gets involved with Parker as he executes a heist".[14] Lopez's casting was confirmed, along with Nick Nolte, who played Parker's mentor. Lopez and Nolte previously worked together on the film U Turn (1997).[15] Hackford noted the role of Leslie as a departure from her other work, considering she has been acting in romantic comedies for the last several years.[16] Leslie is a "savvy insider" who's "short on cash, but big on looks, smarts and ambition."[17] Initially, she only partners with Parker for her own financial gain, but eventually becomes romantically involved with Parker.[18] Wendell Pierce, Clifton Collins Jr., Michael Chiklis, Patti LuPone, and Emma Booth also co-starred in Parker.[15] In the novel Flashfire, Leslie was not of Cuban descent. However, Hackford cast Lopez in the role and decided to re-write her as Cuban, hiring Italian-American LuPone to play her "domineering" mother.[7]
Filming
[edit]
According to executive producer Nick Meyer, Parker was produced on a "mid-30s" budget range, which he described as "pretty good", "given the caliber of the movie".[19] The Times-Picayune's Mike Scott reported on June 23, 2011, that Parker would film in New Orleans for seven weeks starting July 18. Scott noted that filming in New Orleans was "good news" for the local film industry because it came "at a time that has historically seen a slowdown in major productions, due both to the oppressive heat and the arrival of hurricane season."[20] Playbill later confirmed that production for the film had begun on August 4, 2011, in New Orleans.[21] Filming briefly moved to Baton Rouge, Louisiana from August 5–9.[22]
Parker was also filmed in Palm Beach, Florida where Lopez and Statham were spotted that September.[12][23] In an interview with the town's local newspaper, Hackford said: "Palm Beach is a fascinating area. You’ve got this incredibly rich, exclusive enclave and right across the bridge you’ve got real life. And I was depicting both".[7] Variety noted that locals were also "shook up" by helicopters, firetrucks and marine patrol boats, "bringing big-time filmmaking to an area better known for leisure-time activities."[24] The action scenes were filmed in Boca Raton, Florida.[12] Cinematographer J. Michael Muro shot the film with Red Epic digital cameras and Hawk V-Lite anamorphic lenses.[25]
Statham, who is a former diver for the British Olympic Team, performed all of Parker's stunts in the film. In one scene, Statham jumped out of the window of a fast-moving car for his character to escape being shot; this stunt was considered "really dangerous" and Hackford said he was "nervous when he went out that window" five or six times before the scene was finished.[26] In another scene, Statham had to hang off a building's balcony. The actor said he took a "real beating" from these scenes. He blamed this on wearing a wire, which got in the way of filming and made things feel "restricted", because they ripped up his arms.[27] In January 2012, filming for Parker concluded in Miami and in Columbus, Ohio.[28][29]
Marketing
[edit]
Originally, Parker was set to be released on October 12, 2012.[15] However, the release date was moved back due to strong competition it would have faced at the box office from other films released around that time including Gangster Squad (which later had its release date swapped with Argo, and later moved to January due to the 2012 Aurora, Colorado shooting.[30]) and Here Comes the Boom. Matt Goldberg, writing for Collider, noted that it would have probably lost to these films if it had been released that October.[31] Boxoffice listed the pros of the film release, which were Statham's "consistent" performance at the box office and Lopez's appearance which "could help the film expand a bit beyond Statham's usual audience".[32] It also listed the cons, which are Lopez's presence that might "turn off some of Statham's usual audience" as well as heavy competition from multiple other films.[32]
The film's first promotional poster was unveiled on October 1, 2012.[33] Its theatrical trailer was released on October 4, 2012.[34] Collider commented that despite this being a slightly different film than what Statham is known for, the trailer "still has its share of clichés".[35] Joblo's Paul Shirley said "It's got a lot of the usual Statham action goodies", but with "source material and stellar cast" it has potential to be a theatrical hit.[36] Simon Reynolds of Digital Spy noted the pairing of "tough guy" Statham and "global superstar" Lopez to be "unlikely" but said Parker promises to "serve up some meaty action thrills".[34] On January 3, 2013, Digital Spy unveiled another promotional poster for Parker.[37]
Reception
[edit]
Box office
[edit]
Parker was released in 2,224 U.S. theaters on January 25, 2013, grossing slightly over $7 million and opening at number five at the box office.[38] This was two million shy of what it was predicted to earn prior, and the film was considered an average grosser.[39][40] By the end of its 70-day North American release, Parker had grossed $17.6 million at the box office, placing it at the low end of Statham's wide release crime/action vehicles.[41] It finished in 118th place on the 2013 domestic release box office chart.[42] The film was released on Blu-ray and DVD in the United States on May 21, 2013.[43][44] It was not one of the Top 100 selling DVDs of 2013, grossing a total of $11,274,235 on DVD and Blu-ray.[1][45][46]
Critical response
[edit]
The studio required critics attending press screenings to sign an agreement that none of their reviews would appear in print before the film opened.[47] On Rotten Tomatoes, the film has an approval rating of 41% based on 107 reviews, with an average rating of 4.8/10. The site's critical consensus reads, "Jason Statham is game as usual, but Parker is a thoroughly generic and convoluted heist movie."[48] Metacritic gave the film a score of 42 out of 100, based on 21 critics, indicating "mixed or average reviews".[49] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[50]
John Semley of Slant Magazine was not receptive to Parker, panning its "painfully slapdash script",[51] although the Miami Herald's Connie Ogle felt that while it was a "stretch" with "absurdities", Statham "turns out to be a good choice to play the taciturn thief."[52] Christy Lemire, film critic for the Associated Press, felt that Statham is "not exactly pushing himself outside his comfort zone", and Lopez is "here to provide some comic relief as the wide-eyed fish out of water."[53]
Alonso Duralde of The Wrap called the film a "bore" considering Statham's potential as an action star,[54] and Joe Morgenstern of The Wall Street Journal was also negative, saying that the film set a "tin standard" for crime thrillers.[55]
Variety's Brian Lowry praised Hackford for fashioning the "50-year-old franchise into a neat-fitting outfit for Statham" which was "crisp and efficient", noting its use of Lopez to "good effect."[56] While reviewing Lopez's performance, many critics drew comparisons to Out of Sight in which Lopez starred opposite George Clooney 15 years earlier. Stephen Farber of The Hollywood Reporter said the film's "biggest surprise" is Lopez's performance, in which she "downplays her glamorous image to give a refreshingly low-key portrayal of a put-upon, financially strapped working woman who manages to be useful to Parker when he least expects it." Additionally, Farber praised Statham as making a "convincingly bruised protagonist."[47] A. O. Scott of The New York Times gave Parker a positive review, enjoying Lopez's "exercising her talent for damsel-in-distress silliness" and said, "And if Parker is, in the end, business as usual, it is also a pretty good deal."[57]
Betsy Sharkey of the Los Angeles Times positively reviewed the film, calling it a "faithful adaption" of Flashfire,[58] although film reviewer James Berardinelli was displeased with the lack of character development for Leslie, criticizing the heavy amount of screen-time dedicated to Parker's girlfriend Claire (Emma Booth). Nonetheless, Berardinelli gave Parker a generally positive review, summarizing its action scenes as "crisply directed, brutal, and invigorating."[59]
Other critics panned Parker and its action sequences to be predictable and generic. Writing for The A.V. Club, Josh Modell said the film's beginning was "fairly strong", although the action "gets more predictable as it meanders toward its conclusion."[60] Peter Howell of the Toronto Star said the film started off "promisingly" but ended "predictable",[61] while the Montreal Gazette's Bill Brownstein panned the film by stating, "Much gunplay and bloodletting ensues. The body count is high. Intrigue is low."[62] Lisa Schwarzbaum of Entertainment Weekly's review was along the same lines, calling it "unremarkably generic" and "insanely bloody."[63]
References
[edit] | ||||||
2661 | dbpedia | 0 | 68 | https://www.criticsatlarge.ca/2010/06/getting-it-wrong-getting-it-right.html | en | Critics At Large : Getting it Wrong, Getting it Right: Beyond the Sea and Ray | [
"https://2.bp.blogspot.com/-qjNt3Owq46U/WPqoa8MplJI/AAAAAAAAjzs/adL4KFSdWtExQO1P9CRn_RWodzH1z6MSgCLcB/s640/beyond.jpg",
"https://4.bp.blogspot.com/_ivWX1b9wiEw/TEpnblQNbOI/AAAAAAAABmI/4bbILi3pxgQ/s640/Ray_Charles.jpg",
"https://2.bp.blogspot.com/_ivWX1b9wiEw/TEpn0-jevtI/AAAAAAAABmQ/6OIYsyrAntI/s200/kc_pic__1.JP... | [] | [] | [
"movies",
"film",
"television",
"theater",
"theatre",
"fashion",
"dance",
"books",
"review",
"reviews",
"criticism",
"critics",
"media",
"tv",
"culture",
"Ug2OkKSrLScitIR7FtsOqRg1nYc"
] | null | [] | null | A daily online publication featuring reviews of past and current arts and culture. | https://www.criticsatlarge.ca/favicon.ico | https://www.criticsatlarge.ca/2010/06/getting-it-wrong-getting-it-right.html | Independent reviews of television, movies, books, music, theatre, dance, culture, and the arts. | ||||||
2661 | dbpedia | 3 | 85 | https://www.theteenmagazine.com/5-movies-perfect-for-bohemian-rhapsody-fans | en | 5 Movies Perfect for 'Bohemian Rhapsody' Fans | https://s3.amazonaws.com/media.theteenmagazine.com/3mpkzswfzf9p7s2bqemild707k8g?response-content-disposition=inline%3B%20filename%3D%22Screen%20Shot%202023-09-17%20at%209.25.11%20PM.png%22%3B%20filename%2A%3DUTF-8%27%27Screen%2520Shot%25202023-09-17%2520at%25209.25.11%2520PM.png&response-content-type=image%2Fpng&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIAJXZEYHYWOL7J3OTA%2F20240812%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20240812T123542Z&X-Amz-Expires=300&X-Amz-SignedHeaders=host&X-Amz-Signature=9a79bcc7b430ecab5a2558c49332767fb133bd19678a8dd75ff09bf4d5770270 | https://s3.amazonaws.com/media.theteenmagazine.com/3mpkzswfzf9p7s2bqemild707k8g?response-content-disposition=inline%3B%20filename%3D%22Screen%20Shot%202023-09-17%20at%209.25.11%20PM.png%22%3B%20filename%2A%3DUTF-8%27%27Screen%2520Shot%25202023-09-17%2520at%25209.25.11%2520PM.png&response-content-type=image%2Fpng&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIAJXZEYHYWOL7J3OTA%2F20240812%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20240812T123542Z&X-Amz-Expires=300&X-Amz-SignedHeaders=host&X-Amz-Signature=9a79bcc7b430ecab5a2558c49332767fb133bd19678a8dd75ff09bf4d5770270 | [
"https://www.theteenmagazine.com/assets/teenmag_mobile-f5b627e7f802988d1a0f4a3886e62576c97065467f3def59e4260522171dc7b5.png",
"https://www.theteenmagazine.com/assets/profile_image-d8facbb469f1bc2077639f9d92f2c56bbf1b5c7e144045d67a2aa0f80364ba41.jpg",
"https://www.theteenmagazine.com/assets/teenmag_mobile-f5b627... | [] | [] | [
""
] | null | [] | null | en | /assets/logo-055c67790b6a7290f06452a2ace8f5035a84125b9d84b4c990c5d6930aa765e7.png | The Teen Magazine | https://www.theteenmagazine.com/5-movies-perfect-for-bohemian-rhapsody-fans | In the world of cinema, there are films that leave an indelible mark on our hearts, captivating us with their melodies, moving stories, and unforgettable performances. One such film that rocked its way into our collective consciousness was the 2018 biographical masterpiece, "Bohemian Rhapsody." Directed by Bryan Singer and Dexter Fletcher, this cinematic gem chronicles the meteoric rise of the iconic rock band Queen, led by the inimitable Freddie Mercury, portrayed with mesmerizing brilliance by Rami Malek. The film's blend of electrifying music, dramatic storytelling, and a powerhouse performance by Malek turned it into a global sensation, winning multiple awards and the hearts of millions.
For those who found themselves spellbound by the magic of "Bohemian Rhapsody" and yearning for more cinematic experiences that resonate with their passion for music and biographical storytelling, you are in for a treat. In this blog post, we are about to embark on a cinematic journey through five exceptional movies that are perfect for 'Bohemian Rhapsody' fans.
These films not only celebrate the art of music but also dive into the lives of legendary musicians, their struggles, their triumphs, and the timeless melodies that continue to shape our musical landscapes. So, grab your popcorn, turn up the volume, and let us explore the world of movies that will strike a chord with every 'Bohemian Rhapsody' fan.
Rocketman (2019)
"Rocketman," directed by Dexter Fletcher, is a sensational cinematic journey through the life and music of one of the world's most beloved musicians, Elton John. This biographical extravaganza takes all the electrifying elements that made "Bohemian Rhapsody" a hit and transports us into the extraordinary world of Elton John's rise to stardom.
Taron Egerton delivers an unforgettable performance as Elton John, capturing not only the singer's vocal prowess but also his flamboyant personality and inner struggles. The film is a fantastical musical that blends reality and imagination, using Elton John's iconic songs to tell the story of his life, from his early days as a prodigious talent named Reginald Dwight to the global superstardom that transformed him into Elton Hercules John.
"Rocketman" does not shy away from depicting the ups and downs of Elton's life, including his battles with addiction and the complexities of his personal relationships. It is a vivid and emotional rollercoaster that resonates with fans of "Bohemian Rhapsody" who appreciate the raw, unapologetic portrayal of musical legends. With its incredible musical sequences and Egerton's remarkable transformation, "Rocketman" is a must-watch for anyone who cannot get enough of the magic that happens when music and storytelling collide.
Walk the Line (2005)
"Walk the Line," directed by James Mangold, is a captivating musical biopic that harmoniously intertwines the life and career of the legendary country music icon, Johnny Cash. Much like "Bohemian Rhapsody" did for Freddie Mercury, this film provides an intimate glimpse into the tumultuous journey of one of America's most iconic musicians.
Joaquin Phoenix delivers an Oscar-nominated performance as Johnny Cash, portraying not only his deep voice but also the inner demons and passions that fueled his music. The film chronicles Cash's early struggles, his rise to fame, and his transformative relationship with June Carter Cash, portrayed brilliantly by Reese Witherspoon. Their on-screen chemistry is nothing short of enchanting.
"Walk the Line" does not just pay homage to Cash's iconic songs but also dives into the personal struggles and challenges he faced, making it a compelling watch for those who appreciate the multifaceted lives of music legends. With its powerful storytelling, stellar performances, and a soundtrack that is nothing short of soul-stirring, "Walk the Line" is a cinematic journey that perfectly harmonizes with the spirit of 'Bohemian Rhapsody' fans, offering a deep and resonant exploration of an American musical icon.
The Doors (1991)
"The Doors," directed by Oliver Stone, is a mesmerizing cinematic exploration of the enigmatic life and electrifying music of Jim Morrison, the charismatic frontman of the iconic rock band, The Doors. For fans of "Bohemian Rhapsody" who crave a journey through the counterculture of the 1960s and the mystique of rock 'n' roll, this film provides a compelling and immersive experience.
Val Kilmer delivers a career-defining performance as Jim Morrison, capturing his magnetic stage presence, poetic genius, and tumultuous personal life. The film takes us on a psychedelic trip through the rise of The Doors, from their humble beginnings in Venice Beach to international stardom. It takes us into Morrison's exploration of poetry, music, and the darker aspects of fame.
"The Doors" is a visual and auditory feast, with iconic songs like "Light My Fire" and "Riders on the Storm" that transport viewers to the heart of the '60s music scene. Oliver Stone's direction creates a trippy, surreal atmosphere that mirrors Morrison's own experiences.
Much like "Bohemian Rhapsody," "The Doors" does not shy away from the complexities of its central character, offering a mesmerizing portrayal of a rock legend whose artistry and enigma continue to captivate audiences. This film is a must-see for those who seek a mind-bending, soul-stirring cinematic journey through the world of rock 'n' roll.
Ray (2004)
"Ray," directed by Taylor Hackford, is a powerful and soul-stirring biographical drama that mirrors the spirit of "Bohemian Rhapsody" in celebrating the life and music of an iconic artist. The film beautifully captures the genius and complexity of Ray Charles, the legendary American musician whose music transcended genres and touched the hearts of millions.
Jamie Foxx delivers an extraordinary and Academy Award-winning performance as Ray Charles, masterfully embodying the artist's unique voice, blindness, and magnetic stage presence. The film takes us on a heartfelt journey through Ray's early struggles, his triumphant rise in the music industry, and his unflinching battle with personal demons.
"Ray" is a musical revelation, featuring timeless classics like "Georgia on My Mind" and "Hit the Road Jack." The film immerses viewers in the rich textures of Ray's life and showcases his indomitable spirit and resilience.
Like "Bohemian Rhapsody," "Ray" offers a nuanced portrait of a musical legend, diving into the highs and lows of his life with unflinching honesty. It is a poignant and inspiring tale of artistry and determination, making it a perfect choice for fans who appreciate the transformative power of music and storytelling. Prepare to be moved by the soulful odyssey of Ray Charles as you dive into this remarkable cinematic experience.
La La Land (2016)
While not a biographical film like "Bohemian Rhapsody," "La La Land," directed by Damien Chazelle, is a modern musical masterpiece that captures the essence of artistic passion and the pursuit of dreams. For fans of "Bohemian Rhapsody" who crave a different yet equally enchanting musical experience, this film delivers a delightful and visually stunning journey through the world of love, ambition, and artistry.
"La La Land" follows the intertwined lives of aspiring actress Mia (Emma Stone) and jazz musician Sebastian (Ryan Gosling) as they chase their dreams in Los Angeles. The film combines dazzling song-and-dance numbers with a heartfelt love story, paying homage to classic Hollywood musicals while adding a contemporary flair.
With memorable songs like "City of Stars" and "Another Day of Sun," "La La Land" captures the magic of music and its ability to convey the deepest emotions. The film's colorful and dreamlike cinematography adds to its appeal, making it a visual feast for the senses.
Like "Bohemian Rhapsody," "La La Land" celebrates the creative spirit and the transformative power of music and art. It is a film that resonates with anyone who believes in the beauty of chasing their dreams and the enchantment of falling in love. Prepare to be swept off your feet by this modern musical extravaganza.
Final Note
In the realm of cinema, music has a unique ability to transcend time and touch our souls, and "Bohemian Rhapsody" demonstrates this power brilliantly. For those who found themselves entranced by the journey of Queen and Freddie Mercury, these five movies provide an enriching encore.
From the electrifying tale of Elton John in "Rocketman" to the poignant odyssey of Johnny Cash in "Walk the Line," these films delve deep into the lives of musical legends, illuminating their triumphs, struggles, and the melodies that defined generations. "The Doors" offers a psychedelic portal into the enigmatic world of Jim Morrison, while "Ray" takes us on a soulful ride through the life of Ray Charles, a musical genius. "La La Land" may not be a biopic, but its celebration of artistic passion and love, set against the backdrop of music and dance, strikes a chord with the Bohemian spirit.
These movies, like "Bohemian Rhapsody," are more than just cinematic experiences; they are celebrations of the universal language of music and the indomitable human spirit. Whether you are a fan of rock, country, or soul, these films have something to offer every music enthusiast. So, grab your popcorn and let the magic of cinema and music transport you once again. | |||
2661 | dbpedia | 3 | 9 | https://facts.net/celebrity/8-extraordinary-facts-about-taylor-hackford/ | en | 8 Extraordinary Facts About Taylor Hackford | [
"https://facts.net/wp-content/uploads/2019/09/Facts.net_.png",
"https://facts.net/wp-content/themes/newsanchor/images/svg/search.svg",
"https://facts.net/wp-content/themes/newsanchor/images/svg/search.svg",
"https://facts.net/wp-content/uploads/2024/08/15-facts-about-ummas-second-war-of-independence-172344759... | [] | [] | [
""
] | null | [
"Marney Willard"
] | 2023-10-18T18:01:11+08:00 | From his notable directorial career to his Oscar-winning marriage, discover 8 extraordinary facts about Taylor Hackford. | en | https://facts.net/wp-content/uploads/2019/09/fac-icon.ico | Facts.net | https://facts.net/celebrity/8-extraordinary-facts-about-taylor-hackford/ | Taylor Hackford is an accomplished film director.
Taylor Hackford has made a name for himself in the film industry with his exceptional directing skills. With a career spanning several decades, Hackford has helmed numerous critically acclaimed movies and has become renowned for his ability to bring stories to life on the big screen.
He directed the iconic film “Ray” in 2004.
Ray” is a biographical film about the legendary musician Ray Charles. Hackford’s brilliant direction captured the essence of Charles’ life and earned him widespread praise from audiences and critics alike. The film received several accolades, including two Academy Awards, and further solidified Hackford’s reputation as a master filmmaker.
Taylor Hackford is married to iconic actress Helen Mirren.
The power couple of Hollywood, Hackford and Mirren have been together for over 20 years. Their partnership is a testament to their love and shared passion for the arts. Both Hackford and Mirren have achieved great success in their respective careers and continue to support and inspire each other.
He has directed several notable Hollywood stars.
Throughout his career, Hackford has had the privilege of working with some of the biggest names in Hollywood. From Denzel Washington in “The Devil’s Advocate” to Jamie Foxx in “Ray,” Hackford’s ability to bring out the best in his actors has resulted in extraordinary performances that have captivated audiences worldwide.
Taylor Hackford is a dedicated advocate for the arts.
Not only is Hackford a talented director, but he is also deeply committed to supporting and promoting the arts. He has served as the president of the Directors Guild of America and has been actively involved in various initiatives aimed at advancing the creative industries.
He directed the critically acclaimed film “An Officer and a Gentleman” in 1982.
“An Officer and a Gentleman” is a romantic drama that garnered significant praise for its compelling story and outstanding performances. Hackford’s masterful direction brought the characters to life and resonated with audiences, making it a timeless classic in the world of cinema.
Taylor Hackford has received numerous accolades for his contributions to film.
Over the years, Hackford has been recognized for his exceptional work behind the camera. He has received several prestigious awards, including the Academy Award for Best Live Action Short Film and the DGA Award for Outstanding Directorial Achievement in Feature Film.
He has a deep passion for storytelling.
At the core of Hackford’s success as a director is his genuine love for storytelling. He approaches each project with a deep understanding of the power of narrative and strives to create impactful films that resonate with audiences on an emotional level.
Conclusion
In conclusion, Taylor Hackford is truly an extraordinary figure in the world of entertainment. His impressive career as a director, producer, and screenwriter has spanned several decades, and his contributions to the film industry are undeniable. From his early successes with “An Officer and a Gentleman” to his recent acclaimed works like “Ray,” Hackford has consistently demonstrated his creativity and talent. His ability to bring compelling stories to life on the big screen has earned him numerous awards and accolades, solidifying his status as a Hollywood heavyweight. With his passion for storytelling and dedication to his craft, Taylor Hackford continues to leave a lasting impact on the industry, and his legacy will undoubtedly be remembered for years to come.
FAQs
1. What is Taylor Hackford best known for?
Taylor Hackford is best known for directing the critically acclaimed film “Ray” (2004), a biographical drama about the life and career of musician Ray Charles. The film received widespread acclaim and earned Hackford several awards, including the Academy Award for Best Director.
2. Has Taylor Hackford directed any other notable films?
Apart from “Ray,” Taylor Hackford has directed other notable films such as “An Officer and a Gentleman” (1982), starring Richard Gere, which was a box office success and earned Hackford an Academy Award nomination for Best Director. He has also directed films like “The Devil’s Advocate” (1997) and “Proof of Life” (2000), showcasing his versatility as a director.
3. What awards has Taylor Hackford won?
Taylor Hackford has won several prestigious awards throughout his career. In addition to the Academy Award for Best Director for “Ray,” he has also received a Golden Globe Award, a Directors Guild of America Award, and a BAFTA Award, among others. His talent and contributions to the film industry have been widely recognized and honored.
4. Is Taylor Hackford involved in any other aspects of filmmaking?
Yes, Taylor Hackford is not only a director but also a producer and screenwriter. He has produced films like “La Bamba” (1987) and “Against All Odds” (1984), showcasing his ability to bring diverse and compelling stories to the screen. Hackford’s involvement in various aspects of filmmaking highlights his passion and dedication to the craft.
5. What is Taylor Hackford’s filmmaking style? | ||||
2661 | dbpedia | 0 | 91 | https://goldenglobes.com/articles/2005-biopics-portraying-the-lives-of-others/ | en | 2005: Biopics – Portraying the Lives of Others | [
"https://goldenglobes.com/wp-content/uploads/2023/10/jamie-leo.jpg?w=2000",
"https://live-gg-2021.pantheonsite.io/sites/default/files/2022-10/dark_gg_80_web_banner.jpg",
"https://goldenglobes.com/wp-content/uploads/2023/11/gg_stacked_whiteversion.svg",
"https://goldenglobes.com/wp-content/uploads/2023/10/dick... | [] | [] | [
""
] | null | [
"Armando Villanueva"
] | 2022-12-23T02:00:00+00:00 | The year 2005 was the year of “biopics.” Exactly half of all domestic feature films which received a Golden Globe nomination that year were biographical pictures. And the two Best Actor awards went to men who portrayed historical figures: in the drama category, Leonardo DiCaprio for his role as Howard Hughes; and in the musical or comedy category, Jamie Foxx for his portrayal of R&B giant Ray Charles. | en | Golden Globes | https://goldenglobes.com/articles/2005-biopics-portraying-the-lives-of-others/ | The year 2005 was the year of “biopics.” Exactly half of all domestic feature films which received a Golden Globe nomination that year were biographical pictures. And the two Best Actor awards went to men who portrayed historical figures: in the drama category, Leonardo DiCaprio for his role as Howard HughesJamie Foxx for his portrayal of R&B giant Ray Charles.
Since the earliest days of cinema, the subgenre of biopics was enormously attractive. Audiences saw countless films about kings and other rulers, such as Henry VIII, Julius Cesar, Winston Churchill, Adolf Hitler, and Joseph Stalin, as well as queens mostly named Victoria and Elisabeth. Viewers followed the lives of artists like Mozart, Michelangelo or Vincent van Gogh, and of men and women with extraordinary achievements from the worlds of sports, science, or exploration.
Film historian Dennis Bingham, in his 1995 book “Whose Lives Are They Anyway?,” explains the reason for the popularity: “The biopic is a genuine, dynamic genre and an important one — it narrates, exhibits, and celebrates a subject’s life and demonstrates, investigates, or questions his or her importance in the world.”
He concludes with the main reason for our attraction to observe the lives of others: “Ultimately, (the biopic) provides a medium for both artist and spectator to discover what it would be like to be that person.”
That is certainly the case with the nominated movies of 2005. There is the evening’s big winner, Martin Scorsese’s Aviator, depicting the early years of legendary aviator and director Howard Hughes. The film received five nominations, notching wins for Best Film – Drama and Best Original Score to go alongside DiCaprio’s victory.
Then there is Bill Condon’s drama Kinsey. Liam Neeson portrayed Alfred Kinsey, who caused a monumental stir by investigating the elusive mystery of human sexuality. Neeson got a nomination for his role, as did Laura Linney in her role as Kinsey’s free-spirited wife (one of a total of eight Golden Globe nominations for Linney over the years).
Director Marc Foster’s Finding Neverland, starring Johnny Depp as writer J. M. Barrie, focused on his inspirations in the creation of the character Peter Pan, himself the subject of many films. Hotel Rwanda retold the gripping experience of hotel manager Paul Rusesabagina during the horrific struggle against the Hutu militia in Rwanda. Don Cheadle received a Golden Globe nomination for his performance.
And finally, director Taylor Hackford’s music-filled Ray tackled the life story of Ray Charles, from his poor childhood and coping with blindness at a young age to his herculean efforts to overcome his loss of eyesight and his growing success even amid his mounting drug use. It was a masterstroke turn for Foxx, who could bring his own musical chops as a singer and pianist into the role. For his efforts, he was awarded the Golden Globe in the Best Actor – Musical or Comedy category. | |||||
2661 | dbpedia | 0 | 44 | https://www.capecodtimes.com/story/news/2004/10/30/ray-light/50928883007/ | en | Ray of light | [
"https://www.gannett-cdn.com/authoring/2004/10/30/NCCT/ghows-CC-47728498-3519-4db8-afef-0123255ea114-9d5310dd.jpeg?crop=191,143,x28,y0?width=320&height=240"
] | [] | [] | [
""
] | null | [
"CARRIE RICKEY,The Philadelphia Inquirer, Cape Cod Times"
] | 2004-10-30T00:00:00 | Jamie Foxx views life in new way after playing legendary blind singer NEW YORK — Knocking around Los Angeles comedy clubs early in his stand-up career, Jamie Foxx convulsed audiences with an imperson… | en | Cape Cod Times | https://www.capecodtimes.com/story/news/2004/10/30/ray-light/50928883007/ | Jamie Foxx views life in new way after playing legendary blind singer NEW YORK — Knocking around Los Angeles comedy clubs early in his stand-up career, Jamie Foxx convulsed audiences with an impersonation of a head-bobbing, shoulder-rocking Ray Charles rasping "The Brady Bunch Theme."
But slipping into Charles' skin for "Ray," a biopic of the musical revolutionary who married gospel with rock, and RB with country, required other means.
Mimicry, Foxx explains, is an inventory of physical and vocal tics. "But to play Ray, I had to find the place where he was still and quiet," he says, holding forth in a hotel suite and popping MMs as if they were vitamins.
He got into the "Ray zone" by wearing prosthetics on his eyes that rendered him as sightless as his subject, and forced him to depend more on his hearing. "Ray saw with his ears," Foxx observes of the singer, who died in June.
In musical terms, Foxx found Charles between the notes. In "Ray," he internalizes him to the point of incarnating him. And he plays it not as a man who triumphed over disability, but as one who emphasized his ability. This isn't an actor playing Ray: Ladies and gentlemen, this is Ray Charles.
Foxx's electrifying turn as the blind artist who did not recognize the boundaries between musical genres - just as he did not recognize those between black and white in segregated America - looks like the one to beat at February's Academy Awards.
ColorblindActors always tell you how playing a special part has changed them as an artist. But Foxx, 36, tells you the specifics. Playing Charles transformed him not only as an actor, but as a man. "I listen differently now," he says.
Now Showing What: "Ray"
Starring: Jamie Foxx
Directed by: Taylor Hackford
Written by: James L. White
Running time: 152 minutes
Rating: PG-13 (for depiction of drug addiction, sexualit some thematic elements)
Where: Regal Cinemas in Harwich and Hyannis (Cape Cod Mall)
To hear Foxx tell it, he's been altered by experiencing how the blind are also colorblind. "When you can't see, you don't care who takes you to the bathroom, walks you to the car, sits next to you on the bus."
"Before we made the movie, Ray's music, for me, was like oxygen," says the actor, who lip-synchs in the movie to Charles' vocals. "I took it for granted." Only when Foxx understood the obstacles Charles endured as a black man in the Jim Crow South, and as a blind man exploited by some sighted hustlers, did the music resonate. "What Ray taught me is that when you rid yourself of excuses, there's nothing you can't do."
Foxx's seamless transformation into Charles is the latest stage in his metamorphosis from small-screen comic to big-screen drama king. Could be that he gets a second Oscar nod this year, a supporting bid for the role of Max, the honorable cabbie who picks up the wrong fare in "Collateral."
A Hollywood axiom is that funny means mone serious means awards. Foxx's film path defies half of that conventional wisdom.
In the decade since he left television's "In Living Color," neither his self-titled 1996 WB sitcom nor his appearances in film raunchfests such as "Booty Call" (1997) have earned him the money or the acclaim of his performances as the full-of-himself quarterback Willie Beamen in "Any Given Sunday" (1999), as cornerman "Bundini" Brown in "Ali" (2001) or as Max the hack in "Collateral."
In those features, Foxx not only stood his ground opposite the formidable Al Pacino, Will Smith and Tom Cruise, he elevated their games. Still, the guy with the rep as the secret sauce for Hollywood's prime cuts had never before "Ray" carried a movie on his own.
"You live and die by the person who plays the role in a biopic," says film director Taylor Hackford, who gestated the "Ray" screenplay for 15 years before financing came through.
TestedWhen Hackford approached Foxx, the filmmaker had no idea he was tapping an accomplished pianist. Not only had Foxx, born Eric Bishop in Terrell, Texas, played for his church choir growing up, but in 1986 he won a classical-piano scholarship to U.S. International University in San Diego. (Bishop rechristened himself Jamie Foxx the following year, when he heard that comedy-club bookers were looking for women. On open-mike night, the gender-neutral name helped.)
Before Hackford closed the deal, he sought Charles' blessing. When the music icon and the iconoclastic actor met at Charles' L.A. studio, Charles invited Foxx to the adjoining piano, taking his measure by jamming the blues. Then the music man stunned the actor by taking a U-turn into a complex Thelonious Monk composition, testing Foxx.
Though the actor couldn't exactly keep up, he managed to "stay on the mechanical bull" of Charles' challenge. And after a few tries Foxx finally nailed the Monk riff. "Got it, Jamie?" Charles teased. "It's right under your fingertips."
"Once Ray anointed Jamie," says Hackford, in a separate interview, "I saw him grow from his regular height to 10 feet."
To take on the role, the supremely disciplined Foxx shrank from his normal weight of 190 to 156 so he would look even more like the wiry musician.
Make no mistake, Foxx is no method actor who lived Ray all da night. "(Actress) CCH Pounder taught me character is like a coat," Foxx says. "Put it on when you're working, hang it up when you're done." This comes easy to the man who lives as both Eric Bishop and Jamie Foxx.
"My first acting job was telling the insurance guy that Granny wasn't home," Foxx remembers with a grin. When Foxx's parents split up, his maternal grandparents, Estelle and Mark Talley, adopted their grandson. Granny Talley was 57 Eric was seven months. She's now 95.
"There was a generation gap," he says. "She didn't understand me, but she raised me with an iron fist." Granny Talley lit both his ambition and his self-sufficiency, dissuading young Eric from eating at the neighbors': They might think the Talleys didn't have money enough to buy their own.
For Eric, it was a structured life of Boy Scouts, football on Friday, church on Sunday. "But with me, the racial thing was a big thing. To be a strong black man in Texas, you were risking your life," he remembers.
If he ever harbored anger for the kids who hurled epithets, success has helped to dissipate it. When he recently went back to Terrell to visit Granny Talle shoot a segment for the CBS newsmagazine "60 Minutes," he says, "some of the kids who called me the N-word apologized for it."
Though in Los Angeles Foxx is known as the ringmaster of bacchanals where Puff Tom and Will come to play (one reveler tattled to Newsweek that in Foxx's den, "anything goes, and I mean anything"), the single father is also a hands-on parent.
Because of his schedule, 9-year-old Corinne lives primarily with her mother. But Foxx is there for homework and home-school meetings. He even coaches Corinne's track team. Her event is the high-jump. Given her father's soaring ambitions, what else would it be?
(Published: October 30, 2004) | |||||
2661 | dbpedia | 3 | 11 | https://www.tvguide.com/celebrities/taylor-hackford/bio/3030197985/ | en | Taylor Hackford Biography | [
"https://www.tvguide.com/a/img/resize/5b87d23751f67259a11a4bcb086451e40302b2da/catalog/provider/10/9/10-269C9789-4BB5-4904-A9B8-61722D65F9E9.jpg?auto=webp&fit=crop&height=300&width=200"
] | [] | [] | [
""
] | null | [] | null | Read all about Taylor Hackford with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide. | en | /favicon.ico | TVGuide.com | https://www.tvguide.com/celebrities/taylor-hackford/bio/3030197985/ | Fast Facts
After graduating from college, spent two years in Bolivia as part of the Peace Corps
While filming his time in Bolivia, fell in love with the medium and gave up his desire to study law
Earned two local Emmys in the 1970s for his work as an investigative reporter for KCET in Los Angeles
Made his big-screen directorial debut in 1980 with the rock biopic The Idolmaker
Scored his biggest hit as a director with the 1982 romance An Officer and a Gentleman
Met his wife, actor Helen Mirren, on the set of his 1985 drama White Nights
Has become known for his documentary profiles and biopics, including the acclaimed Chuck Berry: Hail! Hail! Rock 'n' Roll (1987) and the Oscar-winning Ray (2004)
Succeed Michael Apted as president of the Directors Guild of America in 2009 | ||||
2661 | dbpedia | 0 | 13 | https://www.theguardian.com/film/2005/jun/06/features.paulhamilos | en | Charles and I | [
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CCulture%2CCensorship",
"https://i.guim.co.uk/img/static/sys-images/Film/Pix/pictures/2005/06/06/ray372.jpg?width=465&dpr=1&s=none"
] | [] | [] | [
""
] | null | [
"Paul Hamilos",
"www.theguardian.com"
] | 2005-06-06T00:00:00 | <p>Taylor Hackford, director of Ray, talks to Paul Hamilos
about censorship, the pitfalls of a white man
making a film about a black hero, and why
his acclaimed biopic was 15 years in the making .</p> | en | the Guardian | https://www.theguardian.com/film/2005/jun/06/features.paulhamilos | Biographers are notorious for falling out of love with their subjects as they spend weeks, months, years, researching every small detail of their lives, only to discover that the person they once idolised was as prone to human frailties as the rest of us. You couldn't blame Taylor Hackford, director of Ray, if he ended up feeling the same, having spent a good part of the last 15 years trying to get the life story of Ray Charles onto the big screen.
But Hackford already knew all about the dark side of Charles's life before he started the project; his 20-year heroin addiction, serial womanising and the stories of his mistreatment of colleagues, friends and fellow musicians are well known. And anyway, Charles's life was so extraordinary, and his talents so beguiling, that he could easily be forgiven a few lapses in his personal life. Charles's last album before his death in 2004, Genius Loves Company, was pretty apt - he certainly did enjoy company, not all of it good.
Despite the obvious appeal of the narrative arc of Charles's life - from grinding poverty in the Deep South to international superstardom, with blindness, drugs and plenty of sex thrown in - studio executives weren't overly keen on the idea of a biopic. As Hackford says: "You have to understand I heard everything, from 'nobody remembers Ray Charles,' to 'young people aren't interested,' 'African-American films don't sell overseas,' and 'biopics belong on television'." The director has every reason to feel a little smug about his perseverance: "After having been told no, and having all these people say it wouldn't work, Ray is now the third-highest DVD in sales in the US this year." Given that the two films ahead of it, The Incredibles and Shark Tale, are both children's movies, which traditionally do well on DVD, the success of Ray is all the more impressive.
The making of the film is almost as intriguing as the story itself. Having thought that he would have to give up entirely, a saviour appeared from the unlikeliest of sources. Billionaire Philip Anschutz, a long-time fan of Ray Charles's music, offered to fund the project, with just a few conditions: as a religious conservative he didn't want any sex or swearing. Hackford initially said no, reasoning, "you can make PG-13 films on any subject, but this is a man who was a heroin addict for 20 years and slept with a different women every night. It's the wrong subject".
"I walked away from the project not once but twice," adds Hackford, "because he [Anschutz] now had the rights and he was determined to make sure that it couldn't be an R-rated movie. I make R-rated movies, so I left.
"The person who made me come back was Ray Charles. He said, 'Taylor, you're a fool. You struggled for 13 years and I stayed with you and now you're walking away from this film? This guy wants to make the film ... and, hey man, I never said fuck in the 50s. I do now. I didn't then'."
Hackford convinced himself that artists "have been censored for centuries and still were able to communicate sex and everything else," and decided to take Anschutz's money. He delivered a film that expresses the highs and lows of Charles's heroin use, his womanising and the rough-and-ready feel of the clubs where he learned his trade, but without graphic sex scenes or Pulp Fiction-style drug-taking.
"It is ironic that a film like this should have been funded by a moral conservative. But, he was straight about his beliefs and, once we agreed, he left me alone. That's much better than having somebody who believes they've got an artistic point of view, who tries to meddle with you," says Hackford. And, in the end, "it's a sexy film and a tough film".
That's not to say the film hasn't had its critics. When it was released in the cinema last year, David Ritz, co-author of Charles's autobiography, accused Hackford and his writer James L White of sentimentalising the story and ignoring some of the more unsavoury aspects of his life. It's not an accusation that bothers the director, though he suggests that some of the scenes, which are available on the DVD, should have been in the cinema: "I think this is more of a definitive version. The additional scenes are darker, more complex explorations of the character of Ray Charles."
And, of course, there's the film's real draw: Jamie Foxx's Oscar-winning performance as the main man. Here, Hackford struck gold; Foxx doesn't just capture the musician's rolling gait and vocal mannerisms, he really seems to be Ray Charles. And, luckily for Hackford, Foxx was classically trained as a pianist, so you have none of those awful cut-away shots so typical of musical biopics, where you know the hands playing the piano don't belong to the actor. Indeed, Hackford seems to relish showing that Foxx is actually playing the right notes, even if the music is taken from old recordings. So good is Foxx as Ray Charles that you can be forgiven for thinking you're watching a documentary.
This is less surprising when you consider Hackford's own career. Best known for blockbuster thrillers The Devil's Advocate and Proof of Life, Hackford began as a documentary-maker for public TV in Los Angeles. This grounding in factual film-making has informed his work in the movies. "Because of where I started and because of what I care about, when I'm making a film I take a huge amount of effort to [get the details right] ... whether the audience knows the difference or not, I know the difference. And, to me, one of the things I'm most proud of in Ray is those early club scenes. I looked at old photographs and visited some of the clubs.
"This wasn't a concert hall where you appreciated the art. You had to get people out of their seats dancing. They had to work out their demons, they had to sweat and have a great time because they had to get up to these bone-crushing jobs the next day." To get the feel of these clubs, "the people, the extras, the costumes, the look, the dancing had as much to do with it as the music because you understand how the music works by seeing the people moving and I think those were things that ... give a great deal of credence to what the scenes are about."
Hackford was sensitive to the fact that he had to get this right, because of the potential pitfalls when a white man directs the life story of a black hero. "Jamie was my partner on this. I had an entirely African-American cast and I chose an African-American writer. I wrote the story, but Jimmy White wrote the dialogue and the script. I listened to those people and tried to capture the African-American ethos. That was really important to me.
"I know, because the film was really embraced by the black audience, that we succeeded. That was my goal - I wanted the general audience to see it, but mostly I was looking to have the African-American audience to embrace this as a true evocation of the black experience."
Now that his mission to bring Ray Charles to the big screen is well and truly past him, Hackford is lining up his next project. "I'm working on a contemporary adaptation of Carmen," he says. "Not the Bizet opera, but a contemporary thing in the Latino barrios of New York and Puerto Rico." I ask him what stage it's at. "Well, it took 15 years to do Ray, so ... but I've got a script I've turned in, and I'm hoping they say yes." Perhaps there's a certain moral conservative he might end up receiving a call from. | |||||
2661 | dbpedia | 2 | 0 | https://www.imdb.com/title/tt0350258/ | en | Ray (2004) | [
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:132-5701787-0385248:WZGX3J8DFSKNKGTDGSWB$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DWZGX3J8DFSKNKGTDGSWB:0",
"https://m.media-amazon.com/images/M/MV5BMTQxNDQwNjQzOV5BMl5BanBnXkFtZTcwNTQxNDYyMQ@@._V1_QL75_UX190_CR0,0,190,281_.jpg",
"https://m.media-amazon.... | [] | [] | [
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null | [] | 2005-01-06T00:00:00 | Ray: Directed by Taylor Hackford. With Jamie Foxx, Kerry Washington, Regina King, Clifton Powell. The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s. | en | IMDb | https://www.imdb.com/title/tt0350258/ | First of all, it is sheer joy to hear the legend perform such wonderful and timeless music. This movie and soundtrack is a tour de force. Ray Charles is unique and amazing. I truly adored the film as it was inspiring and entertaining throughout.
Jamie Foxx has become one of the premiere actors in Hollywood as is clearly shown in Ray and he should get an Oscar for this role, it is unprecedented. In fact, everyone who worked on this film should receive accolades. I really liked Kerry Washington who played the exceptional wife...Ray Charles obviously married well. Regina King is a fine actress as well as the extraordinary Sharon Warren who plays a struggling young mother.
In all honesty, I'd say this whole project was providentially arranged. The entire cast was perfect, great screenplay and awesome settings...major props to the director Taylor Hackford and crew for doing such a splendid job in bringing the life of Ray Charles to the screen so flawlessly. This is my picture of the year, certainly one of the best biographical films ever made. | |||||
2661 | dbpedia | 3 | 5 | https://www.geffenplayhouse.org/people/taylor-hackford/ | en | Taylor Hackford | [
"https://www.facebook.com/tr?id=274697749664794&ev=PageView&noscript=1",
"https://geffenplayhouse-16b04.kxcdn.com/site/templates/images/logo.svg?1in72u",
"https://geffenplayhouse-16b04.kxcdn.com/site/assets/files/52186/2024-2025-season-2008x2880-1.400x0.jpg?2rmsrk",
"https://geffenplayhouse-16b04.kxcdn.com/si... | [] | [] | [
""
] | null | [] | null | en | //geffenplayhouse-16b04.kxcdn.com/site/templates/images/favicons/apple-touch-icon.png?1in72u | Geffen Playhouse | https://www.geffenplayhouse.org/people/taylor-hackford/ | Director
Taylor
Hackford | |||||
2661 | dbpedia | 2 | 10 | https://people.com/crime/who-is-larry-ray-sarah-lawrence-sex-cult-leader/ | en | Who Is Larry Ray? Everything to Know About the Sarah Lawrence Sex Cult Leader | [
"https://people.com/thmb/W43V7SBvIGyY__zjQkMQHMl0qHY=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/Jordan-Chiles-Instagram-081024-01-8f30a7d2125a45dc89592454d003e198.jpg",
"https://people.com/thmb/W43V7SBvIGyY__zjQkMQHMl0qHY=/400x0/filters:no_upscale():max_bytes(150000):strip_icc()/Jordan-Chiles-Insta... | [] | [] | [
""
] | null | [
"Jessica Sager",
"www.facebook.com"
] | 2023-02-09T12:56:16-05:00 | Cult leader Lawrence 'Larry' Ray was convicted in 2022 of sex trafficking and extortion for allegedly physically, emotionally and sexually abusing his daughter's Sarah Lawrence College roommates. | en | /favicon.ico | Peoplemag | https://people.com/crime/who-is-larry-ray-sarah-lawrence-sex-cult-leader/ | Lawrence "Larry" Ray is commonly known as the leader of the Sarah Lawrence "sex cult;" however, U.S. Attorney Damian Williams described him in much starker terms in an April 2022 statement following his conviction: "Larry Ray is a predator. An evil man who did evil things."
Larry was convicted of 15 criminal counts — with charges including sex trafficking, extortion and racketeering conspiracy — after moving into his daughter's dorm at Sarah Lawrence College and psychologically, physically and sexually abusing several of her classmates and other acquaintances for nearly 10 years and in three different states. Larry reportedly forced some of his victims into prostitution, threatened to dismember another and recorded coerced and false confessions from each, admitting to crimes and offenses they never committed.
In January 2023, Larry was sentenced to 60 years in prison — per the U.S. Attorney's Office for the Southern District of New York — with the judge in the case applauding Larry's victims' courage to face their abuser in court. Additionally, that November, two former students filed a lawsuit against the college for not protecting them against Larry, whom they alleged had "emotionally, physically and sexually" abused them, according to The New York Times.
The story of Larry's reign of terror was first reported by The Cut, sparking a police investigation into the allegations against him. Since his arrest and conviction, the cult has been the subject of Law & Crime's Devil in the Dorm podcast, the 2023 Hulu docuseries Stolen Youth: Inside the Cult at Sarah Lawrence and the Lifetime film Devil on Campus: The Larry Ray Story, premiering on June 23, 2024.
Here's everything to know about Larry Ray and his disturbing crimes.
Larry has roots in New York City
Larry, also known as Lawrence Grecco, was born in the Bay Ridge neighborhood of Brooklyn, N.Y. According to New York Magazine, he worked on Wall Street in the 1980s and as a consultant for various industries, including insurance, construction and gambling. He doesn't have a college degree.
He served in the military very briefly
Larry served in the military, but not for long. The Cut reported that Larry served just 19 days in the United States Air Force, but he remained in contact with prominent military officials, including the late Marine Gen. Charles Pitman and retired Marine Commandant Gen. James L. Jones.
He also claimed to have worked for the CIA, though there is no evidence Larry was ever employed as an intelligence agent for the United States government in any branch.
Ray was instrumental in the downfall of a N.Y.C. police commissioner
The New York Times reported in 2020 that Larry had owned bars and nightclubs in New Jersey in the 1980s, including one called Club Malibu and JJ Rockers in Scotch Plains, N.J. During his tenure with the venues, Larry met numerous politicians from New Jersey and New York and befriended Bernard Kerik, with whom he worked out and rode motorcycles.
In 1998, Kerik was named commissioner of the New York Department of Correction. That November, Ray was the best man in Kerik's wedding, which Larry and a fellow Club Malibu partner helped pay for. The following year, Larry introduced Kerik to Frank DiTommaso of the Interstate Industrial Corporation, where Larry worked as a security director.
DiTommaso hired Kerik's brother for a position at a related company, Interstate Materials, per a 2006 New York Times report, and illegally gave Kerik $165,000 in free renovations to his Bronx apartment. The scandal surrounding the renovations led Kerik, who was named New York City police commissioner in 2000, to withdraw his nomination as the secretary of the Department of Homeland Security in 2004.
Larry reportedly cooperated with investigators looking into Kerik's dealings with DiTommaso. In 2006, Kerik pleaded guilty to misdemeanor charges of accepting illegal gifts and failing to report a loan — according to NYT. He later pleaded guilty to federal tax fraud and making false statements to officials in 2009. (Then-President Donald Trump later pardoned Kerik in 2020.)
In addition to cooperating with investigators into Kerik's case, Larry also aided in criminal investigations into DiTommaso, testifying against the contractor in a 2012 perjury trial. In retaliation, Larry was badly beaten by DiTommaso, resulting in neurological damage.
DiTommaso can be seen on video (via The New York Daily News) punching and beating Larry in the lobby of the now-defunct Hudson Hotel in N.Y.C. in September 2015. DiTommaso was later charged with felony assault; Larry's attorney said his client sustained a skull fracture and permanent neurological and speech problems following the attack. Prosecutors dropped the charge to a misdemeanor, and in 2017, DiTommaso pleaded guilty to disorderly conduct and was sentenced to one day of anger management.
Larry was previously convicted of fraud
Prior to Kerik's own apprehension and conviction, Kerik introduced Larry to FBI agent Gary Uher. Larry promised to act as an informant for Uher on a "pump-and-dump" scheme tied to Eddie Garafola, a capo in the Gambino crime family, The Cut reported. Uher met with Larry several times a week, and, believing he may be in danger of a Mafia hit, the FBI installed a $10,000 security system in Larry's home.
However, instead of acting as an informant, Larry reportedly was trying to cover his own involvement in the same scheme. He and 19 others were charged with securities fraud after he offered a $100,000 bribe on Garafola's behalf. In 2003, he was sentenced to five years of probation.
He claimed to have aided a ceasefire in Kosovo
According to The Denver Post, Larry claimed to have been a key player in some foreign policy decisions. In court files obtained by the outlet, Larry had a letter from NATO expressing appreciation for Larry's "efforts to ensure good communication and understanding between ourselves and the Russian leadership" regarding ending the 1999 bombing in Kosovo.
However, Chris Donnelly, the NATO official who wrote the letter, downplayed Larry's potential role, telling The Cut: "I remember him being around. He was connected and may have made some calls for us, as many other people did at the time. I wrote a letter for anyone who was involved."
Ray credits himself for a meeting between Mikhail Gorbachev and Rudy Giuliani
Larry reportedly befriended late Soviet Union leader Mikhail Gorbachev's interpreter, Pavel Palazhchenko. He claimed he arranged a meeting between then-New York City Mayor Rudy Giuliani and Gorbachev in December 1997, saying Kerik had requested the gathering.
"At first, I told him there was no way," Larry told The Denver Post. "Gorbachev met world leaders, not city mayors. But Bernie kept insisting, and eventually I made it happen."
Larry didn't just link Gorbachev with Giuliani. The Cut reported that he also introduced him to Robert De Niro in Los Angeles.
He had a bitter divorce from his daughter Talia's mother
In 2004, Larry's wife, Teresa Ray, filed for divorce from him and called the police, alleging that he'd hit her, The Cut reported. When police arrived, Larry and Talia accused Teresa of abusing the children, and Larry was granted temporary custody of the girls. The local police department reportedly received numerous anonymous complaints of Teresa's relatives abusing the girls, and Larry allegedly wrote blogs detailing abuse, with some claiming to be written by Talia.
Authorities found no evidence that Teresa, nor anyone in her family, abused the girls, and a forensic examiner determined that Larry coached his daughters on what to say to authorities to accuse their mother of misconduct.
After several years of custody disputes concerning their daughters, Larry was charged with interference with child custody, bail jumping and contempt of court after he refused to turn his daughters over to a maternal aunt for a Thanksgiving visit in 2005. According to The Star-Ledger, he pleaded guilty to the charges in 2010 and spent six months in jail for the offenses. Per The Cut, Talia chose to live in youth shelters instead of with her mother.
Ray blamed all of his legal problems on government conspiracies
In 2006, Larry was arrested after a girlfriend called the police accusing him of imprisoning her in their apartment, pinning her down and putting his hand over her mouth and nose, causing breathing difficulty. The case was dismissed when his girlfriend declined to press charges.
Larry claimed his domestic violence arrest, the entire custody case and the securities fraud cases were all the result of a vast conspiracy tied to Kerik, The Cut reported. At times, Larry alleged that Kerik sought revenge for Larry's cooperation with corruption inquiries against Kerik; other times, he alleged that former President George W. Bush, former Vice President Dick Cheney and Giuliani sought to silence him because he knew too much about the Sept. 11, 2001, terrorist attacks.
The domestic violence incident was considered a probation violation, leading police to arrest Larry in 2007 with his daughter Talia in the same room. At the time, he reportedly blamed "police corruption" for his legal troubles, per The Cut.
He was diagnosed with personality disorders
According to New York Magazine, Larry was diagnosed with histrionic and narcissistic personality disorders, citing a report from his defense team that claimed Larry "has characteristics that are strongly suggestive of pseudologia fantastica or Munchausen's disorder."
A psychological examiner's notes from Larry's custody battle with his ex-wife claimed Larry was "able to manipulate and control almost any situation in which he finds himself, including a psychological interview with a forensic examiner, no matter how experienced that examiner may be. Mr. Ray is very good at what he does … [Lawrence] can be utterly charming, and one can be disarmed by his childlike simplicity and smile. But Mr. Ray is no child; he is a calculating, manipulative and hostile man."
Ray moved in with his daughter, Talia, at Sarah Lawrence when he left prison
After serving time for the probation violation tied to the securities fraud sentence, Larry moved in with Talia at her dorm at Sarah Lawrence College in Yonkers, N.Y. Talia believed her father had been in prison because he was trying to protect her from her mother and that a corrupt system punished him for it, The Cut reported.
Larry ingratiated himself with Talia's roommates and friends, cooking and ordering elaborate meals and having deep conversations with them. Larry acted as a self-help "guru" and counselor for the group of students, which included siblings Santos, Yalitza and Felicia Rosario. Rosario lived in L.A., while the others eventually moved in with Larry into a one-bedroom apartment in N.Y.C.'s Upper East Side neighborhood.
"I met Larry because he was helping my brother, Santos," Rosario told PEOPLE exclusively in 2023. "He was happier and doing better. And then he was helping my sister, Yalitza, and she was happier. I'd also met Talia when she was dating my brother, and I loved her. So I had a lot of other people vouching for him. He was like a friend of a friend of a friend — cool, trustworthy, reliable. It didn't occur to me he would be the person he ended up being."
Rosario claimed that Larry began to "love bomb" her with gifts and messages and deprived her of sleep. Once the exhaustion began to set in, he regaled and frightened her with stories about how powerful individuals wanted him — and, by extension, her — dead and that he was the only person who could protect her. Not knowing what else to do, she moved in with him in New York.
Once in New York, Rosario discovered that Larry had forced the women roommates to have sex with him — and with strangers — and that he would record the sexual encounters and threaten to post the videos online and send the files to their families. He claimed it would help them overcome past childhood sexual trauma — even though Rosario said she had never been abused as a child.
"He did this with everyone," Rosario said. "He rewrote everyone's childhood, and he said all kinds of horrible things happened to me. He had me saying that my dad had prostituted me and that I was sexually abused by him. All sorts of horrible things that just were not true."
Most of Larry's victims eventually escaped his clutches, but Rosario and another woman, Isabella Pollok, remained in his grasp for 10 years until the New York Magazine article came out — and Pollok was later charged as a co-conspirator in the sex trafficking and extortion case in 2021. Though she had maintained her innocence, Pollok — described as Larry’s "lieutenant" — pleaded guilty to conspiracy to commit money laundering in 2022 and was sentenced to 54 months in prison in February 2023 (via The New York Times). | ||||
2661 | dbpedia | 1 | 7 | https://wordpress.lehigh.edu/kaw221/2018/12/13/literary-theory-ray-charles-the-genius/ | en | Literary Theory - Ray: The Movie | [
"https://wordpress.lehigh.edu/kaw221/files/2018/12/ray-10u85ij.jpg",
"https://wordpress.lehigh.edu/kaw221/files/2018/12/IMG_8101-23y9l5x-300x199.jpg"
] | [] | [] | [
""
] | null | [
"Katherine Wells"
] | 2018-12-13T00:00:00 | The 2004 film Ray depicts the start and takeoff of the musical career of loved R&B musician and genius Ray Charles. In director Taylor Hackford’... | en | https://wordpress.lehigh.edu/kaw221/2018/12/13/literary-theory-ray-charles-the-genius/ | The 2004 film Ray depicts the start and takeoff of the musical career of loved R&B musician and genius Ray Charles. In director Taylor Hackford’s choice of Jamie Foxx, we see a depiction of the courage and power of Ray, a black, dominant musician who rose to fame in the 1950s. In an industry defined by borders, Hackford creates a film that quietly portrays the effects of racism at Ray’s time, along with existing racism at the time of the film’s creation. With carefully chosen actors and scenes, Ray tells the story of fame, creativity, and human triumph in order to illustrate the seen and unseen realities of the world’s obstacles and flaws, both then and now.
With instances of acclaimed black actors not receiving awards and films lacking non-white characters, Hollywood and its audiences are not new to the racism of the entertainment world. It has been observed since the industry’s start. In Tyson’s African American criticism theory, she discusses double consciousness, which refers to black writers, or musicians, as “having to decide whether to write primarily for a black audience, a white audience, or both.” Furthermore, Tyson states “this decision involves, in turn, the kind of language the writer [or musicians] uses,” (363). The character Ray is portrayed by black actor Jamie Foxx. Foxx has been cast in movies of all genres, such as drama Django Unchained. Quentin Tarantino’s film is an important note because he, an Academy Award winning director, creates films that skyrocket to fame. His choice of Foxx for the lead of a slave demonstrates Tarantino and Hollywood’s understanding of Foxx’s portrayal as an actor. He has the ability to deliver a character loved by audiences, both black and white, while playing a controversial role. Ray Charles is a man with the power to captivate any group, no matter what race. Despite his fame and fortune, Ray was still a famous black man at a time before the civil rights movement. In demonstrating double consciousness, it is essential the film is aware of the audiences being targeted throughout the storyline. In order to appeal to these different demographics, director Taylor Hackford chooses a “safe” actor, Foxx, to play the lead in order to deliver his realistic messages clearly and effectively. With his portrayal, audiences have a preconceived respect for Foxx, setting aside the character he is playing and his actions in the film. Ray Charles rose to fame in a time where schools were still segregated. When the film was created in 2004, the drastic racial boundaries faced at Charles’ time were no more, besides from the racism still evident today.Ray is a story about raw talent, overcoming obstacles, and eventual triumph. It should not matter what race the main character is, but it does. Using knowledge of double consciousness, Ray lays out a story with a rough beginning and triumphant end, using an actor loved by both black and white. Paired with a feel good storyline, the film evokes a sense of respect, awe, and appreciation from its viewers. Both Ray Charles and the film Ray overcame racial barriers in the industry in order to present talent, deliver entertainment, and shine a light on some of the flaws of the world and the people in it.
African American folk art such as the blues is discussed in Tyson’s theory, and is evident in Ray’s dominance over the music industry. Tyson cites Baker in that, “The blues are a form of African American cultural self-expression that both influences and is influenced by, that both affects and reflects, all other forms of African American expressive culture,” (388). The blues are a “matrix” or a “cultural code” (388) to the black community. As a character, Ray is aware of double consciousness, demonstrated in his knowledge of the different types of music, and the different people, or cultures, that play that music. Musical categories are often marketed by race, but Ray chooses to see though the seemingly defined lines to create music like no other artist, black or white. After being signed to a major record label, Ray is told he needs his own, original sound, or he will never make money. Deciding to change up his musical style, Ray begins to blend soul, blues, country, and jazz, and over time includes gospel. Ray develops a unique genre, without trying to gear his music to a specific audience. Although the blues are historically dominated by black individuals, Ray is not trying to make music for just the fans of blues, or black people. Despite his race, Ray reaches a mass audience typically not achieved by black artists at the time. In Foxx’s demonstration of Ray’s lack of care for racial musical stereotypes, we see human triumph over an entire industry and its fans, showcasing Ray’s strength as a character and loved figure. Ray dominates the music industry and revolutionizes music, creating hit after hit of raw, original creativity along with his own sound, and genre. Ray Charles has the ability to transcend the racial boundaries of fame and musical genres alike, evident in his portrayal by actor Jamie Foxx.
With Ray’s growing fame at the end of the second act, the audience sees Hackford’s quick inclusion of a political action by Ray Charles. In 1961 outside a venue in Georgia, Ray took a stand against racism and in support of the civil rights movement. Told by a fan the venue he was about to play was segregated, Ray backed out of the show, breaching his contract which led to him paying a fine. With Ray’s fame and power over the music industry at the time, this was a substantial leap for the civil rights movement. Ray stood up for what was right, even if that meant consequences, such as his permanent ban from performing in Georgia, his home state. Discussed by Tyson as one of the basic tenets of racism, interest convergence plays a role in the segregation of venues at this time. Interest convergence is “used to explain that racism is common in our country because it often converges, or overlaps, with the interest-with something needed or desired-of a white individual or group” (371). Ray was a performer for the masses, not a specific racial group. Ray choosing to deny a racially segregated audience a show was not a stand typically taken by a black performer at a time of such conflict. Before this scene, Ray’s fame is growing, as he creates hit after hit and tours the country. After this scene, at the end of the second act, Ray’s downfall is depicted, specifically when he is busted for drugs in his hotel room. While the film as a whole tells the story of Ray’s success, drug use and all, Hackford’s placement of this scene illustrates the overarching theme of human triumph in the entertainment industry. Hackford included this pivotal moment for less than a minute, and he could have excluded it all together. By including it, he demonstrates that even at the peak of fame and fortune, a star can still be brought down, in this case by racism. Ray’s image, success, and love from the world was not enough to shield him from the realities of the industry and era.
Viewers can easily overlook the scene, which plays on its purpose. In a film about the talent, success, and triumph of a black artist, Ray is an ultimately positive depiction of the life of Ray Charles. In a demonstration of interest convergence, Hackford gives the viewers a quick moment of possibly unwanted reality. He quickly touches on the severe nature of racism at the time, demonstrated with both a lovable character and actor, full of talent and positivity, in order to illustrate societal negativity for reasons focused solely on race. | ||||||
2661 | dbpedia | 3 | 32 | https://www.upi.com/Entertainment_News/2008/08/12/2-Tennessee-Williams-bio-pics-planned/24831218564410/ | en | 2 Tennessee Williams bio | [
"https://cdnph.upi.com/svc/sv/upi/24831218564410/2008/1/6e969630a4e61ec98281f5151b21e323/2-Tennessee-Williams-bio-pics-planned.jpg",
"https://cdnph.upi.com/ph/st/th/5701724761702/2024/upi/3e3f77d50e3aa88db7b7c7e40b5dcdbf/v1.2/Stacy-London-Clinton-Kelly-to-host-new-fashion-show-for-Prime-Video.jpg?stfi=1",
"http... | [] | [] | [
"Entertainment",
"Helen Mirren",
"Ray Charles",
"Taylor Hackford",
"Tennessee Williams"
] | null | [] | 2008-08-12T00:00:00 | U.S. filmmaker Taylor Hackford has signed on to direct "Tenn," a movie about late playwright Tennessee Williams. | en | /favico.png | UPI | https://www.upi.com/Entertainment_News/2008/08/12/2-Tennessee-Williams-bio-pics-planned/24831218564410/ | LOS ANGELES, Aug. 12 (UPI) -- U.S. filmmaker Taylor Hackford has signed on to direct "Tenn," a movie about late playwright Tennessee Williams.
Williams was the author of such American stage classics "Cat on a Hot Tin Roof," "The Glass Menagerie" and "A Streetcar Named Desire." He choked to death in 1983 at the age of 71. | ||||
2661 | dbpedia | 3 | 65 | https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony | en | Nothing Sacred "Ray" Directed by Taylor Hackford, Reviewes by D. Anthony — A Gathering of the Tribes | http://static1.squarespace.com/static/5755c3cac2ea51e5d7698b0f/t/66845d52e8e7b3617f00b588/1719950674594/Tribes+Logo.png?format=1500w | http://static1.squarespace.com/static/5755c3cac2ea51e5d7698b0f/t/66845d52e8e7b3617f00b588/1719950674594/Tribes+Logo.png?format=1500w | [
"https://images.squarespace-cdn.com/content/v1/5755c3cac2ea51e5d7698b0f/c01a1d0a-9522-4ee0-b500-70b25f2b511a/Tribes+Logo.png",
"https://images.squarespace-cdn.com/content/v1/5755c3cac2ea51e5d7698b0f/c01a1d0a-9522-4ee0-b500-70b25f2b511a/Tribes+Logo.png",
"https://images.squarespace-cdn.com/content/v1/5755c3cac2e... | [] | [] | [
""
] | null | [
"Tribes"
] | 2000-06-04T00:00:00 | Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the | en | https://images.squarespace-cdn.com/content/v1/5755c3cac2ea51e5d7698b0f/1471142247134-G6DGXTHTWNQLJT2W0X09/favicon.ico | A Gathering of the Tribes | https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony | Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the shit means to me when I walk out that door. I'm about what kind of rhythm it leaves me with. Period. My patience and attention span have pretty much worn thin. I'm tired.
11-2 trumped 9-11, and it didn't jump up out of thin blue air. Those star-crossed confederates, those fundamentalists ... those gods of the red states. Those southern crackers on fire. Them and their allies out for the kill. It's all so ... West Coast with an East-Coast flair. Finance capital and such. Obscures the yeoman farmer, the middle-man, the eat-dirt road. A case of the Beverly Hillbillies gone mad. Waco. What a team we make. The two of us.
No, it wasn't supposed to be this way. Revolutions came and went. In government, ideas and sound. They predicted God's death a long time ago. Said it loud and clear. Dionysus. A chorus of voices told us that the devil stuck his fork in Him with art, secular rationalism and industrial profit. Bless their souls. I don't even believe in their hippy Jesus but it doesn't take much to see that he's about to get us all thrown in hell if we aren't there already. Him along with Allah and who ever the fuck it is the Jews think they're waiting for. Someone else's land and self-interest no doubt.
And Georgia, where they won't even let you buy a fucking vibrator for christ's sake. They'd just as soon have your cunt sown up as let you play with it, unless you're having a baby. And you'd better have it too. The price you pay for sin. I'm talking about some outlaw sex. The abolition of desire and shit. No-man's-land. They have it on their flag, wear it on their hats, their arms, slap it on the back of their trucks and shed blood for it ... to this day. \italic{Georgia, Georgia, The whole day through/ Just an old sweet song/ Keeps Georgia on my mind.} Black people and women know what I'm talking about. Some of them. Or at least they used to.
Desire, freedom, space, autonomy, rhythm, love, rage, food, clothes and shelter. I'm talking about a gutbucket. Some low-down basic in your balls longing for shit. So bad it aches. That's the kind of grind Ray could hit you with. He told the church to kiss his ass. "I'm blind motherfucker, this is my shit." He took all that good stuff and put it back where it belonged. Stole it right under their nose, beneath their wide-open eyes. Satisfaction and how to get some. Pain and how to express it. The body and how to move it. Struggle. Labor. Hustle. Lust ... when they'd just as soon cut your dick off as let you put it to some better use.
Now, I don't know if you've ever lived with a junky ... or been one. But a junkie is a dirty dog that bites. A junkie is a say-shit-out-of-line piss when he ain't supposed to cranky ass bitter unreliable behind your back two-faced say sorry all the time potentially violent self-centered motherfucker. That's what a junkie is right there. That's who you cross the street to get away from. On dope? Ask Bird if you can find him. Dead as a duck. A junkie is X-rated even when he can't get it up. Nothing PG-13 about a junkie. It does more than just scratch and grin and mumble and make people sincerely vaguely concerned. \italic{But Ray, what about me, what about the children? }At which point, if the movie has any integrity at all, Ray the junkie is supposed to turn around and say, \italic{Fuck you bitch, stay out of my shit from now on and mind your business, or I'll send your funky loose-tit ass back to the pastor you were with before I met you. }He might have even slapped her or something unseemly for looking in his shaving kit and finding his works. Let's not even mention the tracks and sores for now. This movie sure doesn't. But I mean, break a glass or something Ray ... goddamn. I hear he followed that shit for over a decade but hey, what do I know? I wasn't there.
And I can't speak for you, but I sure ain't never been blind ... at least not in the literal sense. It's pretty hard to say something bad about a guy who couldn't see anything ... even if it is only about a movie someone else made after he died to cash in on a profit ... a cheap shot. A cheap trick. Trust me, I feel like a creep. But I bet working night-clubs and trying to get paid or starve would make you a hell of a lot tougher than what comes across from a 36 year-old neo-vaudevillian comic who went to church every week, sang in the choir and joined the boy scouts when he was a kid. Which is true. A guy who was the star quarterback on his high school football team ... a guy who got all the leads, all the breaks, all the head behind the bleachers ... a guy who played classical piano at Julliard to boot. That's Jamie's bio. It shows. Now don't get me wrong, he does an admirable job as an impersonator. He made his reputation as a flaming queer vamping all over national television for christ's sake. Imagine that. Outlaw sex made safe.
\italic{Stage directions: Actor bows out to Thunderous applause and a shower of gold coins}.
I can't hold it against him. After all, as I sat there waiting for the music to play, he's the one who tried to make sure I wasn't completely bored watching this film. And I sincerely appreciate him for that. He did the best he could given the circumstances. He's easy to look at, he's good at what he does, he's a professional. So is Kerry Washington, who plays his ever-tolerant, sweet as can be naive wife. Both of their careers are secure ... should be rolling in it from here on out ... but that's the point. In the absence of the blues, the only place left to go is sentimentality and outright lies. Kind of like a junkie but with a different agenda. Safety. A cover-up. Fakin' it till you make it. Not the soundtrack that fills in every time Jamie opens his mouth to lip-sync mind you, but the cheesy, formulaic, predictable stuff that takes over when the music (by far the best part of this movie) isn't playing. This film is down on its knees, arms outstretched singing "Mammy." No doubt it will join the canon of late night VH-1nders. But shit, I'd rather give the part to Harvey Keitel and let him do it in blackface. He'll show you a blind nigger junkie alright.
It's not Jamie's fault. Like I said, he didn't have much to work with. The lack of spine in this film can be traced straight back to Hackford and White. I mean, it took them 15 years to make this movie. That's before Nas and Old Dirty hit the scene and even before some of the kids this movie was made for were even born. He even met Ray himself. I'd rather hear the interviews personally. Maybe they'll release them as a box set or something.
So, the foundation is missing. Words are a structure and if you don't have that you better be a committed anarchist. I'm not saying that's necessarily a bad thing mind you. Sometimes words get in the way. But flat dialogue and high melodrama will only take you so far and then you better start dancing and singing again. Fortunately this movie has plenty of that.
And what about the fuckin? Ray dropped 12 kids with five women. There isn't a sign of those snotty noses running around on Christmas in August let alone the urge that made them. Of course, I wasn't there mind you ... so what do I know about his family values and such. Yeah, I understand the art of reading between the lines. Even the bottom ones. Like the money General Electric is afraid to lose by telling the truth about Ray. "We might bring good things to light but we've got a commodity to protect after all ... Ain't nothin' free in this world but Jesus." And even that will cost you these days.
Our journey starts off in Northern Florida, 1948. Somewhere down by Universal Studios in Orlando ... right where it ends. A full circle. You ever been there? Jeb Bush and theme parks is what I'm talking about. The dark ages for sure. They still make niggers and silence go hand in hand for ten dollars a ticket. You can walk around all day with your eyes closed ... the more things change .... Anyway, Jamie, I mean Ray, I mean Jamie (the butterfly effect working its way into the frontal lobe, REM, the beauty and danger of film), is trying to take his black ass up to Seattle for a gig but some redneck bus driver, you know, the rank-and-file, is not about to be any Seeing Eye Dog for a blind nigger and he won't give him any play. So Jamie tells him he lost his sight in the war and receives the double-VIP treatment straight to beer halls, sluts and Quincy Jones. Hmmm. Poetic justice, poetic license, I understand. But why would you need to make some fable with a mythic subject like this. Take it into a never-never land of hallucination. Afraid to look it in the eye. We're all fair game. Ray, the civil rights hero working the Chitlin' Circuit, reading the Bible in braille, cutting a path through Seattle, Los Angeles, Harlem, Atlanta, Dallas and the Newport Jazz Festival. Being a victim of dope fiends, managers and women ... standing up to Jim Crow in Georgia ... coming to self-realization when it all fades to subtitles and black ... 20 million dollars to charitable institutions, a parade at the Georgia State Capital with Julian Bond ... earning his stars and stripes.
The problem is, every time I started to feel all slowly brainless and "Maybe I kind of like this movie," you know, deluded about the whole experience, just when I might have been taken in like a sucker biting the bait, falling for the pray, just when the seat was wrapping its arms around me and stroking my thighs real nice, just when the flashbacks to his brother drowning in a laundry bucket and the sprawling five-year old Ray, who lost his sight nine months after the tragedy cries \italic{Mama, Mama, I need you, help }and she ignores it, keeps on making bread to make him tough ... \italic{promise you won't be no cripple, Ray,} never a victim, eyes full of that gooey puss you don't want to look at but can't help doing it anyway thinking, "What is that shit, Vaseline?" ... some junk at last, nasty, and maybe this starts to bring a tear to your jaded dry consumer eye when ... bam! Here comes the Atlanta Compromise, Georgia raising its head again like clockwork. god is out, Ahmet Ertegun and Jerry Wexler are in. Now you're fucked kid, even if you are rich. From the frying pan straight into the fire so to speak. They taught him how to be himself all right ... Ahmet bending over the piano: "You've got to find yourself Ray, your own voice, that's why I hired you, here let me sing you a song I wrote. Croak, croak. Play it like that." Ray: "You mean like this, boss?" Ahmet: "Yeah, that's it kid, now you really sound like yourself." Some red, white and blue redux shit. You don't need any more lyrics to understand this pastoral scene. But I'll play it for you anyway: \italic{Oh beautiful, for heroes proved, In liberating strife, Who more than self, our country loved, And mercy more than life, America, America may God thy gold refine, Til all success be nobleness And every gain divined.} I ain't making this shit up. The sacred and the secular resolved. And right along with Ray-gun too in '84. What a happy family. I told you, I feel like a creep.
If that's how you like your movies, you'll have a swell old time at this one. Don't let me discourage you. | ||
2661 | dbpedia | 3 | 6 | https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/DGA-Interview-Taylor-Hackford | en | DGA Interview - Taylor Hackford | https://www.dga.org/-/media/Images/Landscape-Images/DGAQuarterly/1504Fall2015/DGAQFall2015InterviewTaylorHackfordHero.ashx?as=1&h=630&mh=630&mw=1200&w=630&hash=2820794571B61A711AB2612007B1DF8723102B1E?t=24 | https://www.dga.org/-/media/Images/Landscape-Images/DGAQuarterly/1504Fall2015/DGAQFall2015InterviewTaylorHackfordHero.ashx?as=1&h=630&mh=630&mw=1200&w=630&hash=2820794571B61A711AB2612007B1DF8723102B1E?t=24 | [
"http://directorsguildofamerica.112.2o7.net/b/ss/dgoadev/1/H.23.8--NS/0?[AQB]&cdp=3&[AQE]",
"https://www.dga.org/-/media/Images/DGAQ-Article-Images/1504-Fall-2015/DGAQFall2015InterviewHackfordTaylor.ashx?la=en&hash=8A5837BE20AA06B4F2CAB73E232AEA94AF1ED6F7",
"https://www.dga.org/-/media/Images/DGAQ-Article-Image... | [] | [] | [
""
] | null | [] | null | Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president. | en | https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/DGA-Interview-Taylor-Hackford | Fall 2015
The Director’s Chair
Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president.
BY TERRENCE RAFFERTY
Photographed by Jill Greenberg
On a wall in Taylor Hackford’s New York home— improbably, a penthouse apartment in the ever- funky East Village—hangs an old photograph of two men, in natty suits, on the deck of an ocean liner. The short, smiley, bald one is the songwriter Lorenz Hart; the tall, imperious-looking gent shaking his hand is the great choreographer George Balanchine. Hackford is a man who loves music and dance about as much as he loves film, which is to say, a lot, and he can talk about all these subjects until the cows come home.
Today, though, we’re here to speak about the art and craft he has practiced for most of his adult life, which is that of the movie director—a job that, the evidence suggests, he’s very skilled at. His first short film, Teenage Father, won an Academy Award in 1979; his second feature, An Officer and a Gentleman (1982), was one of the biggest box-office hits of the ’80s and was nominated for a DGA Award; his 2004 biopic of Ray Charles, Ray, was also nominated for a DGA Award, as well as six Oscars, including best picture and best director, with Jamie Foxx winning for best actor. Hackford’s work has ranged from documentaries (Hail! Hail! Rock ’n’ Roll, 1987) to true stories (Blood In, Blood Out, 1993) to thrillers (The Devil’s Advocate, 1997).
As a director, Hackford is both passionate and scrupulous, qualities that came in handy, too, in the two terms he served as president of the Directors Guild of America, from 2009 to 2013. He received the Robert B. Aldrich Award in 2007 for his many years of service to the Guild. But right now he is preparing to shoot a new movie, The Comedian, with Robert De Niro. He looks as fit and focused as Balanchine, and as happy as Hart. Taylor Hackford is in his element. He’s about to embark on a voyage.
The Right Note: Hackford directs two of his music-related films: his first feature, The Idolmaker (top), and Hail! Hail! Rock ’N’ Roll (middle); (bottom) working with Helen Mirren on White Nights. (Photos: (top) Courtesy Taylor Hackford; (middle) Universal Pictures; (bottom) Courtesy Taylor Hackford)
TERRENCE RAFFERTY: You’re spending August in New York? That’s brave.
TAYLOR HACKFORD: Well, I love New York, and, any- way, you go where you work; that’s the No. 1 priority. I’d tried for a year to get a film going about the widow Clicquot—of the famous Champagne family, in the 1800s—that I was going to shoot in France with a French crew, but the money wasn’t coming together so I looked around for something else. And it happened that Bob De Niro and [producer-writer] Art Linson were looking for a director for a project they’d been working on for years that was very near and dear to them, and I was able to jump right in. It’s about a stand-up comedian who refuses to give up, and it’s a dark character, as comedians tend to be. This guy is really difficult, really smart, maybe a misanthrope, and Bob really wants to do this role; he’s been working on it for like 15 years.
Q: Sort of like you with Ray?
A: When you’re passionate about something and you feel driven to make it, there’s a seriousness that can’t be denied.
Q: What stage of preproduction are you in now?
A: I’m supervising a page-one rewrite, and I hope to cast by Oct. 1. We’ll start shooting in New York in January. You know, when you’re making a movie you’re always in a race against both the clock and the cash register, and I’ve learned over time that you don’t need 18 takes if you’re working with good people—you get into a groove and you know what you need and you move on. Directing is about making decisions, in every aspect it’s about making decisions. But with casting you really want to make sure you’ve got the right people, and you know you can’t wait forever.
Q: What crew do you hire first?
A: For me, the production designer is usually the first person on the film, not the cinematographer, because you’re conceiving the whole look. It’s all about finding a team that will understand and share your vision. As a director, you’re not a painter at an easel alone with your paint and brushes and canvas; you’re not a novelist alone at your typewriter. Making movies is collaboration, and you’re as good as the people you choose to take this journey with you. Inspiring them and cajoling them, doing whatever you can to have them deliver your vision, that’s the process.
Q: Tell me a little bit about how you started out in film. You didn’t go to film school, did you?
A: No, I didn’t. I majored in international relations at USC, and then I went into the Peace Corps. I was sent to Bolivia, where I got involved in starting a newspaper. When I got back, I went to law school for two weeks— it wasn’t for me—and after that I got a job in the mail- room of the public television station in Los Angeles, KCET. Every night I’d go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see. And whenever I had a moment, I’d experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure—though I’d never shot 16 mm film in my life. I didn’t screw up too badly, so they put me on camera doing political reporting, cultural affairs, and music shows. As long as I didn’t sleep or eat, I could do everything.
Q: So that was your film school?
A: Yes, and unlike in film school you don’t get an entire semester or an entire year to do a project. I had actual airdates, and the most important thing was learning to deliver on a deadline. I’d shoot the film one day, edit the next, and it would be on the air that night. When I had six or seven hours to write a nine-minute piece, that was fine, but sometimes the edit wouldn’t be finished, and I’d have 25 minutes. Your mind focuses. When you’re making movies, the pressure is always to get your day on the set or on the location, and there are always all these factors that can prevent you from doing things the way you’ve planned. You’ve got to react to the circumstances, and that’s directing. My experience at KCET helped me understand that.
Not So Gentle: Staging a fight between Louis Gossett Jr. and Richard Gere in An Officer and a Gentleman. (Photo: Courtesy Taylor Hackford)
Q: So you know what to do when the unexpected happens, like the weather not cooperating.
A: When we were shooting An Officer and a Gentleman, it was the wettest year on record on the Olympic Peninsula in Washington. I think it rained every day except two. But I discovered that you get a more interesting saturation without sunlight, the deep saturation in the colors comes out. And I learned that if you lift the lens off the ground so you don’t see the puddles, the audience can’t tell it’s raining; rain has to be backlit for you to see it. There was one important scene late in the picture in which Richard Gere confronts Lou Gossett Jr., and we wound up having to shoot in a completely different location than I’d planned. So at the last minute I staged it, blocked it, and shot it, and it works. Every single time you go out, there are things that will hit you, that call on you to adjust to the moment. And that’s the joy of directing. When you’re a young director and you’ve worked your way out of a hole, it really adds to your confidence, too.
Q: You won an Academy Award for the short film Teenage Father, and that landed you your first feature, The Idolmaker (1980). What was it like making your first film?
A:Anyone directing their first feature, they’re terrified; you feel like everybody on the set knows more than you do. On The Idolmaker, I’d storyboarded the entire picture, every frame, and that’s both a good thing and a bad thing, because there’s a temptation to think of it as holy scripture. I had good people, a veteran AD named Cliff Coleman who’d started with John Ford and had worked on Sam Peckinpah’s movies, and I had a lot of respect for him. He’d look at my story- board and say, ’Jesus Christ, you don’t want to do it like that, you should do this and this.’ And my cinematographer, Adam Holender, who was also very experienced and very good, would look at the storyboards and just sigh and say, ’You could do it this way, but it’s very pedestrian.’ So I did it their way at first, and when I looked at the dailies after the second day of shooting, I thought, ’That’s not very good.’ And I realized that I wasn’t going to get those scenes back—they’re going to be in the picture. So I called everyone together on the third day and said, ’From this point on I’ll listen to what you have to say and value what you have to say, but I’m going to make the decisions about what we do. And they all said, ’Oh, OK.’
Q: Do you wish you hadn’t done those storyboards?
A: On a first film, they do help build confidence. Today I only storyboard action scenes and special effects scenes. I know the way I want to shoot a picture. I walk on the set and I feel like I’m never going to be at a loss, that I’m going to come up with a way to do it. I’ve thought it through, but the spontaneity is part of the process, too, it’s like you’re dancing. Some directors like preproduction, some like post, but my favorite time is when I’m shooting, because you have all these talented people and you’ve got to orchestrate them. You’re dancing, the director’s dancing. It’s terrifying, it’s difficult, it’s agonizing, but it’s fun.
Q: Was it tough shooting The Idolmaker in New York?
A: I didn’t, except for a week at the end of the shoot.
Q: Wait a minute. I definitely saw Arthur Avenue in the Bronx. ...
A: It was. We shot there, and at the Fulton Fish Market, and at the Brooklyn Bridge. But I was told at the beginning, you can’t shoot this in New York, it’s got to be shot in L.A. And I remembered that Scorsese had shot the majority of Mean Streets in L.A., and that’s a New York picture if there ever was one. [I thought] if Marty can do it, I guess I can, too.
Q: It must have felt a little strange to you, though, considering your background in documentary and public television.
A: In some way I feel like the biggest thing I got from working in documentary is paying attention to how people really react. That has a lot to do with the acting style I try to get in my films. I think I go for a very realistic style, aside from something like Devil’s Advocate, where it’s important for Al Pacino to come out big in the end. Having worked in documentary, my thinking is if you can get real people to reveal their inner feelings on camera, you can sure as hell get actors to do it. The essence of movie acting is this: You’re not on stage, you can’t be a completely different character. You have to take from whoever you are, because the camera is a magnifying glass—I’m not the first one to say this—and you can’t really separate who you are from the character you’re playing. You can imbue your natural character with other elements that fit the role you’re playing, but ultimately you’re going to have to take the elements you naturally have and use them. That’s what I try to encourage when I direct actors.
Star Power: Hackford has often worked with top talent: (top) with Dennis Quaid in Everybody’s All-American; (middle) with Meg Ryan and Russell Crowe in Proof of Life. (bottom) Hackford received the Guild's Aldrich Award in 2007. (Photos: (top, middle) Warner Bros.; (bottom) DGA Archives)
Q: How do you prepare your actors?
A: I think it’s important to take the actors to a set so they see it and start to think about it in advance. What I’m not going to do is bring them to a location they’ve never seen and say, ’Stand there, do this, do this’—they’re going to rebel. I don’t do heavy rehearsals, but I want to give the actors a chance to get their feet wet and feel comfortable. If you’re going to rehearse and rehearse, talk with all the actors about everybody’s psychological motivation, [so] when they come into a scene there’s no discovery going on. It’s not the way life is. For me, that process is the magic of film. But every director works differently.
Q: You’ve done some pretty steamy sex scenes, in An Officer and a Gentleman, Against All Odds (1984), Everybody’s All-American (1988), and Love Ranch (2010). Do you do anything different when you shoot those scenes?
A: My attitude about shooting sex is very much like my attitude about shooting violence—it should be real. Bodies have to be part of it, but for me it’s all in the eyes; you’re never going to see a love scene from me in which you can’t see the eyes. When I look at a sex scene, it’s a dramatic scene like any other. Of course, it’s terribly difficult for the actors, and you have to let them feel that you respect their discomfort. But aside from that, they’ve just got to do it, like any other scene: You’ve got to make it as real as you can, and it’s got to lead us somewhere in the story.
Q: Speaking of violence, your most recent movie, Parker (2013), is as close to a straight action picture as you’ve ever made.
A: I love action movies, though I never really thought about making one before this. The thing about Parker is he’s a great literary character by a great writer, Donald Westlake. I’ve done plenty of action and fight scenes in my other pictures: the karate fight in An Officer and a Gentleman, the fight with Jeff Bridges and the assassins in Against All Odds, the sequence in which John Good- man is beaten to death in Everybody’s All-American. I always want my fight sequences to be real, to be brutal. Violence isn’t fun—it hurts, and I want you to feel it.
Q: We’ve been talking about your desire for realism, but you’ve also made films in less realistic modes, like The Devil’s Advocate and Dolores Claiborne (1995). How do you approach those?
A: Although the acting is realistic, Dolores Claiborne is certainly more stylized. In fact, my production designer, Bruno Rubeo, and I looked at a lot of Magritte’s surrealist paintings, and even incorporated some of his imagery in the film, like when Jennifer Jason Leigh looks in the bathroom mirror and what she sees is the back of her head. I was trying to create a unique look in that film, where the narrative alternates between the present and the past. I had different looks for each, and they had to reflect the psychological nature of Dolores. In the present tense, we shot on Kodak, which naturally has a strong, contrasty, bluish feel to it—it’s a little cold compared to Fuji. There was a film I loved that Sven Nykvist had shot for Ingmar Bergman, The Passion of Anna, in which almost all the color had been stripped out, and I told my cinematographer, Gabriel Beristain, that I wanted that look in Dolores Claiborne. So we used Kodak for all the contemporary sequences, then desaturated it like crazy, and flashed it. But for the flashback scenes, when Dolores is 25 and hopeful, we used Fuji, which has a pastel look—it creates a kind of natural feeling of bliss. I did that all throughout the film.
Q: What about that fantastic sequence at the end of Devil’s Advocate in which the frieze seems to come to life? How was that done?
A: Bruno had had this idea about an animated bas- relief, and I hired a very smart guy named Richard Greenberg as a visual consultant to help me figure out how to do it. He took me to the Pageant of the Masters in Laguna Beach, where every year they re-create old master paintings with real people on stage, and he also showed me a book by a photographer who took pictures of ballet dancers underwater—he had some film footage, too. So Richard and I would get dancers and shoot them underwater, then freeze their three-dimensional form in this bas-relief, and then we’d animate them digitally when they’re supposed to be coming to life. It’s a great effect, I think.
Q: It is. And you did a good job shooting dancers on dry land, too, in White Nights (1985).
A: I love dance. In White Nights, I knew I wanted to do something with Mikhail Baryshnikov and Gregory Hines, but initially I didn’t know what the story was going to be. I’m a narrative film- maker, so I wanted a musical in which every dance carried either the character or the narrative through. Once I got that, I knew it would be interesting to contrast these styles, which are completely different. In tap dancing, you develop your body to move only from the knees down; ballet dancers move every single muscle, every bone in their bodies. I had Twyla Tharp for the choreography. I’ve got to say, choreographers are the toughest of the tough. Directors can be difficult, but they’re nothing compared to choreographers. Twyla was able to work with these two disparate styles and put them together. In that one number where Greg and Misha dance together, it’s terrific, neither one of them is dancing to his capabilities, but they’re conforming their styles in order to dance together. It’s a true pas de deux. And by the way, they’re also advancing the plot.
Ensemble: (top) With Kathy Bates in Dolores Clairborne; (bottom) with Jeff Bridges and Rachel Ward in Against All Odds. (Photos: (top) Warner Bros.; (bottom) Everett Collection)
Q: You spend a lot of screen time in that movie on warming up and rehearsals, which I always think are interesting processes.
A: Absolutely. In Hail! Hail! Rock ’n’ Roll, the documentary I made about Chuck Berry, the best sequences are the rehearsals, with Keith Richards leading the band that’s going to back Chuck at a concert in St. Louis. In the rehearsals, though, there’s a moment when Chuck tries to humiliate Keith, and no one could have foreseen anything like that. That’s the great thing about documentary, when you can capture something real and you were there to see it. That’s gold.
Q: One thing I really appreciate about the way you shoot music is that you’re always clear about who’s playing at any given time. In the Chuck Berry con- cert, you’ve sometimes got four guitarists playing on stage—Chuck, Keith, Robert Cray, Eric Clapton— and you cut it so that we can tell who’s playing what.
A: In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it’s a vocal or a guitar solo. When two or three or four guitarists are playing together, something’s happening there, dialogue is being exchanged. Why would you cut any differently, when you’re trying to understand what’s being said?
Q: And you seem to apply that principle to shooting dance, too, where you mostly show the whole body so we can see what the dancers are doing in relation to one another. How did you get those amazingly fast scenes in which Hines and Baryshnikov seem to be just flying around the rehearsal studio? Was that Steadicam?
A:No Steadicam, all dolly moves. On that picture, I had one of the great dolly operators of all time, a guy named Freddie Cooper. My cinematographer, David Watkin, was one of the greats, but he really didn’t care about anything except the lighting. Once he’d lit, he’d go off and read a book. But he had this fantastic operator. When we shot the ballet that opens the picture, Le jeune homme et la mort, I storyboarded it with this one very complicated shot that I thought I’d probably break in threes, but Freddie wanted to try doing it in one. He did it almost perfectly, and then said to me, ’If you give me another shot, I’ll be able to get it.’ I thought, ’My God, I have as brilliant a camera operator as Baryshnikov is a dancer.’ And of course, when you realize that you’ve got that tool, you start to push, you design your shots differently. My visual vocabulary has just expanded; I’m going to try things I would have thought were impossible to do. We didn’t even have to do that many takes, because Freddie and the dolly operator could rush around and just stop on a dime. We were doing 360s, and how do you do that in a dance studio, where there are mirrors all around? The designer, Philip Harrison, made every mirror cantilevered so every one could be turned a little bit, and then Freddie would angle each one. Baryshnikov and Hines would go all around the studio three times, and although you’d see them reflected in the mirrors, you’d never see the camera.
Q: Have you always had a special interest in music and dance?
A: Always. I grew up in Santa Barbara, a beautiful bedroom community, though we were on the wrong side of the tracks, and what you don’t have there is a large ethnic population. So I was one of those kids staying up late at night trying to tune in to L.A. radio stations to listen to black music. The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That’s why I spent 13 years trying to raise the money to make a biography of him.
Q: Did your thinking about the film change a lot over all that time?
A: In the original treatment, it was a story- based narrative, in chronological order. Once I finally had the money and I had to figure out how to visualize the story, it immediately became clear to me that it was impractical to tell the story that way, in part because when you’re doing the biography of a brilliant artist, by far the best and most interesting part of the story is the attaining. Once they’re there, it’s less interesting; it’s that process of creating something out of nothing that’s indelible. I’d used a parallel structure in Dolores Claiborne, using flashbacks all the way through, so that was in my lexicon. In Ray, I had to use some tricks. We show him in Seattle in, I think, 1949, but all we had from that time was 8 mm footage, which even after we digitized it and blew it up wasn’t great quality. So what I had to do was step on the scenes right before and after the flashback, deteriorate my own material, so when the audience goes into the flashback it isn’t shocking and when you come out of it the transition isn’t that jarring. I used a bleach bypass process for the present-day story—you take color out, it’s got a much more contrasty look, with darker darks. The look of the flashbacks, though, is really vivid, be- cause Ray could see them, and that’s how he remembered it. It’s the vision of a child, and it’s a blind man remembering when he could see, so it’s got to be idealized.
Q: There is some good dancing in Ray, too.
A: Those dance sequences are some of the moments I’m proudest of in my movies. A lot of the credit has to go to my [dance] consultant on that, Vernel Bagneris. He said to me, ’You know, this was pre-American Bandstand, there was no homogeneous dance style in America then. Every city had its own style, Cleveland or New York or Boston or Atlanta, even though they were all listening to the same music.’ So that’s the way we did it, with every dance scene in a different style. That’s something I thought was really important. And Vernel did some terrific stuff in the scene where Ray comes up with ’What’d I Say,’ with the audience responding out on the dance floor, just burning it up. To see the moment of creation, a moment like that, is unbelievably exciting.
Building Character: (top) Hackford on the mean streets of New York with Al Pacino and Keanu Reeves in The Devil‘s Advocate; (middle) in his office as DGA president; (bottom) Hackford directing Jamie Foxx in the title role in Ray. (Photos: (top) Warner Bros.; (middle) DGA Archives; (bottom) Nicola Goode/Universal Pictures)
Q: Let’s talk about the Guild, which I know has been very important to you.
A: I love this organization, I really believe in the Directors Guild. I joined before The Idolmaker, and it was great to know that I had rights. You’ve got 10 weeks to do your first cut; that’s a miracle. And the Guild is really the only place where filmmakers can get together, share ideas, and truly have a dialogue about the process, all we do in common. None of us are the same, but we all have the same kinds of problems to solve. We’ve got directors of movies, TV, commercials, music videos, reality shows—plus unit production managers, stage managers, and assistant directors. ADs are a big part of the process; you’re totally dependent on them. Your 1st AD is your lieutenant on the set, and when you’ve got a good one, you’re in great shape. The directors are the largest group in the Guild, and they could throw their weight around in negotiations. But we always make room for the ADs, SMs, and UPMs, because we know we need them to get our vision on the screen. I’ve been in this Guild for 40 years, and I can tell you that directors are still deferential to their team.
Q: What do you see as the value of Guild service and why would you encourage other active members to serve?
A: At the beginning of your career, you are happy to get a job. And in reality, when you do get those jobs, you profit from the protections that the DGA, over the course of time, has given directors. So you’re happy to be a member, and you think this is great. But after you’ve been able to make two or three movies, you start to realize, ’Wait a minute. There are people that came before that actually made that possible for me.’ And, you know, everybody wants to say, ’I’m too busy. I’ve got this, I’ve got that.’ But when you actually go and spend time with your peers at the Guild, the people who really, in the present tense, are making sure that directors and their teams are protected, it can be a really enjoyable experience. You’re working for other people in your profession, and a stewardship for people who come after you, and nobody else is going to do that. So instead of it being a chore, it is actually a joy.
Q: You’ve said that the most important accomplishment of your presidency was securing the health plan in the 2010 negotiations. Why is that so significant to the Guild?
A: When I was president, we got to a point where we realized that the cost of health care was quickly accelerating to the point where we were going to be in trouble. So in 2010, the focus of the negotiations was health care. We were able to take that moment and increase the value of our package and have the option of making that happen in the health plan and get an extra bump from employer contributions. By doing that, we ensured another five years of our plan surviving and being in great health. And this has to do with [National Executive Director] Jay Roth and his brilliance. I think these are some of the big responsibilities that a lot of people don’t understand but as leadership you do. When you go through a negotiation and you realize what we’ve actually done is ensure our health plan for the future, these are moments that are really gratifying.
Q: What were some of the other issues you had to deal with in your time as president?
A: The biggest thing is piracy, which destroys our ability to monetize what we do. If you can’t monetize what you do, the people who put up the money in the first place aren’t going to do it anymore. During my presidency, we went to Washington and spoke for a couple of bills, nothing sweeping, just trying to shut down some pirate sites offshore. Google and its allies came out and killed us there; they flexed their muscles and destroyed that legislation. The power today is in the hands of those Internet giants, who in reality are making money stealing intellectual property. For an artist, if you can’t feed your family, you can’t create; you have to become a plumber or something. I realize I’m talking about a failure here, but you can’t be defeated if you’re a director. I think in the future we’ll find ways to protect the work we do. We’ve got to recapture the audience as a paying audience—not gouging them, but having them pay so we can make a living for ourselves and our families. Everything we do costs money. Ray was an independent film, but it still cost $30 million. One guy financed it. That’s a huge risk, and if he knew there wasn’t a chance he’d make his money back would he have done it? That’s where we’re at today.
Q: You’re in the midst of preproduction now. How do you prepare yourself, physically and mentally, for making a movie? | ||||
2661 | dbpedia | 3 | 24 | https://en.wikipedia.org/wiki/Ray_(film) | en | Ray (film) | [
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/2/2b/Ray_poster.jpg/220px-Ray_... | [] | [] | [
""
] | null | [
"Contributors to Wikimedia projects"
] | 2004-09-17T12:48:54+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Ray_(film) | 2004 biographical film about Ray Charles
RayDirected byTaylor HackfordScreenplay byJames L. WhiteStory by
Taylor Hackford
James L. White
Produced byStarringCinematographyPaweł EdelmanEdited byPaul HirschMusic byCraig Armstrong
Production
companies
Bristol Bay Productions
Anvil Films
Baldwin Entertainment Group
Distributed byUniversal Pictures
Release date
Running time
152 minutesCountryUnited StatesLanguageEnglishBudget$40 million[1]Box office$124 million[1]
Ray is a 2004 American biographical musical drama film focusing on 30 years in the life of soul musician Ray Charles.[a] The independently produced film was co-produced and directed by Taylor Hackford; it was written by James L. White from a story by Hackford and White. It stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix, Terrence Howard, Larenz Tate, Richard Schiff, and Regina King in supporting roles. Along with Hackford, the film was also produced by Stuart Benjamin, Howard Baldwin, and Karen Baldwin.
It was released on October 29, 2004, by Universal Pictures. It received generally positive reviews from critics, with particular praise for Foxx's performance.
Ray received many accolades and nominations and was nominated in six categories at the 77th Academy Awards, including for Best Picture. It won two Academy Awards: Best Actor for Foxx and Best Sound Mixing. Foxx also won Best Actor at the Golden Globe, BAFTA, Screen Actors Guild, and Critics' Choice becoming the second actor to win all five major lead actor awards for the same performance, and the only one to win the Golden Globe in the Musical or Comedy category, rather than in Drama.
Charles had planned to attend a screening of the completed film but died of liver disease in June 2004, four months prior to the premiere.[3]
Plot
[edit]
Ray Charles Robinson is raised in poverty in Florida by his mother, Aretha. Learning to play piano at an early age, Ray is haunted by the accidental death of his younger brother George, who drowns in their mother's washbasin. Ray loses his vision by age seven and becomes completely blind. Aretha teaches him to be independent, eventually sending him to a school for the deaf and blind.
In 1946, Ray joins a white country band and wears sunglasses to hide his damaged eyes. Two years later, he travels to Seattle and joins a nightclub band, though the club's owner demands sexual favors and controls his money and career. After discovering he is being exploited, Ray signs his own record deal and leaves the band. Touring on the Chitlin' Circuit as "Ray Charles", he is introduced to heroin.
Ray is discovered by Ahmet Ertegun of Atlantic Records and records his first hit with Ertegun's Yamilksa song "Mess Around". In Houston, Ray falls in love with Della Bea, a preacher's daughter. Though she and others are unhappy about Ray mixing gospel with his music, he marries Della and continues to gain fame with "I Got a Woman" and "Hallelujah I Love Her So".
A pregnant Della finds Ray’s drug kit and confronts him. They reconcile after the birth of their first child, but Ray begins an affair with singer Mary Anne Fisher. In 1956, as Ray's popularity grows, he hires a trio to become "The Raelettes" and immediately falls for lead singer Margie Hendrix. They begin their own affair, and a jealous Mary Anne leaves.
Margie asks Ray to let her try heroin, but he orders her to stay away from it. His producers recognize his now-complete addiction as he presents symptoms while recording "Night Time Is the Right Time" on a new electric piano, but despite their concern they recognize his genius and his recording career continues.
A few years later, when Ray's band finishes a set early and the club’s owner demands they play the remaining time, Ray performs "What'd I Say" on the spot. His popularity rises through the 1950s and he moves his family to Los Angeles but continues to use heroin, straining his relationships with Della and Margie. In 1960, he signs a better contract with ABC Records, negotiating to own his master tapes.
Ray continues to develop his music, recording such hits as "Georgia on My Mind". Margie reveals she is pregnant, and cuts off their affair when Ray demands she end the pregnancy. He writes "Hit the Road Jack" with a solo by Margie, who uses her newfound recognition to embark on a solo career, while Ray struggles with his addiction.
In 1961, Ray encounters civil rights protestors outside his concert in Augusta, Georgia. Deciding not to play at the segregated venue, he cancels the concert and is banned from playing in Georgia. After he allows black and white audience members to dance together onstage during a concert in Indianapolis, his hotel room is raided by police. His arrest for heroin possession is made public, to Della’s dismay, but his record label has the charges dismissed.
In St. Louis, Ray performs the country-influenced "I Can't Stop Loving You" and is impressed by announcer Joe Adams, who joins his tour. Ray moves his family to Beverly Hills, and learns that Margie has died of an overdose. Joe alienates Ray’s band and his longtime friend and manager Jeff Brown, whom Ray fires, for stealing.
In 1965, Ray returns from a concert in Montreal and is again arrested for heroin possession. Dismissing his excuses, Della pleads with him to overcome his habit, and he is sentenced to drug rehabilitation. Suffering vivid nightmares during withdrawal, Ray learns to play chess with Dr. Hacker and Hacker explains to him that his lawyer's arguments with the judge agreed to probation in Boston under the condition that he completes his drug rehab problem and agrees to take periodic drug tests, Ray has a vision of George and their mother, who, while praising the fact he became a success, chastises him for letting his addictions cripple him, with George telling Ray that his death was not his fault.
By 1979, Ray has permanently quit heroin and receives an official apology from the state of Georgia, which names "Georgia On My Mind" the official state song. Ray goes on to have a long and successful career as a world-famous entertainer until his death in 2004.
Cast
[edit]
Production
[edit]
The film's production was entirely financed by Philip Anschutz, through his Bristol Bay Productions company.[4][5] Taylor Hackford said that it took 15 years to make the film;[2] or more specifically, as he later clarified in the liner notes of the soundtrack album, this is how long it took him to secure the financing.[6] It was made on a budget of $40 million.
Charles was given a Braille copy of the film's original script; he objected only to a scene showing him taking up piano grudgingly, and a scene implying that Charles had shown mistress and lead "Raelette" Margie Hendricks how to shoot heroin.[3]
Hackford originally had the idea of using a stunt double to make it look like Foxx was playing the piano but was shocked to find out that he went to college on a classical piano scholarship.[7] Foxx does not sing as Charles with exception to cover versions Charles performs in his earlier years.[2] Kanye West and Ludacris have since made songs with Foxx singing as Charles in their songs "Gold Digger" and "Georgia", respectively. Instead of studying Ray Charles in person, Foxx watched old video footage of him to authentically recreate the vibe of Ray Charles when he was a lot younger. Foxx also shot the majority of the film blind as he used prosthetics to cover his eyes.[8]
Hackford stated that while Anschutz agreed to finance the film, he demanded that it be PG-13, which caused Hackford to walk away from the film twice.[9] Because Charles and Ahmet Ertegun asked him to make the movie, he agreed to do the film as a PG-13 rating. The film was rated PG-13 for "depiction of drug addiction, sexuality and some thematic elements".
Hackford stated that no studio was interested in backing the movie.[2] After it was shot independently, Universal Pictures stepped in to distribute it.[9] Part of the reason Universal Pictures released it was because one of its executives used to hitchhike to Ray Charles concerts.
The film's score was composed by Craig Armstrong. Ray debuted at the 2004 Toronto International Film Festival.[10]
Soundtrack
[edit]
Main article: Ray (soundtrack)
Reception
[edit]
Box office
[edit]
Ray was released in theaters on October 29, 2004. The film went on to become a box-office hit, earning $75 million in the U.S. with an additional $50 million internationally, bringing its worldwide gross to $125 million.[1]
Critical response
[edit]
On Rotten Tomatoes, the film holds an approval rating of 80% based on 206 reviews, with an average rating of 7.30/10. The site's critical consensus reads, "An engrossing and energetic portrait of a great musician's achievements and foibles, Ray is anchored by Jamie Foxx's stunning performance as Ray Charles."[11] On Metacritic the film has a weighted average score of 73 out of 100, based on 40 critics, indicating "generally favorable reviews".[12] Audiences surveyed by CinemaScore gave the film a rare "A+" grade.[13]
Roger Ebert of the Chicago Sun-Times wrote: "The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special." Ebert gave it a full 4 out of 4 stars.[14] Richard Corliss of Time praised the cast, saying "If there were an Oscar for ensemble acting, Ray would win in a stroll."[15] Peter Travers of Rolling Stone wrote: "Jamie Foxx gets so far inside the man and his music that he and Ray Charles seem to breathe as one."[16]
According to music critic Robert Christgau, "Foxx does the impossible—radiates something approaching the charisma of the artist he's portraying... that's the only time an actor has ever brought a pop icon fully to life on-screen."[17]
Awards
[edit]
Related projects
[edit]
In the wake of his performance as Charles in the film, Foxx featured on hip-hop songs that sampled Charles' songs:
Georgia by Ludacris also featuring Field Mob, which samples Georgia on My Mind.
Gold Digger by Kanye West, which samples I Got a Woman.
Differences from noted events
[edit]
The film's credits state that Ray is based on true events, but includes some characters, names, locations, and events which have been changed and others which have been "fictionalized for dramatization purposes." Examples of the fictionalized scenes include:
The film's portrayal of Charles' brother George's death in 1935 shows him drowning in a metal tub after Ray does not attempt to rescue him because he assumes he is just playing; Ray's mother then discovers George drowning when calling the boys in for dinner. Though George did drown in a metal tub, Ray did try to pull him out, but was unable to do so due to George's large body weight;[18] Ray then ran inside to tell his mother what happened.[18]
Throughout the film, it is suggested that Ray's depression and heroin addiction were fueled by nervous breakdowns he had over the deaths of both George and his mother, as well as his blindness. In reality, the death of his mother did give him a nervous breakdown and was thought to be a leading cause of his depression,[19] but the death of George and his blindness did not lead to nervous breakdowns.[19]
It is true that Charles kicked his heroin addiction after undergoing treatment in a psychiatric hospital during 1965, as stated towards the end of the film, but it is not mentioned that he would often use gin and marijuana as substitutes for heroin throughout much of the remaining years of his life.[19][20]
In the scene in which "What'd I Say" is being played, Charles is depicted as playing a Fender Rhodes electric piano, but in reality, he used a Wurlitzer electric piano on the original recording and began using it on tour in 1956, because he did not trust the tuning and quality of the pianos provided to him at every venue.[21]
In the film, when his backing singer and mistress Margie Hendricks informs Ray she is pregnant with his child, Ray suggests she should have an abortion, out of loyalty to Della; Margie decides to keep the baby and soon leaves Ray to pursue a separate singing career after he refuses to abandon his family, move in with her and welcome the baby into his life. In reality, Hendricks did conceive a child with Charles and abandoned him after he refused to leave Della, but Charles never asked her to have an abortion, and welcomed any child he conceived, whether from Della or any mistress, into his personal life.[20]
In the film Margie leaves the Raelettes in 1961, but in reality she was fired from the group by Ray in 1964 after a heated argument.[22]
In the scene in which Charles is about to enter a segregated music hall in Augusta, Georgia, in 1961, a group of civil rights activists protesting just outside the hall successfully persuade him not to perform; Charles then declares that he will no longer perform in segregated public facilities and in response, the Georgia state legislature passes a resolution banning Charles from ever performing again in the state. In reality, a group of civil rights activists did successfully persuade Charles to reject this invitation, but the advice came in the form of a telegram rather than a street protest;[20] Charles also did make up for the gig later, and was never banned from performing in Georgia and still accepted invitations to perform at segregated public facilities.[20]
In the film, Margie Hendricks dies in 1964, and it was stated the death was caused by drug overdose. However, in reality she died on July 14, 1973, but no official cause of death was determined because an autopsy was not performed.[23]
During the final scene in the film, when Charles' version of "Georgia on My Mind" becomes Georgia's state song, Charles is congratulated by his wife Della, and a resolution is also passed to lift the lifetime ban he had received in 1961 after he declared he would no longer perform at segregated public facilities. In reality, by the time "Georgia on My Mind" became Georgia's state song in 1979, Charles and Della had already divorced, so she was not present when Charles performed at the Georgia State Legislature;[20] and since he had never been banned from performing in Georgia in the first place, no such resolution was ever passed.[20]
Notes
[edit]
References
[edit] | ||||||
2661 | dbpedia | 0 | 71 | https://aisleseat.com/ray.htm | en | The Aisle Seat | [
"https://aisleseat.com/chair2.gif",
"https://aisleseat.com/4stars.gif",
"https://aisleseat.com/arrow17.gif"
] | [] | [] | [
""
] | null | [
"Chris Wagner"
] | null | null | Biopics are one of the trickiest genres in cinema because its difficult to condense someones entire life into a two-hour time frame. As a result, most biopics are episodic in nature. However, a smart filmmaker can use this to his or her advantage; if the episodes are strung together in such a way that they make a larger point, the finished product can be as enlightening as it is entertaining. A good example of how to do it right is Ray, director Taylor Hackfords film about the late, great Ray Charles.
Jamie Foxx plays the title role in a performance that is certain to give him an Oscar nomination. Early in the movie, we see Ray as a young man, heading off to the city to play piano in blues and jazz groups. Outside of one club, he meets a young trumpet player named Quincy Jones (who obviously becomes an important part of Rays life later on). After a period of time playing on the Chitlin Circuit, Ray meets a man named Ahmet Ertegun (Curtis Armstrong), who signs him to Atlantic records. Rays style is to combine R&B with gospel, an approach that offends some traditionalists, but meets with wide approval from general audiences. Over the years, the musician incorporates other unlikely styles of music such as country but manages to maintain his popularity and eventually forge a very lucrative deal for himself with another label.
In addition to documenting his amazing career, Ray also explores Charles personal life. As a young man, he meets Della Bea (Kerry Washington) and marries her. She soon becomes pregnant. However, Ray is a womanizer and begins affairs with a couple of his backup singers, most notably Margie Hendricks (Regina King), with whom he also fathers a child. Additionally, Ray is introduced to heroin by some of his fellow musicians and becomes a longtime addict.
Much of the pain Ray Charles felt in life came from his childhood (shown in flashbacks) during which he watched helplessly as his brother drowned in a wash tub. The resulting trauma, more than anything, appeared to have caused his blindness. Despite this disability, Ray was not stupid an attribute others foolishly tried to assign him. Determined not to be a victim, he engaged in what he called country dumb: pretending to be a hick, then striking out at those who underestimated him.
Like most biopics, Ray tries to cram in so many important elements of its subjects life that it almost feels like a Cliffs Notes version of Ray Charles. And while the film pulls no punches in depicting the bad as well as the good, some things invariably get left out. (The picture makes it seem like he only had two children when, in fact, he had twelve.)
This does not detract from the movies quality, however. Ray takes all these parts of a life and career, then combines them in a meaningful way. What we are left with is the realization that Ray Charles was a true pioneer. He combined types of music that had never been combined, thereby influencing artists for generations to come. He broke down racial barriers by fighting segregation, and also by appealing to listeners of all racial demographics. The film leaves us with an impression that Ray Charles was one of the artists who mattered most in the history of recorded music.
In the title role, Jamie Foxx is nothing short of a revelation. Because he is a classically trained pianist, Foxx is shown playing piano in the film, which lends the performance an air of authenticity. He also nails Rays persona. Lets face it we all know what Ray Charles looked like, what he sounded like, and how he moved. Foxx does more than mimic Charles; he inhabits him. I totally forgot that I was watching Jamie Foxx, rather than the real Ray Charles. (For the record, Rays actual voice is heard during the musical numbers, although I bet Foxx could have done that credibly too.) With his star-making performances in Augusts Collateral and now this one, Foxx gets my vote for 2004s Actor of the Year.
There is much to like about Ray. The acting is first-rate. Director Hackford portrays things like the Chitlin Circuit and the music business with an eye for detail that really makes us feel like were there. And of course the music is just phenomenal. Ive been a Ray Charles fan for years. Its rewarding to see a biopic that doesnt sugarcoat anything yet still has a lot of love and affection for such a brilliant musician.
( out of four)
Ray is rated PG-13 for depiction of drug addiction, sexuality and some thematic elements. The running time is 2 hours and 32 minutes. | ||||||||
2661 | dbpedia | 1 | 11 | https://medianoire.com/blog/ray-movie-review/ | en | Ray [Movie Review] | [
"http://noirehistoir.com/wp-content/uploads/2017/01/Noire-Histoir-Logo-Header.png",
"https://medianoire.com/wp-content/uploads/2022/04/Ray-Feature-Image.jpg",
"https://secure.gravatar.com/avatar/6a1d74c744244871d332c22ee8c7d684?s=72&d=mm&r=g",
"https://secure.gravatar.com/avatar/828a21b5d7c434e69aa0ccaad18856... | [
"https://www.youtube.com/embed/zj7p18DYO6U?feature=oembed",
"//play.libsyn.com/embed/episode/id/22649201/height/128/theme/modern/size/standard/thumbnail/yes/custom-color/000000/time-start/00:00:00/playlist-height/200/direction/backward",
"//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Ope... | [] | [
""
] | null | [
"Natasha"
] | 2022-04-08T07:30:00+00:00 | A review of "Ray", a 2004 Oscar-winning film starring Jamie Foxx in a biopic about the life and career of legendary musician Ray Charles. | en | Media Noire | https://medianoire.com/blog/ray-movie-review/ | Summary
Ray is a 2004 Oscar-winning film starring Jamie Foxx in a biopic about the life and career of legendary musician Ray Charles Robinson (better known as Ray Charles). Throughout the film, we see how traumatic moments from Ray’s childhood continued to haunt and impact him as an adult. There is also some insight into his career from the perspective of both its creative milestones and business dealings.
Media
YouTube Video
Podcast Episode
Show Notes
The film begins with Ray as a young adult trying to get started as a professional musician. He’s been playing the piano for years at this point but lacks connections and is trying to gain entry to the music industry by joining a live band. It can be difficult for any musician who is just getting started on their professional journey but things are further complicated by Ray being blind and Black in the Jim Crow South.
Unfortunately, as with many Black artists of his time and even into the present, Ray was swindled by his handlers. In this case, he was especially vulnerable because of his vision impairment. His early managers Gossie McGee and Marlene collect earnings on his behalf but then brush him off instead of providing an accurate accounting of what is coming in and/or placing money directly in his control.
Marlene is also a low-key Jane in the sense that she allows Ray to stay at her home in exchange for him “servicing her sexual desires.” Not only is this woman controlling his money but she’s also taking sexual advantage of him because she knows that he’s just arrived in town and doesn’t have much. It just felt icky. Not only was she sexually exploiting this young man but she then turned around and also exploited him from a business standpoint.
I remember as a kid that my mom would constantly tell me that I should never lie because liars become thieves. This young man is talented which results in various people trying to latch on to him. Keep in mind that at this point Ray was still just playing live shows, he hadn’t even reached the point of recording. It’s still early in his career but he’s starting to generate money which is making the people around him money. Especially because some of them are taking more than their fair share.
It offers a peek into the reality of what a lot of artists had to and still deal with. Early on in their career, they’re desperate to break into the industry and/or for money. Others recognize their talent or at least the potential for them to be marketable and latch onto them early in their careers. This results in some musicians signing questionable contracts or otherwise entering into unfavorable agreements. Those who aren’t business savvy or financially astute find themselves dealing with the long-lasting ramifications of these early business dealings.
The issue with Gossie and Marlene doesn’t seem to be a matter of them tying Ray up with unfair contract terms. Instead, they’re double-dipping in his money and cutting side deals to enrich themselves. There’s an obvious conflict of interest where the person negotiating deals on Ray’s behalf is also collecting the money. They could tell him whatever is convenient while stealing because there is no unbiased oversight.
Gossie and Marlene saw Ray as a country bumpkin and his naivete as an opportunity to take advantage of him. Fortunately, a friend gives him a heads up early on which helps him realize that his managers are taking advantage of him. This enables him to take steps to remedy the situation.
These two are greedy and foolish at the same time. Ray’s managers had been benefiting from his talent as they collected a share from his touring and performing. They would have been better off giving him his proper share of the money and otherwise treating him fairly. This would have likely resulted in them working with him for a longer amount of time and thus earning more money in the long term.
Granted the entertainment industry can be very fickle so it’s hard to tell how long an entertainer’s career is going to be on the upswing. Their approach was shortsighted but maybe they were trying to grab all that they could while they could. They probably never imagined the degree of success that he would achieve and likely weren’t even looking that far down the road.
While I might not know everyone, I do have some knowledge of the music industry. We meet a very young Quincy Jones portrayed by Larenz Tate but we never hear anything else about the first managers after Ray drops them. They’re also not industry professionals I’ve heard about in real life. It’s likely safe to assume that even if they went on to achieve great things with other artists, they certainly didn’t become household names.
Now traveling and working with a new band, Ray moved closer to the spotlight as he begins to function as the warmup act and later the bandleader. There are examples of some people being compassionate and looking out for Ray because of his inability to see. But yet again, at least in part due to his vision impairment, we see that others are not very kind. Some members of the band view him as a burden because he needs a little bit of help. Though I suspect that some of this ill-treatment was a result of jealousy as some of the musicians saw him trying to move up and make progress.
I remember that during the promotional period for the film Jamie Foxx mentioned speaking with Ray about his experiences as a blind man. People took their ability to see for granted and after sharing a meal or otherwise gathered, the group would sometimes get up and walk away leaving Ray behind. They weren’t necessarily intending to be mean or cruel but because they had all of their senses, they could move about more freely and without having to actively think.
At times Ray felt lonely being in the physical dark of blindness and finding that nobody else around him understood his experience. Here it is that Ray was trying to get his music career started which can be difficult for most people. But going through these negative experiences as a newbie with the added difficulty of impairment made things even more complicated.
To a degree, Ray’s blindness resonated with me because my grandfather’s sister developed vision issues which resulted in her going blind as an adult. My mother’s maternal and paternal sides of the family seem to both suffer from vision issues though thus far I thankfully seem to be unaffected. As a young child, I was absolutely terrified of my great-aunt and would just run away from her so I have very few memories of her.
But in the years since I’ve learned more about how vision impaired and blind people learn to navigate the world and it’s truly incredible and inspiring. Putting aside kids not knowing any better, as humans it’s a benefit to us all to be compassionate and considerate. I don’t understand not being courteous and offering a bit of grace to someone under these circumstances.
It takes time but Ray progresses towards being his own musical entity and moves up to becoming a frontman and later a recording artist. With that, there’s also some discussion of the evolution of his sound. The progression of many creatives is that they begin by taking inspiration from and recreating the things that are already out there. They then start to experiment and create entirely new things on their own. You see Ray finding his voice as a musician and then forming a crew around himself which consists of not just his band but also his business handlers and representatives.
One of the key people to enter Ray’s life is Della Beatrice Howard (Kerry Washington), the woman that would become his wife. It was still several years before Kerry Washington would star in Scandal and become a big name in her own right. At this point, Washington was on a run of appearing in some fairly well-regarded films in which her male co-stars would be nominated for or win notable awards. While the films were critical and/or commercial successes raising Washington’s profile, her roles in the films were typically the wife or partner of the male lead with a thin storyline in comparison. It’s an unfortunate reality of the limited roles and limitations within the roles that are available for a lot of female actresses, especially Black actresses.
In this case, once Ray decides to marry Della who is referred to as “Bea”, she pretty much stays at home and will later take care of their children while he’s out on the road. Bea comes from a religious family and is herself religious, to the point that she objects to Ray taking a gospel song and changing it into a love song. The two meet and begin seeing each other and after a brief separation due to Ray traveling for business, he decides that he wants to marry Bea. This results in a wedding and the two moving in together.
There’s a clear divide between Ray’s home life with his legal wife and his single in everything but name life out on the road. Early on before meeting Bea, Ray is shown to be sleeping around with women after feeling up their wrists to assess their body type and supposed attractiveness. This continues in a sense even after he gets married but becomes arguably more reckless as he begins or at least is now shown to be having affairs with the women in his band.
I will never understand the point of asking someone to marry you if you plan to secretly continue living as a single person. Marriage isn’t for everyone. Why not just remain single and then have entanglements with whomever you want without having to sneak around? It just seems like a lot of unnecessary wasted energy. But then again sometimes people get themselves into these situations because they like having drama in their lives.
It might be convenient but makes absolutely no sense to start sleeping with what are essentially your co-workers or more accurately employees. Being a married man in the public eye who is cheating on his wife is problematic. Musicians, even back then, were notorious for having one-night stands but it’s not like now where everyone has a camera phone and the paparazzi are all about.
Some random woman in a completely different town is one thing. But cheating with women that you have to see and work with every day and who know your wife just seems like you’re asking for trouble. Especially because Ray wasn’t just sleeping with these women but rather seemed to be playing house with them out on the road. They were taking this whole “work husband” and “work wife” nonsense to a whole other level.
The first woman, Mary Ann Fisher (Aunjanue Ellis) shows up for an audition and is singing gospel music and talking about loving the Lord. Minutes later she’s pressed up all types of close to Ray, now singing and swapping spit with him. Not to absolve Ray from his role in this entanglement as he was the one that was married. But Mary Ann knew that he was married and chose to entertain him and his nonsense.
Your married lover is cheating on their spouse and you might be cheating on yourself but your married lover can’t be cheating on you. How do you turn around and get upset that he’s seeing someone else? Why are you surprised that a person who is lying and cheating on their partner is lying and cheating to be with someone aside from you? Aside from delusion, what would make you so special to not receive the same treatment?
And then adding more fuel to this ridiculous fire is the second mistress Margie Hendricks (Regina King). By the time she arrives on the scene, Ray has a wife, a mistress, and who knows how many other women. Mary Ann seems upset about being replaced as the first mistress but not necessarily Ray being married. When she gets fed up and leaves, Margie begins fussing about Ray not leaving his wife and goes so far as to show up in LA.
Ray is not a paragon of virtue. This man is obviously for the streets but here are these women fighting to take him home. It’s all a matter of ego. Typically, I don’t blame the other woman because you never know what the man is telling her. I certainly believe that these women engaged in affairs with Ray. But at the same time, because the story is told from his perspective I take it with a grain of salt. He might have been feeding these women all types of lines and stories giving them the false impression that they could have some kind of a future.
In high school, my mom’s boyfriend who had been a musician in his youth put me on to some old school artists from the 70s and 80s. In college, I branched out a bit more into music especially after reading Dreamgirls by Mary Wilson of The Supremes. I was kind of shocked because these were grown middle-aged to old people by the time I was born. But you wouldn’t believe the drama and entanglements that they had back in their day. People complain about the youth of today but they’re not doing anything new, the only difference is that things are more out in the open.
As with most people, some of the drama and dysfunction in Ray’s life as an adult originated in his childhood. Sure, there’s the physical issue of him losing his sight as a child. But also watching his mother struggle to provide for him and his brother and witnessing the traumatic accidental drowning of his brother.
There are flashbacks to Ray as a child and we see his mother throughout the film. She’s working very hard as a washerwoman to provide for her two sons. At one point Ray mentions that his mother worked herself into an early grave. Yet, we never see his father and I don’t recall there being any mention of him.
Coming of age in Florida during the 1930s to 1940s as not just a Black boy but a blind Black boy is rough. Ray manages to work his way out of the South and heads to big cities in the North with hopes of making a way for himself as a musician. During a conversation with Bea, he explains that as a blind Black man his options were very limited. Music was the thing that his mother recognized as being a skill that he could use to earn a good living and escape from struggling in the South. Where other parents pressed their kids to learn handicrafts or a trade, once he found music Ray’s mother pushed him to pursue that as his path.
Having children after achieving some degree of success motivated Ray to relocate to Los Angeles where he hoped his children could have more and better opportunities. There are relatively few scenes with him and his children and while he interacts with the kids, he doesn’t exactly seem to be a devoted dad. Putting aside that he’s carrying on with women on the road, he is working to support his family and to give them the things that he didn’t have growing up.
I never begrudge a parent doing what they have to do to put food on the table for themselves and their child. But while it seems he financially gave his kids more than his parents were able to give him, it doesn’t seem that he was as present in their lives as his mother was in his. In one instance he promises to pay for his son’s baseball teams’ uniforms and whatever other equipment they might need but won’t be able to attend his son’s baseball event.
Bea points out that while the boy didn’t fuss he is disappointed as he was very much looking forward to his father attending the event. It’s one thing when he’s out of town for work but when he’s in town he should try to make up for his absence by being present. By all means, chase your dreams, pursue your passions, and work to provide for your family but you also have to make time for your family.
People who are creatively inclined tend to use their art as a positive outlet for their thoughts and feelings. Unfortunately, some people whether they are creative or non-creative turn to alcohol, drugs, sex, and other substances or behaviors as a means of coping with or escaping from their thoughts and feelings.
I’m no medical professional but it seems like some people with substance abuse or addictive habits tend to have some kind of underlying mental health issues or have experienced some type of trauma. They turn to these substances and behaviors as an unhealthy means of coping with their problems. In Ray’s case, he’s experienced witnessing his brother’s death, losing his mother, and losing his sight.
These incidents would be traumatic for anyone and Ray is still carrying their effects around with him many years later. He hasn’t dealt with and certainly hasn’t spoken to anyone about the pain and sense of loss that he feels. Instead, he has found incredibly unhealthy but ultimately inefficient means to cope with his pain. Drugs do nothing but add more problems to his life and kick the can of dealing with his inner turmoil down the road.
We might not have all had the same experiences but we’ve all been through things in our lives. When I was a kid, Ray Charles was an old man with a head full of white hair. The only song of his that I knew then was from watching reruns of The Cosby Show and seeing them perform “Night Time Is the Right Time” which I likely didn’t even know was his song. To see this fictionalized account of Ray Charles carrying on as a young man was eye-opening when I first saw it.
Yet, while this is an entertaining film, it’s worth noting that it’s a somewhat simplified and Hollywood version of Ray’s life. That’s not to imply that Ray is presented here as a saint in comparison to who he was in real life.
But rather that some key elements of his life that might have offered more insight into him as a man were glossed over if not excluded from the movie. During this viewing of the film, I noticed that his dad wasn’t around from quite a young age and there’s seemingly no mention of him. While watching, I did a quick Google search about Ray Charles and it turns out there was a whole scandal surrounding his birth.
Ray’s grandmother died when his mother, Aretha Williams, was still quite young. Aretha’s father (Ray’s grandfather) was still alive but for whatever reason was unable to care for Aretha. A co-worker of Aretha’s father and his wife, Bailey and Mary Jane Robinson, informally adopted Aretha and she took the Robinson surname, becoming “Aretha Robinson”.
After living with the Robinsons for a few years, at the age of 15, it was discovered that Aretha was pregnant. Bailey, Aretha’s adoptive father, was also her unborn child’s father. As often occurred when underage girls or unwed women became pregnant, Aretha left Greenville, Florida, and went to stay with family in Albany, Georgia until after she had the baby.
Following the child’s birth, Aretha returned to Greenville with little Ray Charles Robinson and raised the boy with assistance from her adoptive mother, Mary Jane Robinson, who had lost a son of her own. I try not to use profanity on this show so I’ll simply say that continuing to be an absolutely atrocious person, Bailey Robinson abandoned his family (wife, child, and everyone else included) and left town after which he married another woman. Mess.
Aretha had already given birth to George, Ray’s younger brother, by the time Ray turned one. The identity of George’s father was forgotten over the years. It’s unclear if Ray had any contact with Bailey later in his life.
Let’s break that down for a second. Aretha was 15 or maybe 16 when she gave birth to Ray and had a second child less than a year later. So by the age of 17 or 18, Aretha was a single Black woman trying to raise two children in the Jim Crow South with some assistance from Mary Jane but seemingly no help from their father(s). George died in her washtub resulting in tremendous grief at the loss for both her and Ray. And around this time Ray began having vision issues and was completely blind by about the age of seven.
It’s unclear what Aretha’s life was like before her mother passed away but it certainly sounds like life got incredibly hard for her afterward. Already mourning the loss of one child, Aretha made the sacrifice of sending her only remaining son away to attend a school for the blind in hopes of giving him a better life. Ray had to move 163 miles away to St. Augustine where he attended the Florida School for the Deaf and the Blind from the age of seven to 14.
According to Google, in the present, this is a 2 ½ hour drive by car so I would assume that back in the late 1930s to early 1940s, this wasn’t a convenient trip without a vehicle. Thus once enrolled, Ray probably spent most of his time at the school and infrequently traveled back and forth. Yet, tragedy would strike again with Aretha dying at the relatively young age of 29.
The glimpses that we see during the movie are rough but the full story is even more heartbreaking. We see and understand Ray’s drive to work hard and insistence on being paid what he’s worth. Unfortunately, we also see him being an absentee dad and a womanizing husband. The examples of being a man and father as provided by his father and likely some of the other men around him were not positive.
Thus he financially provided for his wife and children, enabling Bea to not have to struggle and work as hard as his mother while giving his children the opportunity to attend better schools and get an education. But he didn’t give them the time that they needed as he likely felt the money was enough.
Some of their disagreements around these issues and Ray’s drug use are shown in the film. But the movie seems to imply that Ray and Bea remained married. The reality is that the couple divorced after 22 years due to Ray’s addiction, affairs, and otherwise problematic behavior.
Ray is already a 2 ½ hour movie and it doesn’t get into the deep details of his early life. I understand, this would be an incredibly LONG movie if it delved deeper into his backstory. And I’m not saying it’s what happened here but sometimes when a subject is deeply involved or even just providing approval for a project it might affect what is included or excluded.
As I mentioned, my great-aunt was also blind but lost her vision as an adult. I don’t know if like Ray Charles it was a gradual process but from what I’ve learned she was getting ready for work one day and suddenly couldn’t see. My family is not currently rich nor were they wealthy back then but everyone was/is at least comfortable. My great-aunt had a support system in the form of at least her mother and brother (my grandfather) as well as a local school for the blind where she was able to learn how to adapt to and navigate this new world.
Here it is that you have this young boy whose mother is already struggling financially and emotionally. Aretha might have attended school but likely didn’t get very far. Probably due to life circumstances but also living in the Jim Crow South where education opportunities were limited for Black people. She lost one child and then her only remaining child was dealing with a serious medical issue.
This resulted in her pushing Ray to be independent and self-reliant which she hoped would help him make a comfortable place for himself in the world despite his being blind. In part, a parent’s job is to teach their children the life skills needed for when they become independent adults. Aretha does what she can to teach Ray how to navigate the world but there was only so far that she could personally take him. And so she made the difficult decision to send him away to school in hopes that he would get the help that he needed.
We see Ray as an adult and things aren’t easy for him as it takes some effort for him to navigate the world and he does occasionally require extra assistance. But he is relatively independent and we see the little tips and tricks that he’s learned to make his way through the physical world. And even putting aside his obvious musical talent, Ray’s journey as a human is inspiring.
His womanizing and absenteeism as a father are shown but not fully explored. I think this was in part because of the scandal of his birth but also because it’s influenced in part by a society of patriarchy and sexism. This behavior was especially prevalent and arguably excused at that time (and still to a degree in the present) as being a part of manhood. Thus while these shortcomings are touched on, they’re portrayed as being less a product of his traumatic childhood than his drug use.
We see flashbacks and you get an understanding of his need for independence, drive to control his music, and rightful demand to be paid properly. He reacts strongly to people attempting to take advantage of him, which is completely understandable. We see the demons of guilt and helplessness that he battles but other aspects of his development are left unexplored.
Ray is shown womanizing early on in the film as a single man but it continues even after he gets married. He supposedly loves Bea and you get the impression that his main affairs were just with these two women in his band. Mary Ann cuts ties with Ray but Margie sticks around and becomes pregnant. The movie gives the impression that Ray was married once and had maybe three or four children, two to three with Bea and one with Margie.
But the reality is that Ray had a daughter from a teenage relationship and was briefly married before Bea. He would ultimately have 12 children with ten women. And it’s mentioned that his obsession with women began after he lost his virginity at the age of 12 to a 20-year-old woman. There is a lot to unpack there concerning this generational child sexual exploitation that was experienced by both Ray and Aretha.
The resulting dysfunction is shown but little of it is meaningfully explored. I didn’t do any extensive research but just noticed that there was no mention of his dad and ended up reading a bit more into his backstory on Wikipedia and a few other websites. It became clear that some important life-shaping stuff was just glossed over.
Jamie Foxx did an incredible job in the role and the performances of the other actors in the adult part of Ray’s life were very good. But I didn’t think the acting in some of the scenes depicting Ray as a child was quite as good. Part of it is that some of the flashback scenes, especially later in the film between Ray and Aretha, felt a bit melodramatic.
The acting was great and the story was good but I still feel like this was a bit of a missed opportunity. It’s certainly not a bad movie but it felt like it fell into this trope surrounding tortured creatives and drug use. That’s certainly part of Ray’s story but looking at it almost 20 years later, it feels like the formula of the typical music biopic. Granted, Ray came out in 2004 and several similar movies came after so it’s not a matter of Ray copying or otherwise being unoriginal. It’s more a matter of the film touching on the same topics and issues that other movies in the genre touch on while continuing to leave some aspects unexplored.
Nowadays, they don’t make three or four-hour movies and I don’t know too many people willing to sit through something of that length. But looking at the movie through the lens of the little I learned about his life, I now feel like this can’t be considered the definitive movie about Ray Charles. It’s a good and entertaining movie about him and his life but not THE MOVIE about Ray Charles and his life.
That’s a missed opportunity because Foxx was a very good choice to play Ray Charles. 2004 was a very big year for Jamie Foxx as Collateral and Redemption: The Stan Tookie Williams Story were also released that year. I think that year marked his transition to Hollywood superstar as before that he’d mostly appeared in comedies and movies that weren’t that great. Foxx started as a comedian and is a funny dude but as I believe with good comedians, their knack for timing can help some become very good dramatic actors. While not many dramatic actors are as capable of transitioning to being good in comedic roles.
Like his other roles in 2004, Foxx did a great job portraying Ray Charles. But with Foxx’s acting and a deeper story, the film could have been even better. Foxx is older now and if you decided to remake or create a new version of the Ray Charles story, I don’t know that he’d be able to physically pull it off at this point. Likewise, revisiting the story as a new film would probably only work with a fresh perspective and I feel like most people would think that they already got the full story the first time around.
These kinds of stories need time to unfold and are sometimes better covered in documentaries as I realized much the same with Tina vs. What’s Love Got to Do With It. The fictional story is entertaining and becomes a classic movie but pales in comparison to the deep fact-based documentary. There are layers to human lives, especially given the experiences of some of these notable people. Sometimes movies can only take you so far and a well-produced documentary is needed to do the subject and their life justice.
Shop on Amazon
More Content
I Put a Spell On You [Book Review]
Standing in the Shadows of Motown [Movie Review]
Louis Armstrong
Tina [Movie Review]
W. C. Handy
Miles Davis: Birth of the Cool [Movie Review] (Coming Soon on 04/22)
Disclosure: Noire Histoir is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for the website to earn fees by linking to Amazon.com and affiliated sites. Noire Histoir will receive commissions for purchases made via any Amazon Affiliate links above. | |||||
2661 | dbpedia | 1 | 4 | https://en.wikipedia.org/wiki/Rain_Man | en | Wikipedia | [
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/b/b2/Rain_Man_poster.jpg",
"https:... | [] | [] | [
""
] | null | [
"Contributors to Wikimedia projects"
] | 2002-04-14T03:28:01+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Rain_Man | 1988 film directed by Barry Levinson
For other uses, see Rain Man (disambiguation).
Rain ManDirected byBarry LevinsonScreenplay byStory byBarry MorrowProduced byMark JohnsonStarringCinematographyJohn SealeEdited byStu LinderMusic byHans Zimmer
Production
companies
United Artists
Guber-Peters Company[1]
Star Partners II, Ltd.[1]
Distributed byMGM/UA Communications Co.
Release date
Running time
134 minutes[1]CountryUnited States[1]LanguageEnglishBudget$25 million[2]Box office$354.8 million[2][3] ($914 million in 2023 dollars)[4]
Rain Man is a 1988 American road comedy-drama film directed by Barry Levinson and written by Barry Morrow and Ronald Bass. It tells the story of abrasive, selfish, young wheeler-dealer Charlie Babbitt (Tom Cruise), who discovers that his estranged father has died and bequeathed virtually all of his multimillion-dollar estate to his other son, Raymond (Dustin Hoffman), an autistic savant of whose existence Charlie was unaware. Charlie is left with only his father's beloved vintage car and rosebushes. Valeria Golino also stars as Charlie's girlfriend, Susanna. Morrow created the character of Raymond after meeting Kim Peek, a real-life savant; his characterization was based on both Peek and Bill Sackter, a good friend of Morrow who was the subject of Bill, an earlier film that Morrow wrote.[5]
Rain Man competed at the 39th Berlin International Film Festival, where it won the Golden Bear, the festival's highest prize.[6] The film was released theatrically by MGM/UA Communications Co. under its United Artists label in the United States on December 16, 1988, to critical and commercial success. Praise was given to Levinson's direction, the performances (particularly Cruise's and Hoffman's), the instrumental score, Morrow's screenplay, the cinematography, and the film's portrayal of autism. The film grossed $354 million (on a $25 million budget), becoming the highest-grossing film of 1988, and received a leading eight nominations at the 61st Academy Awards, winning four (more than any other film nominated): Best Picture, Best Director, Best Actor (for Hoffman), and Best Original Screenplay.[7]
As of 2024 , Rain Man is the only film to win both the Berlin International Film Festival's highest award and the Academy Award for Best Picture in the same year. It was also the last film released by Metro-Goldwyn-Mayer (MGM) to be nominated for Best Picture until Licorice Pizza, 33 years later.[8]
Plot
[edit]
Collectibles dealer Charlie Babbitt is in the middle of importing four grey market Lamborghinis to Los Angeles for resale. He needs to deliver the cars to impatient buyers who have already made down payments to repay the loan he took out to buy them, but the EPA is holding the cars at the port because they have failed emission tests. Charlie directs an employee to lie to the buyers while he stalls his creditor.
When Charlie learns that his estranged father Sanford Babbitt has died, he and his girlfriend Susanna travel to Cincinnati to settle the estate. He inherits only a group of rosebushes and a classic 1949 Buick Roadmaster convertible over which he and Sanford had clashed, while the remainder of the $3 million estate is going to an unnamed trustee. He learns that the money is being directed to a local mental institution, where he meets his elder brother Raymond, of whom he was unaware.
Raymond is an autistic savant, and adheres to strict routines. He has superb recall, but he shows little emotional expression, except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Disheartened with the way Charlie treats Raymond, Susanna leaves him. Charlie asks Raymond's doctor, Dr. Gerald Bruner, for half the estate in exchange for Raymond's return, but Bruner refuses. Charlie decides to attempt to gain custody of his brother to get control of the money.
After Raymond refuses to fly to Los Angeles, he and Charlie resort to driving there instead. They make slow progress because Raymond insists on sticking to his routines, which include watching The People's Court on television every day, getting to bed by 11:00 p.m., and refusing to travel when it rains. He also objects to traveling on the Interstate after they encounter a car accident.
During the course of the journey, Charlie learns more about Raymond, including his ability to instantly perform complex calculations and count hundreds of objects at once, far beyond the normal range of human abilities. He also realizes that Raymond had lived with the family as a child and was the "Rain Man" (Charlie's infantile pronunciation of "Raymond"), a comforting figure Charlie had remembered as an imaginary friend. Raymond had saved an infant Charlie from being scalded by hot bathwater one day, but Sanford blamed Raymond for nearly injuring Charlie, and committed him to the institution, as he was unable to speak up for himself and correct the misunderstanding.
Charlie's creditor repossesses the Lamborghinis, forcing him to refund his buyers' down payments and leaving him deeply in debt. Having passed Las Vegas, he and Raymond return to Caesars Palace and devise a plan to win the needed money by playing blackjack and counting cards. Although the casino bosses obtain videotape evidence of the scheme and ask them to leave, Charlie successfully wins $86,000 to cover his debts. He also reconciles with Susanna, who has rejoined the brothers in Las Vegas.
Returning to Los Angeles, Charlie meets with Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses, saying he is no longer upset about being cut out of his father's will, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist, Raymond proves to be unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother. As Raymond and Bruner board a train to return to the institution, Charlie promises to visit in two weeks.
Cast
[edit]
Dustin Hoffman as Raymond "Ray" Babbitt
Tom Cruise as Charles Sanford "Charlie" Babbitt
Valeria Golino as Susanna
Jerry Molen as Dr. Gerald Bruner
Ralph Seymour as Lenny
Michael D. Roberts as Vern
Bonnie Hunt as Sally Dibbs (the waitress)
Beth Grant as Mother at Farm House
Lucinda Jenney as Iris
Barry Levinson as Doctor
Bob Heckel as Sheriff Deputy
Production
[edit]
Development
[edit]
In drafting the story for Rain Man, Barry Morrow decided to base Raymond Babbitt on his experiences with both Kim Peek and Bill Sackter, two men who had gained notoriety and fame for their intellectual disabilities and, in Peek's case, for his abilities as a savant that were evident in high speed reading and extremely detailed memory. Prior to the conception of Rain Man, Morrow had formed a friendship with the intellectually disabled Sackter, and, in doing so, ended up taking some situational aspects from his friendship and using them to help craft the relationship between Charlie and Raymond. Following the success of Bill, the made-for-TV movie he had written about Sackter, Morrow met Kim Peek and was wildly intrigued by his savant syndrome. Going into the creation of the film, Morrow was still essentially unaware of the intricacies of the condition, as well as of autism itself; instead deciding that the movie was less about Raymond's intellectual disability, and more about the relationship formed between Raymond and Charlie.[9]
Roger Birnbaum was the first studio executive to give the film a green light; he did so immediately after Barry Morrow pitched the story. Birnbaum received "special thanks" in the film's credits.[1]
Real-life brothers Dennis and Randy Quaid were considered for the roles of Raymond Babbitt and Charles Babbitt.[10] Agents at Creative Artists Agency sent the script to Dustin Hoffman and Bill Murray, envisioning Murray in the title role, and Hoffman in the role eventually portrayed by Tom Cruise.[5][11] Martin Brest, Steven Spielberg and Sydney Pollack were directors also involved in the film.[12] Spielberg was attached to the film for five months, until he left to direct Indiana Jones and the Last Crusade, and he would later regret the decision.[13][14] Mickey Rourke was also offered a role, but he turned it down.[15] Mel Gibson was also offered the role of Raymond, but he turned it down.[16]
For a year prior to playing Raymond Babbitt, Hoffman prepared to portray Raymond's autism by seeking out and educating himself on other autistic people, particularly those with savant syndrome. Hoffman had some experience with disabled individuals prior to filming, having worked at the New York Psychiatric Institute when he was younger. Inspiration for the portrayal of Raymond Babbitt's mannerisms was drawn from a multitude of sources, but he thanked three men in his Oscar acceptance speech.[17] One was Peter Guthrie, the autistic brother of Kevin Guthrie, a Princeton football player with whom Hoffman was in touch at the time.[18] Another was autistic savant Joseph Sullivan, who was the subject of two documentary films[19] and whose mother, Dr. Ruth Sullivan, was the founding president of the Autism Society of America and served as a consultant on the film. The third was savant Kim Peek, with whom Hoffman met as part of his research of the role, wherein he would observe and mimic Peek's actions, attempting to give an accurate portrayal of what an individual with savant syndrome might act like. His mimicry of Peek's savant syndrome was deemed a poor fit for the character by Hoffman, resulting in Hoffman's decision to make Babbitt not only a man with savant syndrome, but also with autism.[9]
Filming
[edit]
Principal photography included nine weeks of filming on location in Cincinnati and throughout northern Kentucky.[20] Other portions were shot in the desert near Palm Springs, California.[21]: 168–71 There was originally a different ending to the movie drafted by Morrow that differed from Raymond's going back to the institution. Morrow ultimately decided to drop this ending in favor of Raymond's returning to the institution, as he felt the original ending would not have stuck with the viewers as effectively as the revised ending did.[9] Almost all of the principal photography occurred during the 1988 Writers Guild of America strike; one key scene that was affected by the lack of writers was the film's final scene.[5] Bass delivered his last draft of the script only hours before the strike started, and spent no time on the set.[12]
Box office
[edit]
Rain Man debuted December 16, 1988, and was the second highest-grossing film at the weekend box office (behind Twins), with $7 million.[22] It reached the first spot the weekend of December 30 – January 2, finishing 1988 with $42 million.[23] The film would become the highest-grossing U.S. film of 1988 by earning more than $172 million. Worldwide figures vary, though. Box Office Mojo claims that the film grossed over $354 million worldwide,[2] while The Numbers reported that the film grossed $412.8 million worldwide.[3]
Reception
[edit]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 88%, based on 136 reviews, with an average rating of 8.10/10. The website's critical consensus states: "This road-trip movie about an autistic savant and his callow brother is far from seamless, but Barry Levinson's direction is impressive, and strong performances from Tom Cruise and Dustin Hoffman add to its appeal."[24] Metacritic assigned the film a weighted average score of 65 out of 100, based on 18 critics, indicating "generally favorable reviews".[25] Audiences polled by CinemaScore gave the film an average grade of "A", on a scale of A+ to F.[26]
Vincent Canby of The New York Times called Rain Man:
becomingly modest, decently thought-out, sometimes funny film"; Hoffman's performance was a "display of sustained virtuosity ... [that] makes no lasting connections with the emotions. Its end effect depends largely on one's susceptibility to the sight of an actor acting nonstop and extremely well, but to no particularly urgent dramatic purpose.[27]
Canby considered the "film's true central character" to be "the confused, economically and emotionally desperate Charlie, beautifully played by Mr. Cruise."[27] Roger Ebert gave the film three and a half stars out of four. He wrote:
Hoffman proves again that he almost seems to thrive on impossible acting challenges. ... I felt a certain love for Raymond, the Hoffman character. I don't know quite how Hoffman got me to do it.[28]
Gene Siskel also gave the film three and a half stars out of four, singling out Cruise for praise: "The strength of the film is really that of Cruise's performance...the combination of two superior performances makes the movie worth watching."[29]
Amy Dawes of Variety wrote that "one of the year's most intriguing film premises ... is given uneven, slightly off-target treatment"; she called the road scenes "hastily, loosely written, with much extraneous screen time", but admired the last third of the film, calling it a depiction of "two very isolated beings" who "discover a common history and deep attachment".[30]
One of the film's harshest reviews came from The New Yorker magazine critic Pauline Kael, who said, "Everything in this movie is fudged ever so humanistically, in a perfunctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it—it's a piece of wet kitsch."[31]
Rain Man was placed on 39 critics' "ten best" lists in 1988, based on a poll of the nation's top 100 critics.[32]
Accolades
[edit]
Award Category Nominee(s) Result Academy Awards[7] Best Picture Mark Johnson Won Best Director Barry Levinson Won Best Actor Dustin Hoffman Won Best Screenplay – Written Directly for the Screen Ronald Bass and Barry Morrow Won Best Art Direction Ida Random and Linda DeScenna Nominated Best Cinematography John Seale Nominated Best Film Editing Stu Linder Nominated Best Original Score Hans Zimmer Nominated American Cinema Editors Awards Best Edited Feature Film Stu Linder Won American Society of Cinematographers Awards[33] Outstanding Achievement in Cinematography in Theatrical Releases John Seale Nominated Berlin International Film Festival[34] Golden Bear Barry Levinson Won Berliner Morgenpost Readers' Jury Award Won BMI Film & TV Awards Film Music Award Hans Zimmer Won British Academy Film Awards[35] Best Actor in a Leading Role Dustin Hoffman Nominated Best Original Screenplay Ronald Bass and Barry Morrow Nominated Best Editing Stu Linder Nominated César Awards[36] Best Foreign Film Barry Levinson Nominated Chicago Film Critics Association Awards[37] Best Actor Dustin Hoffman Nominated David di Donatello Awards Best Foreign Film Barry Levinson Won Best Foreign Director Nominated Best Foreign Actor Dustin Hoffman Won Best Foreign Producer Mark Johnson Nominated Best Foreign Screenplay Ronald Bass and Barry Morrow Nominated Directors Guild of America Awards[38] Outstanding Directorial Achievement in Motion Pictures Barry Levinson Won Golden Globe Awards[39] Best Motion Picture – Drama Won Best Actor in a Motion Picture – Drama Dustin Hoffman Won Best Director – Motion Picture Barry Levinson Nominated Best Screenplay – Motion Picture Ronald Bass and Barry Morrow Nominated Goldene Kamera (1989) Golden Screen Won Goldene Kamera (1991) Golden Screen with 1 Star Won Heartland Film Truly Moving Picture Award Barry Levinson Won Japan Academy Film Prize Outstanding Foreign Language Film Nominated Jupiter Awards Best International Film Barry Levinson Won Kansas City Film Critics Circle Awards[40] Best Film Won Best Director Barry Levinson Won Best Actor Dustin Hoffman Won Best Supporting Actor Tom Cruise Won[a] Kinema Junpo Awards Best Foreign Language Film Barry Levinson Won Mainichi Film Awards Best Foreign Language Film Won MTV Video Music Awards Best Video from a Film "Iko Iko" – The Belle Stars Nominated Nastro d'Argento Best Foreign Director Barry Levinson Nominated Best Supporting Actress Valeria Golino Nominated National Society of Film Critics Awards[41] Best Actor Dustin Hoffman 3rd Place New York Film Critics Circle Awards[42] Best Actor 2nd Place Nikkan Sports Film Awards Best Foreign Film Won People's Choice Awards[43] Favorite Dramatic Motion Picture Won Turkish Film Critics Association Awards Best Foreign Film 2nd Place Writers Guild of America Awards[44] Best Screenplay – Written Directly for the Screen Ronald Bass and Barry Morrow Nominated YoGa Awards Worst Foreign Actor Dustin Hoffman Won
Legacy
[edit]
The release of Rain Man in 1988 coincided with a tenfold increase in funding for medical research and diagnoses of individuals for autism. The latter is primarily due to autism's being more broadly defined in newer editions of the Diagnostic and Statistical Manual of Mental Disorders, particularly versions III-R and IV.[45]: 389–401 The movie is credited, however, with significantly increasing awareness of autism among the general public.[45]: 354-380
Rain Man is known, in particular, for its portrayal of a man with both autism and savant skills, leading much of its viewing audience to incorrectly assume the intellectual capabilities of autistic people at large.[9] Characters like Raymond Babbitt, whose characterization has been criticized for adhering to stereotypes, are portrayed as having an otherworldly intellectual ability that, rather than disable them from living a "normal" life, instead assists them in a nearly magical way. Although having savant abilities is certainly a possibility for autistic individuals, the combination is incredibly rare.[46] Conversely, Rain Man has also been seen as dispelling a number of other misconceptions about autism, and improving public awareness of the failure of many agencies to accommodate autistic people and make use of the abilities they do have, regardless of whether they have savant skills or not.[47]
Since Dustin Hoffman's 1989 Academy Award win for his performance in Rain Man, about half of all Best Actor trophies have been awarded for portrayals of characters who are disabled in some way; none of these recipients share their characters' disabilities in real life.[48][49] Just one year after Hoffman's win, Daniel Day-Lewis (thus far the only actor to have won three awards in the category) garnered his first Best Actor win for his portrayal of cerebral palsy patient Christy Brown in My Left Foot. The Academy’s incentivizing of such casting practices has drawn criticism from disabled actors and self-advocates, who argue that these decisions sideline more authentic stories about disabled characters, in favor of leveraging already-established actors' prestige.[50][51] This pattern has even been satirized by the 2008 film Tropic Thunder (in which Tom Cruise also appears), wherein Robert Downey Jr.'s character, Kirk Lazarus, chastises a fellow actor for portraying a character whose developmental disability is deemed too alienating for a mainstream audience.[52]
Rain Man is also known for popularizing the misconception that card counting is illegal in the United States.[53]
In 2006, the film was recognized by the American Film Institute in their list of 100 Years...100 Cheers at #63.[54]
In popular culture
[edit]
The cold open sketch in the April 1, 1989, installment of Saturday Night Live spoofed both the film and the Pete Rose gambling scandal at the time. Charlie and Raymond Babbitt were played by Ben Stiller and Dana Carvey, respectively, with Phil Hartman as Rose.[55] The Babbitt brothers appear in The Simpsons Season 5 episode "$pringfield (or, How I Learned to Stop Worrying and Love Gambling)". The film is mentioned in numerous other films, such as Miss Congeniality, 21, The Hangover, and Escape Room, as well as in the television series Breaking Bad and Barry.
Raymond Babbitt was caricatured as a rain cloud in the animated episode of The Nanny, "Oy to the World". During the episode, Fran fixes up CC the Abominable Babcock with the Rain Man. He is portrayed as a cloud of rain mumbling about weather patterns and being an excellent driver.
References to Rain Man, Dustin Hoffman's performance in particular, have become a popular shorthand for autism and savantism. In the final episode of the first season of Community, Pierce calls Abed "Rain Man" when listing members of the study group; Abed had been described previously as having Asperger's Syndrome, which is now diagnosed as autism spectrum disorder.[56] In the 2015 biographical drama film Steve Jobs, when Jobs (played by Michael Fassbender) is confronted by Apple CEO John Sculley (Jeff Daniels), he refers to co-founder Steve Wozniak (Seth Rogen) as "Rain Man". In the film, Fear Street Part One: 1994, Simon, surprised by Josh's knowledge of a seemingly unknown girl who had attacked him, says: "Jesus, Rain Man. How [...] do you know that?".
Qantas and airline controversy
[edit]
In June 1989, at least fifteen major airlines showed edited versions of Rain Man that omitted the scene involving Raymond's refusal to fly, mentioning the crashes of American Airlines Flight 625, Delta Air Lines Flight 191, and Continental Airlines Flight 1713, except on Australia-based Qantas. Those criticizing this decision included film director Barry Levinson, co-screenwriter Ronald Bass, and George Kirgo (at the time, the President of the Writers Guild of America, West). "I think it's a key scene to the entire movie," Levinson said in a telephone interview. "That's why it's in there. It launches their entire odyssey across country – because they couldn't fly." Although some of those airlines cited as justification avoiding having airplane passengers feel uncomfortable in sympathy with Raymond during the in-flight entertainment, the scene was shown intact on flights of Qantas, and commentators noted that Raymond mentions it as the only airline whose planes have "never crashed".[57][58]
The film is credited with introducing Qantas's safety record to U.S. consumers.[59][60] However, contrary to the claims made in the film, Qantas aircraft have been involved in a number of fatal accidents since the airline's founding in 1920 (although none involving jet aircraft, with the last incident taking place in December 1951).[61]
The Buick convertible
[edit]
Two 1949 Roadmaster convertibles were used in the filming, one of which had its rear suspension stiffened to bear the additional load of camera equipment and a cameraman. After filming completed, the unmodified car was acquired by Hoffman, who had it restored and added it to his collection. He kept it for 34 years. Hemmings Motor News reported that the car was auctioned in January 2022 by Bonhams in Scottsdale, Arizona, and sold for $335,000.[62] The camera-carrying car was similarly acquired by Barry Levinson, who had it restored by Wayne Carini of the Chasing Classic Cars television series a few years later.
See also
[edit]
Savant syndrome
List of films set in Las Vegas
Notes
[edit]
References
[edit] | ||||||
2661 | dbpedia | 3 | 49 | https://timesofindia.indiatimes.com/topic/Taylor-Hackford | en | Taylor Hackford: Movies, Photos, Videos, News, Biography & Birthday | https://static.toiimg.com/imagenext/medley-topic/thumb/photo/image/show/83/Taylor-Hackford?imgsize=-1 | https://static.toiimg.com/imagenext/medley-topic/thumb/photo/image/show/83/Taylor-Hackford?imgsize=-1 | [
"https://static.toiimg.com/thumb/imgsize-23456,msid-61424791,width-168,resizemode-4/61424791.jpg",
"https://static.toiimg.com/thumb/imgsize-123456,msid-108900442,width-300,resizemode-4/108900442.jpg",
"https://static.toiimg.com/thumb/imgsize-123456,msid-91236469,width-300,resizemode-4/91236469.jpg",
"https://... | [] | [] | [
"Taylor Hackford",
"Taylor Hackford Movies",
"Taylor Hackford Photos",
"Taylor Hackford Biography",
"Taylor Hackford news"
] | null | [] | null | Taylor Hackford: Check out the list of all Taylor Hackford movies along with photos, videos, biography and birthday. Also find latest Taylor Hackford news on Times of India. | en | The Times of India | https://timesofindia.indiatimes.com/topic/Taylor-Hackford | Helen Mirren glad she married late
PTI / Aug 10, 2014, 13:41 (IST)
Veteran actress Helen Mirren, who married director Taylor Hackford at the age of 52, says had she done it any earlier, it would almost certainly have failed.
Miles Teller to feature in Paramount's 'An Officer and a Gentleman' remake
PTI / Jun 15, 2024, 18:02 (IST)
Miles Teller, known for his role in Top Gun: Maverick, will headline Paramount's remake of the 1982 classic An Officer and a Gentleman. This modern update of the original film, which featured Richard Gere, Debra Winger, and Louis Gossett Jr., aims to bring a contemporary twist to the iconic story. The original movie followed Zack Mayo, an aspiring Navy aviator played by Gere, who clashes with his stern drill instructor, Gunnery Sgt. Emil Foley, a role that earned Gossett an Oscar for Best Supporting Actor. Directed by Taylor Hackford, the film was a major box office success. Dana Fox has written the latest draft of the script, following an earlier version by Matt Johnson. The project will be produced by Temple Hill for Paramount.
Helen steps out in a skimpy bikini!
Jul 17, 2008, 00:04 (IST)
You can have a fabulous figure even at the age of 62 and English actress Helen Mirren proved this by turning heads when she stepped out in a skimpy bikini! | |||
2661 | dbpedia | 3 | 90 | https://www.tiktok.com/%40chasedbyhounds/video/7184144199799885098 | en | Make Your Day | [] | [] | [] | [
""
] | null | [] | null | en | null | ||||||||
2661 | dbpedia | 0 | 1 | https://www.imdb.com/title/tt0350258/ | en | Ray (2004) | [
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:141-7004040-9314815:T10BYZG51M3NWMJFX5DN$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DT10BYZG51M3NWMJFX5DN:0",
"https://m.media-amazon.com/images/M/MV5BMTQxNDQwNjQzOV5BMl5BanBnXkFtZTcwNTQxNDYyMQ@@._V1_QL75_UX190_CR0,0,190,281_.jpg",
"https://m.media-amazon.... | [] | [] | [
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null | [] | 2005-01-06T00:00:00 | Ray: Directed by Taylor Hackford. With Jamie Foxx, Kerry Washington, Regina King, Clifton Powell. The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s. | en | IMDb | https://www.imdb.com/title/tt0350258/ | First of all, it is sheer joy to hear the legend perform such wonderful and timeless music. This movie and soundtrack is a tour de force. Ray Charles is unique and amazing. I truly adored the film as it was inspiring and entertaining throughout.
Jamie Foxx has become one of the premiere actors in Hollywood as is clearly shown in Ray and he should get an Oscar for this role, it is unprecedented. In fact, everyone who worked on this film should receive accolades. I really liked Kerry Washington who played the exceptional wife...Ray Charles obviously married well. Regina King is a fine actress as well as the extraordinary Sharon Warren who plays a struggling young mother.
In all honesty, I'd say this whole project was providentially arranged. The entire cast was perfect, great screenplay and awesome settings...major props to the director Taylor Hackford and crew for doing such a splendid job in bringing the life of Ray Charles to the screen so flawlessly. This is my picture of the year, certainly one of the best biographical films ever made. | |||||
2661 | dbpedia | 0 | 92 | https://www.nndb.com/people/908/000044776/ | en | Taylor Hackford | [
"https://www.nndb.com/title.gif",
"https://www.nndb.com/red-profile-2.gif",
"https://www.nndb.com/people/908/000044776/taylor-hackford.jpg",
"https://www.nndb.com/man.gif"
] | [] | [] | [
""
] | null | [] | null | /silly-nndb-icon.png | null | AKA Taylor Edwin Hackford
Born: 31-Dec-1944
Birthplace: Santa Barbara, CA
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Film Director
Party Affiliation: Democratic
Nationality: United States
Executive summary: An Officer and a Gentleman
Taylor Hackford started as a mailroom clerk at L.A.'s public TV station, KCET, where he worked his way up to investigative reporter and eventually won two Emmys. He won an Oscar in 1978 for his first short film, Teenage Father, starring Suzanne Crough (the youngest member of The Partridge Family) as the teenaged mother. Hackford has since become known for enjoyable if somewhat longwinded dramas like An Officer and A Gentleman, Everybody's All-American, The Devil's Advocate, and an adaptation of Stephen King's Dolores Claiborne. Hackford's biggest hit was Ray in 2004, after he spent 16 years trying to get the biopic financed. Its subject, Ray Charles, died just weeks before the film opened.
In 2002, Hackford signed on as a co-plaintiff in the Directors Guild's lawsuit against a "family-oriented" video company called CleanFlicks, which had re-edited Proof of Life to make the movie OK for ninnies. CleanFlicks had removed the entire opening sequence involving rebel brutality, deleted the film's first killings, and edited out the subsequent kidnapping that set the plot into motion.
Son: Rio D. Hackford (bar owner and actor, Swingers, b. 28-Jun-1970)
Wife: Helen Mirren (actress, cohabited since 1986, m. 31-Dec-1997)
University: BA International Relations, University of Southern California (1966)
University: BA Film, University of Southern California (1968)
Al Franken for Senate
Innocence Project Artists' Committee
John Kerry for President
Kappa Alpha Order
Midwest Values PAC
Peace Corps two years in Bolivia, 1960s
Progressive Patriots Fund
FILMOGRAPHY AS DIRECTOR
Parker (23-Jan-2013)
Love Ranch (30-Jun-2010)
Ray (12-Sep-2004)
Proof of Life (4-Dec-2000)
The Devil's Advocate (17-Oct-1997)
Dolores Claiborne (24-Mar-1995)
Blood In, Blood Out: Bound by Honor (16-Apr-1993)
Everybody's All-American (4-Nov-1988)
Chuck Berry Hail! Hail! Rock 'n' Roll (18-Sep-1987)
White Nights (22-Nov-1985)
Against All Odds (2-Mar-1984)
An Officer and a Gentleman (28-Jul-1982)
The Idolmaker (14-Nov-1980)
FILMOGRAPHY AS ACTOR
Bukowski: Born into This (18-Jan-2003) · Himself
New!
NNDB MAPPER Create a map starting with Taylor Hackford
Requires Flash 7+ and Javascript.
Do you know something we don't?
Submit a correction or make a comment about this profile | |||||||
2661 | dbpedia | 3 | 28 | https://www.dga.org/Craft/VisualHistory/Interviewers/Hackford | en | [
"http://directorsguildofamerica.112.2o7.net/b/ss/dgoadev/1/H.23.8--NS/0?[AQB]&cdp=3&[AQE]",
"https://www.dga.org/-/media/Images/Landscape-Images/Visual-History/interviewers/VH71-Hackford.ashx?h=169&la=en&mh=169&mw=300&w=300&hash=0E035A8A0A989CA51CCF08B09B21EB6230E33516",
"https://www.dga.org/-/media/Images/Land... | [] | [] | [
""
] | null | [] | null | en | null | In addition, he has directed or produced documentaries such as Bukowski, Chuck Berry Hail! Hail! Rock ‘n’ Roll, and the Oscar®-winning When We Were Kings, as well as music videos for artists such as Lionel Richie and Phil Collins.
Hackford received an Academy® Award for Live Action Short Subject for Teenage Father in 1979 and two Oscar® nominations for Best Director and Best Picture for Ray, as well as a DGA nomination for directing. He also garnered a DGA nomination for his work on An Officer and a Gentleman, a Best Director Award for Blood In, Blood Out at the Tokyo International Film Festival, and a Lifetime Achievement Award in Directing from the San Francisco International Film Festival.
Taylor Hackford currently serves as the President of the Directors Guild of America. His service to the Guild began in 1996 as a member of the Western Directors Council. He then served on the DGA’s National Board from 2001 to 2005 when he was elected Third Vice President. In 2009, Hackford was elected President of the Directors Guild. For his service to the Guild, he was honored with the DGA’s 2007 Robert B. Aldrich Award. | ||||||||
2661 | dbpedia | 0 | 51 | http://news.bbc.co.uk/2/hi/entertainment/3971275.stm | en | Film review: Ray | [
"http://newsimg.bbc.co.uk/shared/img/o.gif",
"http://newsimg.bbc.co.uk/shared/img/o.gif",
"http://stats.bbc.co.uk/o.gif?~RS~s~RS~News~RS~t~RS~HighWeb_Legacy~RS~i~RS~3971275~RS~p~RS~0~RS~a~RS~International~RS~u~RS~/2/hi/entertainment/3971275.stm~RS~r~RS~(none)~RS~q~RS~~RS~z~RS~56~RS~",
"http://newsimg.bbc.co.u... | [] | [] | [
"BBC",
"News",
"BBC News",
"news online",
"world",
"uk",
"international",
"foreign",
"british",
"online",
"service"
] | null | [
"Neil Smith"
] | 2004-11-03T10:13:46 | null | It was brilliant. The acting was superb. Jamie Foxx deserves an Oscar and so does Regina King. Simply, brilliant.
Linda Rochon, USA
Great movie! I will be purchasing this one for viewing at my leisure. Sharon Warren did an excellent job portraying a mother who forces herself to let the child find his own way after he goes blind. Heart-wrenching. Kerry Washington portrayed the 'wife of the 50's' with class and aplomb and Regina King was the perfect 'other woman' with her indignation and genuine love for the man. Aunjanue's performance was also excellent. Mr. Foxx, I am still applauding. Thank you.
Twist, Costa Mesa, CA USA
Jamie Foxx did a wonderful job as Mr. Ray Charles. I'm 17 years old and people dont think I could grasp Ray's music. but I can dig it. Oscar for Jamie Foxx.
Dwight, San Diego ca
Bravo! What a wonderful film and superb performance by Jamie Foxx. It was a delightful way to pass last Friday night. An Academy Award nomination should come to Foxx for his portrayal of the late great music man Ray Charles. The music is fabulous!!
Patsy, USA
Ray is one of the best movies I have seen in a long time. Jamie Foxx gives and awesome preformance and is able to bring Ray to life. After seeing that movie I feel like I know Ray Charles.
Veronica, San Francisco ,CA , USA
Words can not express how phenomenal the movie was. The young lady that played Ray's mother seemed to have not received any reviews, but I must say - if I be the first - she was excellent!!!!! Jamie Foxx went to another level in his acting.
Lynn Green, Lithonia, GA, USA
Ray is an outstanding achievement in film-making, it has been far too long since a movie made me feel such emotion. Ray's life has been bought to the screen with a tangible reality. You feel these are the people in his life and that you are watching Ray Charles himself. Everyone deserves all the accolades that have been given. This role was Jamie Foxx's, after seeing this movie I can not imagine anyone else playing Ray. As much as, his roles have made me take notice for his skill as an actor, I was totally surprised at his screen presence and the skill in which he transformed into Ray Charles. By the end you will have to remind yourself the guy on the screen is not Ray Charles. A truly awesome film indeed.
Phillip, Atlanta, GA
This is an excellent movie. Jamie Fox did an outstanding job in his role as Ray Charles. Several in the theater stood up and clapped and cheered.
Freda, Topeka, USA
It's a great movie. I have always loved Ray's music, but I had never made an effort to find out who was the creator. I guess probably because I am too young to know who he is. I am glad they have made story of Ray Charles into a movie. It's one way to keep his legend and contribution to music alive. It also educates young people like me.
Lan, San Jose, CA
I was completely mesmerized by Jamie Foxx's portrayal of Ray Charles. He brought him to life in such an amazing way that I felt the impact of Ray's personality and lasting genius. "Georgia" sent shivers through me. I've seen Ray Charles perform live, and loved the enormous musical and personal energy he projected to his audiences. This film gave me the same rush, and did justice to the greatness of Ray Charles. It wasn't sugar-coated, but I felt such empathy with him through his troubled times. Kudos to the whole cast who were extraordinary. When I left the theatre I went up to several people going in and expressed to them how great the film was, and that if they were there to see Ray it would be an amazing cinematic experience. First-class!!!
Kasandra, Halifax, Nova Scotia, Canada
The acting in this film was sheer brilliance. The way Jamie Foxx moved and talked was on key. I'm only 16 but I have a deep and fond love of the art of music. Ray charles was shown in a cascade of lights his highs and lows and this was one of the best films i have ever seen in my life. Truly a unique movie.
Tatiana Edwards, Ca, USA
There is only one word to describe this movie....Wow! The music was incredible but Jamie Foxx stole the show. I couldn't separate Jamie from the real Ray. In this movie, he IS Ray. Ray's life story reads more like fiction, although it's true. It introduced facts that I wasn't aware of. This is definitely a "don't miss".
Murray Perotin, Scottsdale, AZ, USA
Saw it at the premiere last night, introduced by Taylor Hackford. In his opening speech he mentioned that it was turned down by the studios as it was a "TV movie". They were right.
Nick Whitehouse, Sutton Coldfield, UK
I thought this movie was one of the best biopics I have ever seen and I think that Jamie Foxx definitely deserves a statue (if not several) for this one. Way to go!!!
Michael, Kansas City, MO, USA
This is this best movie I have seen in the longest time. Watching the movie, I felt like it was really Ray on screen. Jamie did a wonderful job.
Angela Thorpe, Toronto, Canada
Foxx deserves an Oscar for his role as Ray Charles. The man played the piano like Ray Charles played the piano. He smiled like Ray Charles. He spoke like Ray Charles. He walked like Ray Charles. We were watching Ray Charles. Great movie.
Michael Wilson, Denver, Colorado USA
Great Movie.. I had no idea how many obstacles this great man had gone through... Jamie Foxx does an outstanding job!!! Can't wait to buy this one...
Erin, Torrance, Ca USA
For someone with a very unique gift and life such as Ray Charles, it is a very difficult task trying to capture the essence of this man in a movie. Nevertheless Ray succeeded by allowing the viewer to see the man for what he was and will always be - a genius who in spite of his handicap and other obstacles such as poverty, racial discrimination, drug use, and womanizing was able to create outstanding music that would have a great influence on many different music forms. The success of Ray will be primarily due to Jamie Foxx's outstanding portrayal of Ray Charles. Other good performances that deserve to be mentioned were the actors who played Ray Charles' mother, wife, mistresses, and Ray Charles as a young boy. At the end of the movie, fellow moviegoers and I applauded. The movie has made me want to know a lot more about this great musician - his life and his music.
Suzanne Mills, Chicago, Illinois
One of the best movies I have seen in a long time. Jamie Foxx did such a good job it was hard to believe that it wasn't really Ray Charles himself. The music was great, and the story although heartbreaking at times had an uplifting end. What a nice change to see a life with all its good and bad mixed in not just a sugar-coated version of an extraordinary life.
Kiki, San Francisco
Excellent portrayal of the lengendary musician. I felt like standing and having a sing a long during the movie. I cried and I laughed out loud.
Deneen McGrier, Farmington Hills, USA
Ray is a stunning and emotionally charged movie. Jamie Foxx is Ray in every way fron the outset and puts in a masterful performance. Ray's life for the majority of us was about his music, and the scenes recreating his stage performances in the movie are outstanding.
Alan, Raleigh, NC, USA
Name
Your E-mail address
Town & Country
Comments | ||||||||
2661 | dbpedia | 1 | 8 | https://decider.com/movie/ray/ | en | Where to Stream and Watch | [
"https://sb.scorecardresearch.com/p?c1=2&c2=6390601&c3=DECIDER&cj=1&cv=3.6",
"https://decider.com/wp-content/uploads/2024/08/jack-harlow-in-the-instigators.jpg?quality=75&strip=all&w=300&h=200&crop=1",
"https://decider.com/wp-content/uploads/2024/08/The_Instigators-ending-explained.jpg?quality=75&strip=all&w=30... | [] | [] | [
""
] | null | [] | 2024-02-26T08:00:00+00:00 | Looking to watch Ray? Find out where Ray is streaming, if Ray is on Netflix, and get news and updates, on Decider. | en | Decider | https://decider.com/movie/ray/ | This story has been shared 428 times. 428
Peacock's Gary Coleman Doc Questions The Late Child Actor's "Suspicious" Death: "His Life Is A Cautionary Tale"
This story has been shared 192 times. 192
Stream It Or Skip It: ‘Taken Together: Who Killed Lyric and Elizabeth?’ on Max, A Docuseries Investigating a 2012 Double Abduction
This story has been shared 178 times. 178
Are Blake Lively And Justin Baldoni Beefing? Breaking Down The 'It Ends With Us' Drama Rumors
This story has been shared 143 times. 143
Stream It Or Skip It: ‘Lolo and the Kid’ on Netflix, a Film About a Grandfather-Grandson Grifter Duo
This story has been shared 138 times. 138
Stream It Or Skip It: ‘The Mallorca Files Season 3’ on Prime Video, A Breezy Police Procedural That Might Remind You of ‘White Collar’
This story has been shared 135 times. 135
Stream It Or Skip It: ‘Mountain Queen: The Summits of Lhakpa Sherpa’ on Netflix, A Moving Portrait of the Only Woman To Summit Mount Everest 10 Times | |||||
2661 | dbpedia | 0 | 10 | https://variety.com/2004/film/awards/ray-3-1200531135/ | en | Ray | [
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2... | [] | [] | [
""
] | null | [
"Todd McCarthy"
] | 2004-09-12T23:50:00+00:00 | Uncannily fine performance by Jamie Foxx provides footing for rangy, straightforward and engrossing biopic of the late Ray Charles. Bursting at the seams with music, Taylor Hackford's ambitious film provides a good sense of the pioneering entertainer's extraordinary journey. Possesses widespread crossover B.O. appeal across the aud spectrum. | en | Variety | https://variety.com/2004/film/awards/ray-3-1200531135/ | An uncannily fine performance by Jamie Foxx provides solid footing for “Ray,” a rangy, straightforward and entirely engrossing biopic of the late Ray Charles. Bursting at the seams with music, Taylor Hackford’s ambitious film provides a good sense of the pioneering entertainer’s extraordinary journey and brings it to life with plenty of colorful detail. Fittingly for the story of one of the first black crossover pop musicians, “Ray” possesses widespread crossover B.O. appeal of its own across the audience spectrum, which, boosted by critical accolades, indicates a very potent commercial future for this estimable Universal release.
With the singer’s support, Hackford tried for 15 years to find backing for this project, which clearly wouldn’t have been worth doing unless the right actor existed for the central part. With his performance here, Foxx’s quick ascent to the top of the Hollywood talent list is complete, as he socks over and completely convinces in the difficult part of a blind, driven and tragedy-scarred musical genius. Role’s made even more challenging by public familiarity with the real man, who died only three months ago at age 73.
Popular on Variety
But even the singer-pianist-composer’s millions of fans will be surprised by much of what they learn here, which isn’t the entire story, to be sure, but still provides a potent sampling of Charles’ demons, faults and addictions to go along with the charm, talent and strength of character.
Although Hackford and first-time screenwriter James L. White parcel out key elements of youthful backstory in brief snippets through much of the tale, narrative encompasses the key points in a mostly orderly fashion: how Ray Charles Robinson was born into abject poverty in Georgia in 1930; how he watched his brother die in a freak drowning accident, then was tortured with guilt over it for years; how he lost his sight within two years of the accident, when he was 7, and was sent away to a school for the blind by his hard-working mother, who then died, leaving him an orphan.
Main action picks up in 1948, when Ray was 17 and made a trip alone across country to join the burgeoning Seattle jazz scene. The first person he meets off the bus is local teen Quincy Jones (Larenz Tate), and Ray’s music quickly catches on at a local dive where he’s taken advantage of, sexually and financially, by his first manager.
While Ray got around extremely well — he never used a cane or dog, and always said his blindness made his sense of hearing much more acute — one area where he had to depend upon others was in contracts and money. Pic reveals how early experience at being cheated (he always insisted upon being paid in one dollar bills, so he could count them) eventually made him into one of the toughest businessmen in his field.
After cutting his first record and dropping his real last name due to the fame of boxer Sugar Ray Robinson, Ray discovered heroin while touring with Lowell Fulson. It was an addiction that lasted until the mid-’60s, and that he only kicked when his wife made him realize he’d probably lose his career if he didn’t.
His other addiction was women. From his earliest gigs, the ladies lined up to get close to this swaying, oddly sensual blind man, whose amusing way of checking women out — he felt their wrists, then on up their arms — is nicely observed. Marriage to young gospel singer Della Bea (Kerry Washington) doesn’t for a moment stop him from fooling around on the road, but through endless affairs, especially with blues singer Mary Ann Fisher (Aunjanue Ellis) and volatile backup singer Margie Hendricks (Regina King), Della Bea stuck with him and raised their kids. (Pic doesn’t come near accounting, however, for the 12 children he sired overall.)
While Ray can imitate any type of music, it’s Della Bea who challenges him to find his own style, which he does by the early ’50s by combining R&B and gospel influences into something that was too sexy for traditionalists but put him on the road to No. 1 hits, first in R&B and ultimately, with “Georgia on My Mind” in 1960, on the pop charts.
The film finds a good balance between the personal and the professional, as well as between the winning and the difficult aspects of the subject’s character. With women and business, Ray always puts his own interests first; as supportive and personally friendly as Ahmet Ertegun (Curtis Armstrong) and Jerry Wexler (Richard Schiff) are shown to be at Atlantic, the label on which he became famous in the ’50s, he nevertheless abandons them in 1959 when ABC Paramount meets his demand to own his masters.
And he drops Jeff Brown (Clifton Brown), the manager who came up with him on the Chitlin Circuit, when he thinks he’s being cheated and summarily replaces him with the sophisticated and efficient Joe Adams (Harry Lennix).
Through the ’40s and ’50s, Ray is depicted as being no more willing to acknowledge racism as a barrier to success than he does his blindness. But in 1961, he abruptly decides he will no longer play for segregated audiences in the South, which prompts his native state to ban him from performing. Except for a coda set in 1979 in which Ray receives an apology from Georgia, pic avoids third-act problems by ending the chronology in 1966, when he responds to a drug arrest and threatened prison term by going clean.
As if the eventful story and charged performances were not enough, music constantly amplifies the events, as Hackford and music supervisor Curt Sobel have shrewdly used Ray Charles recordings, both original and newly prepared, to rep both his far-ranging musical tastes — his proclivity for country is amply stressed — and his feelings. Soundtrack is terrific, and Foxx does an amazing job mimicking the man’s unique mannerisms at the piano and microphone.
For all of its qualities, the film has an even-keeled feel from beginning to end; its prosaic style makes everything go down easily, but doesn’t endow the picture with intense drama, the exhilarating highs or gut-wrenching lows that the story itself offers. All the same, it’s one of Hackford’s best pieces of work.
With Foxx leading the way, performances are strong across the board, with Washington, Ellis and King each memorable in their own ways; Powell and Bokeem Woodbine, the latter as Ray’s longtime sax player Fathead Newman, lending sustained support throughout, and Sharon Warren summoning up scary intensity as Ray’s worked-to-the-bone mother. C.J. Sanders does an exceptional job with what had to be the difficult challenge of expressing young Ray’s traumas over watching his brother die, going blind and being sent away by his mother.
Shot largely in Louisiana and decked out handsomely but without ostentation, pic unfussily evokes many locales, from the red clay of North Florida to the luxury of Ray’s ultimate Los Angeles manse and all the stops in between. | |||||
2661 | dbpedia | 3 | 45 | http://www.tomwilsonusa.com/bio | en | Tom Wilson — Bio | http://static1.squarespace.com/static/57b25515e4fcb5df8e4e488e/t/57b5e3159de4bb1330f8557a/1471537941816/tom+wilson.jpg?format=1500w | http://static1.squarespace.com/static/57b25515e4fcb5df8e4e488e/t/57b5e3159de4bb1330f8557a/1471537941816/tom+wilson.jpg?format=1500w | [
"https://images.squarespace-cdn.com/content/v1/57b25515e4fcb5df8e4e488e/1471412151136-TG03I57C2T93NEX4A3GJ/image-asset.jpeg"
] | [] | [] | [
""
] | null | [] | null | en | https://images.squarespace-cdn.com/content/v1/57b25515e4fcb5df8e4e488e/1471537914059-BW8SNPTK8CSVA2RLWHMF/favicon.ico?format=100w | Tom Wilson | http://www.tomwilsonusa.com/bio | Tom Wilson is an actor, artist, comedian, and writer who’s been working in every aspect of popular culture for decades, creating touchstone roles, provocative paintings, and comic commentary every step of the way.
Internationally renowned for his iconic roles as Biff, Griff, and western gunslinger Buford “Mad Dog” Tannen in the historic “Back To The Future” trilogy, his acting credits include a long list of movies, television, animation, and the stage. Films include “The Heat,” with director Paul Feig. Stephen Soderbergh films including “The Informant,” “Bound by Honor” with Taylor Hackford, John Frankenheimer’s “Andersonville,” “Let’s Get Harry” for Stuart Rosenberg, and the classic “April Fools Day,” among others. The classic television series from Judd Apatow “Freaks and Geeks,” as well a long list of recurring and regular roles on many T.V. series and specials. Onstage he took on the leading role of Ben Rumson in the world premiere revival of “Paint Your Wagon” at the prestigious Geffen Playhouse in Los Angeles, as well as “110 In The Shade” at the Pasadena Playhouse, and can even be heard on countless animated shows, including playing a psychotic banana in the Nickelodeon show “PigGoatBananaCricket,” fighting superheroes on “Batman,” “Superman,” and “Spiderman,” and playing many roles on the hit show “SpongeBob Squarepants.”
His training began at The Philadelphia Company, The People’s Light and Theatre Company, and the American Academy of Dramatic Arts in New York City, which led to many theatre roles and every night spent onstage as an improv artist and standup comedian at Clubs like “Catch A Rising Star,” and the “Improv.” A move to Los Angeles led to a job as a regular performer at “The Comedy Store” on the Sunset Strip, where he was improvising with “The Comedy Store Players,” a now legendary cast of characters including Robin Williams, Richard Pryor, Billy Crystal, Jim Carrey, Garry Shandling and the long list of comedians and writers who would become the nexus of modern comedy. He’s performed as a comedian on “The Tonight Show” with both Johnny Carson and Jay Leno, and “Late Night with David Letterman,” “Conan,” “The Meltdown” on Comedy Central, and recorded his own comedy special called “Bigger Than You.”
As a Pop icon with a unique perspective in contemporary painting, he studied drawing and painting at the Art Academy of Los Angeles, the California Art Institute, and as a student and studio assistant to the impressionist Arthur Egeli, in a line of American impressionism and mentoring that goes back generations, from Henry Hensche, Robert Henri and beyond. Tom has been awarded a rare solo exhibition of his work at the Nickelodeon Studio World Headquarters, as well as a solo exhibition at the Disney Gallery, where he was awarded the title “Disney Featured Artist.“ His artwork is in the permanent collection of the San Jose Museum of Art, the California Museum of Photography, Disney, Mr. Judd Apatow, O Entertainment, Tropare, at his gallery in Laguna Beach, California, and in many collections around the world. His paintings and Pop aesthetic have been featured on Fox News, The Tonight Show, Good Morning America, CBS The Morning, The Artist’s Studio, and hundreds more print and video features in the U.S. and internationally.
He’s been a writer at Universal Studios, Disney, Nickelodeon, and Film Roman studios. His writing has also appeared in “Sacred Passages,” published by Doubleday, in many literary magazines, including “Amelia,” “West Word,” and “ipsissima verba,” and he’s written a memoir, “The Masked Man.” He lives in Los Angeles with his wife, Caroline, and their large and beautiful family.
You can purchase a copy of Tom's book,The Masked Man, HERE. | |||
2661 | dbpedia | 2 | 3 | https://wordpress.lehigh.edu/kaw221/2018/12/13/literary-theory-ray-charles-the-genius/ | en | Literary Theory - Ray: The Movie | [
"https://wordpress.lehigh.edu/kaw221/files/2018/12/ray-10u85ij.jpg",
"https://wordpress.lehigh.edu/kaw221/files/2018/12/IMG_8101-23y9l5x-300x199.jpg"
] | [] | [] | [
""
] | null | [
"Katherine Wells"
] | 2018-12-13T00:00:00 | The 2004 film Ray depicts the start and takeoff of the musical career of loved R&B musician and genius Ray Charles. In director Taylor Hackford’... | en | https://wordpress.lehigh.edu/kaw221/2018/12/13/literary-theory-ray-charles-the-genius/ | The 2004 film Ray depicts the start and takeoff of the musical career of loved R&B musician and genius Ray Charles. In director Taylor Hackford’s choice of Jamie Foxx, we see a depiction of the courage and power of Ray, a black, dominant musician who rose to fame in the 1950s. In an industry defined by borders, Hackford creates a film that quietly portrays the effects of racism at Ray’s time, along with existing racism at the time of the film’s creation. With carefully chosen actors and scenes, Ray tells the story of fame, creativity, and human triumph in order to illustrate the seen and unseen realities of the world’s obstacles and flaws, both then and now.
With instances of acclaimed black actors not receiving awards and films lacking non-white characters, Hollywood and its audiences are not new to the racism of the entertainment world. It has been observed since the industry’s start. In Tyson’s African American criticism theory, she discusses double consciousness, which refers to black writers, or musicians, as “having to decide whether to write primarily for a black audience, a white audience, or both.” Furthermore, Tyson states “this decision involves, in turn, the kind of language the writer [or musicians] uses,” (363). The character Ray is portrayed by black actor Jamie Foxx. Foxx has been cast in movies of all genres, such as drama Django Unchained. Quentin Tarantino’s film is an important note because he, an Academy Award winning director, creates films that skyrocket to fame. His choice of Foxx for the lead of a slave demonstrates Tarantino and Hollywood’s understanding of Foxx’s portrayal as an actor. He has the ability to deliver a character loved by audiences, both black and white, while playing a controversial role. Ray Charles is a man with the power to captivate any group, no matter what race. Despite his fame and fortune, Ray was still a famous black man at a time before the civil rights movement. In demonstrating double consciousness, it is essential the film is aware of the audiences being targeted throughout the storyline. In order to appeal to these different demographics, director Taylor Hackford chooses a “safe” actor, Foxx, to play the lead in order to deliver his realistic messages clearly and effectively. With his portrayal, audiences have a preconceived respect for Foxx, setting aside the character he is playing and his actions in the film. Ray Charles rose to fame in a time where schools were still segregated. When the film was created in 2004, the drastic racial boundaries faced at Charles’ time were no more, besides from the racism still evident today.Ray is a story about raw talent, overcoming obstacles, and eventual triumph. It should not matter what race the main character is, but it does. Using knowledge of double consciousness, Ray lays out a story with a rough beginning and triumphant end, using an actor loved by both black and white. Paired with a feel good storyline, the film evokes a sense of respect, awe, and appreciation from its viewers. Both Ray Charles and the film Ray overcame racial barriers in the industry in order to present talent, deliver entertainment, and shine a light on some of the flaws of the world and the people in it.
African American folk art such as the blues is discussed in Tyson’s theory, and is evident in Ray’s dominance over the music industry. Tyson cites Baker in that, “The blues are a form of African American cultural self-expression that both influences and is influenced by, that both affects and reflects, all other forms of African American expressive culture,” (388). The blues are a “matrix” or a “cultural code” (388) to the black community. As a character, Ray is aware of double consciousness, demonstrated in his knowledge of the different types of music, and the different people, or cultures, that play that music. Musical categories are often marketed by race, but Ray chooses to see though the seemingly defined lines to create music like no other artist, black or white. After being signed to a major record label, Ray is told he needs his own, original sound, or he will never make money. Deciding to change up his musical style, Ray begins to blend soul, blues, country, and jazz, and over time includes gospel. Ray develops a unique genre, without trying to gear his music to a specific audience. Although the blues are historically dominated by black individuals, Ray is not trying to make music for just the fans of blues, or black people. Despite his race, Ray reaches a mass audience typically not achieved by black artists at the time. In Foxx’s demonstration of Ray’s lack of care for racial musical stereotypes, we see human triumph over an entire industry and its fans, showcasing Ray’s strength as a character and loved figure. Ray dominates the music industry and revolutionizes music, creating hit after hit of raw, original creativity along with his own sound, and genre. Ray Charles has the ability to transcend the racial boundaries of fame and musical genres alike, evident in his portrayal by actor Jamie Foxx.
With Ray’s growing fame at the end of the second act, the audience sees Hackford’s quick inclusion of a political action by Ray Charles. In 1961 outside a venue in Georgia, Ray took a stand against racism and in support of the civil rights movement. Told by a fan the venue he was about to play was segregated, Ray backed out of the show, breaching his contract which led to him paying a fine. With Ray’s fame and power over the music industry at the time, this was a substantial leap for the civil rights movement. Ray stood up for what was right, even if that meant consequences, such as his permanent ban from performing in Georgia, his home state. Discussed by Tyson as one of the basic tenets of racism, interest convergence plays a role in the segregation of venues at this time. Interest convergence is “used to explain that racism is common in our country because it often converges, or overlaps, with the interest-with something needed or desired-of a white individual or group” (371). Ray was a performer for the masses, not a specific racial group. Ray choosing to deny a racially segregated audience a show was not a stand typically taken by a black performer at a time of such conflict. Before this scene, Ray’s fame is growing, as he creates hit after hit and tours the country. After this scene, at the end of the second act, Ray’s downfall is depicted, specifically when he is busted for drugs in his hotel room. While the film as a whole tells the story of Ray’s success, drug use and all, Hackford’s placement of this scene illustrates the overarching theme of human triumph in the entertainment industry. Hackford included this pivotal moment for less than a minute, and he could have excluded it all together. By including it, he demonstrates that even at the peak of fame and fortune, a star can still be brought down, in this case by racism. Ray’s image, success, and love from the world was not enough to shield him from the realities of the industry and era.
Viewers can easily overlook the scene, which plays on its purpose. In a film about the talent, success, and triumph of a black artist, Ray is an ultimately positive depiction of the life of Ray Charles. In a demonstration of interest convergence, Hackford gives the viewers a quick moment of possibly unwanted reality. He quickly touches on the severe nature of racism at the time, demonstrated with both a lovable character and actor, full of talent and positivity, in order to illustrate societal negativity for reasons focused solely on race. | ||||||
2661 | dbpedia | 2 | 2 | https://historicalhistrionics.wordpress.com/2011/08/08/ray/ | en | “Ray”: An oversimplified biography (Guest article) | [
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2012/05/cropped-anonymous-banner.jpg",
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2011/08/thats-racist-kid.gif?w=500",
"https://historicalhistrionics.wordpress.com/wp-content/uploads/2011/08/ray-poster.jpg?w=202&h=300",
"http... | [] | [] | [
""
] | null | [] | 2011-08-08T00:00:00 | (Before the article in question starts today, I just want to extend my thanks to the lovely Ashley Hirt for writing the article! If anybody else wants to write a guest article, please let me know. With the said, read the review.) Ray Released: 2004 Starring: Jamie Foxx, Regina King, Kerry Washington Period of history… | en | https://s1.wp.com/i/favicon.ico | Historical Histrionics | https://historicalhistrionics.wordpress.com/2011/08/08/ray/ | (Before the article in question starts today, I just want to extend my thanks to the lovely Ashley Hirt for writing the article! If anybody else wants to write a guest article, please let me know. With the said, read the review.)
Ray
Released: 2004
Starring: Jamie Foxx, Regina King, Kerry Washington
Period of history in focus: 1950s – 1960s America (Birth of Rock & Roll)
A few vital facts about “race music” –
Rhythm & blues, soul, gospel, and jazz were all labels for the music that would become known as rock & roll.
The term “race record” was first used in 1922 and was primarily a marketing term, advertising music to African Americans.
As seen in the film, there was a great deal of resistance to the “secularization” of African American religious music. Ray Charles built his fame in large part by co-opting gospel techniques into his popular music. Today, we think nothing of hearing hymn-based chord progressions in our music. But at the time, this concept was pretty controversial in the black community.
The events in this film were only a decade or two removed from the era when black musicians were not welcome as guests in the sold-out clubs they performed in – and vestiges of this Jim Crow-era racism were still around in the South as late as the 1970s.
The formula for success when tackling racial issues in Hollywood seems to be simple: daring to even make a “controversial” racial film is a radical, searing, bold move and is Oscar-worthy in itself. Movies about the struggles of minorities are typically universally adored because hey, who wants to admit they hated “The Color Purple?”
The only controversy stems from the fact that Hollywood ineptly portrays protagonists of color as either flawed redemption seekers or squeaky-clean paragons of virtue, as if having an anti-hero of color is somehow going to draw accusations of racism.
Hollywood’s black characters are too often one-dimensional.
Because Hollywood holds actual racial dialogue in complete disdain and invests itself instead in clichés, stereotypes, and pandering, the tendency exists in the film industry to trivialize and over-sentimentalize subjects of color.
The most recent example of this is “Ray,” the 2004 biopic of Ray Charles that established Jamie Foxx as a legitimate acting/musical threat and triggered a wave of films depicting the titans of black popular music (“Dreamgirls,” also starring Foxx, and “Cadillac Records” followed in 2006 and 2008, respectively). This is the music that triggered radical social change and, in some cases, racial turmoil. Taylor Hackford, the director of “Ray,” focuses his film not on Charles’ tremendous trail-blazing musical accomplishments but instead invests substantial screen time in the schmaltz of Charles’ various family tragedies and struggles with heroin addiction. This, predictably, concludes with Ray conquering his demons and assuming his rightful place in musical legend as a result. The truth is slipperier than that.
At the beginning of the film, Hackford focuses on Ray’s relationship with his mother. Aretha Robinson is portrayed as a tough-loving, hard-working sharecropper and the sole nurturer of Ray’s tenacious streak. According to Ray’s biography, however, another woman guided his early years. The ex-wife of his absent father, Mary Jane was the softness to Aretha’s toughness, the nurturer foil to Aretha’s tough-love approach. Ray’s stubborn sense of independence was surely derived from his biological mother, but his pleasure-seeking instincts were a result of Mary Jane’s indulgence. Aretha made certain to keep Ray dependent only on himself, assigning him daily chores to perform even as he lost his sight. These two women contributed the traits that made Ray Charles such a complex human being. Hackford never deigns to acknowledge this dichotomy of parenting or the effect it had on Charles’ psyche.
Instead, Hackford depicts Ray’s love of drink, women, and heroin as a numbing agent for the loss of his younger brother George. While George’s death was a significant trauma, Ray never really suffered immense grief until the loss of his mother while he was away at a school for the blind. “The death of my mother Aretha, that had me reeling. For days I couldn’t talk, think, sleep or eat. I was sure enough going crazy,” he told David Ritz. This disconnect from his support system was a defining moment in Ray’s life.
Ray was fortunate to attend an incredible institution, the Florida School for the Deaf and Blind, where he channeled his talent and grief into a formidable musical education. Here, he excelled at playing Chopin and Mozart and developed skill on the clarinet; it was here that he learned a critical trait for his future success: arranging. He was steeped in a classical style and became proficient at classical theory, a skill that he would creatively develop with infusions of gospel and soul.
Hackford’s film, instead of mentioning any of this character-building background, focuses on an odd subplot where Ray hangs out with Quincy Jones and later fires his first manager for skimming his money. Far be it for me to criticize the creative decisions of a Hollywood director (snort), but it seems to me that there is a fascinating subtext to Ray’s story that already exists. Why fabricate a schmaltzy redemption tale centered around Ray’s brother, when the true details of his youth are far more interesting?
Ray’s early years are dramatically depicted as a gradual swan dive into heroin addiction and conflicts with equally strung-out band members. This is not a “Trainspotting”-esque portrayal of heroin addiction; Ray’s life of drugs is surrounded by velvet pillows and women, not Exorcist babies.
The film doesn’t exactly portray Ray’s cadre of women in a positive light either; his female backup singers are just sassy, slutty window dressing. In fact, most of Ray’s associates and sidemen are given a less-than-accurate depiction, but hey, the movie’s about Ray, right?
You’re stereotypes, bitches – this is storytelling!
Perhaps the most egregious offense made by the film is the faux racial tension it fabricates – why make up racial issues when the truth was definitely worse than fiction? The scene where Charles arrives at a Georgia performance venue and is met by protestors is pure fiction. In reality, Charles received word from a group of black students about the promoter’s policies, and he never traveled to Georgia, preferring to simply cancel the appearance. The assertion that he was “banned” from performing in Georgia is also a complete fabrication. The promoter did sue Charles, but the idea that he was somehow banned from the state for making a racial stand is absurd. Why would the state of Georgia choose Charles’ hit “Georgia On My Mind” as its STATE SONG if the man was persona non grata in the state?
This is just sloppy writing, but it’s typical of the Hollywood attitude toward race relations – things were certainly bad, but it’s simply insulting to make up events of discrimination. In “Dreamgirls” a record producer, also played by Jamie Foxx, engages in the practice of payola to get his girls on the radio. Payola was the act of pay-for-play – disc jockeys held considerable power in the era before corporate radio, and producers of “race records” were known to slip a few bills under the table to get a record in rotation. In “Dreamgirls,” this action by Foxx’s character is what eventually causes his downfall, and the film treats this revelation as sweet redemption for the victims of the producer’s underhanded tactics. They sure showed him!
What that film neglects to mention is that payola was common practice at all levels of music, including plenty of white artists. Payola was only pursued as a crime after it was revealed that black artists were resorting to bribes to hear their music on the radio. Low-level bureaucrats were sufficiently outraged enough to make a federal case out of payola, and those disc jockeys that pocketed money for spinning “race records” were censured and humiliated. DJ Alan Freed was a vocal supporter of African American music, and was the most notable casualty of this sudden disdain for music industry bribery.
A common music business practice only became taboo when African American artists used it to disseminate their art into the mainstream. Stay classy, America.
Much of the latter half of “Ray” is devoted to Ray’s struggle to kick heroin. If the film is to be believed, Ray quit the habit and was forever a squeaky-clean musician who sprouted wings and a halo for the last decades of his life. He is also portrayed as settling down and remaining steadfastly faithful to his wife.
Ray Charles was a complex man, a bit of an anti-hero. He was disgustingly talented, but self-destructive. He was a loving man, but a womanizer. The film desperately scrambles to resolve all of the threads of tension it spins, putting a bow on the story of an American icon. Everyone leaves happy, Ray is suitably redeemed, and Hollywood gets their stock happy ending.
You know where I’m going with this. Complex characters don’t magically become boring and upright.
Heroin was no longer a part of his life, but Ray spent the rest of his days drowning in gin, and smoked kilos of marijuana every day. As David Ritz writes, “he was hardly a spokesman for sobriety.”
Ray Charles was certainly a vital component of the development of American rock & roll. He mixed jazz, gospel, and blues styles into a highly original and unique concoction that hasn’t been successfully imitated. He was also a tenacious, complicated man, fighting against his own handicaps and racial undercurrents to find success in the bare-knuckled brawl that is the music industry.
It’s just puzzling that Hollywood would choose to reduce such an individual to a neat, box-office-friendly package, rather than depict the true complexities of Ray’s character. Instead, this film positively DRIPS with schmaltz and sentimentality. Ray Charles was many things, but sentimental was not one of them. Jamie Foxx’s portrayal rightfully earned great respect, as Foxx managed to capture the dichotomies of the man with aplomb. Imagine if the writers had been brave enough to give him some real material!
Of the film about his life, Ray said: “Hollywood is a cold-blooded motherfucker. It’s easier to bone the President’s wife than to get a movie made. So I say God bless these cats… And now that it’s happening, maybe I’ll have a better chance of being remembered. I can’t ask for anything more.”
Doesn’t really sound like a sentimental man. Too bad that’s what we got.
Sources:
David Ritz, “It’s a Shame about Ray.” Slate Magazine – http://www.slate.com/Default.aspx?id=2108507
Grove Music Online, “Ray Charles.” This site is subscriber-only, but is the go-to music encyclopedia.
Guthrie P. Ramsey, “Race Music.” Terrific book about the birth of black music and rock & roll.
Katherine Charlton, “Rock Music Styles: A History.” Good overview text of all styles of rock music.
IMDB, Ray. http://www.imdb.com/title/tt0350258/
NEXT WEEK:
Expect an update on “The Last Samurai” starring Tom Cruise. I am planning on watching the film on Wednesday or Thursday (you can find updates about this at my Twitter feed at the right side of the blog or at @hhistrionics) and posting soon after. | ||||
2661 | dbpedia | 0 | 11 | https://www.rogerebert.com/reviews/ray-2004 | en | Soul man: Jamie Foxx is Ray Charles movie review (2004) | [
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-ebert-logo.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/search-thin.svg",
"https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg",
"https://www.rogerebert.com/wp-conte... | [] | [] | [
""
] | null | [] | null | Ray Charles became blind at age 9, two years after witnessing the drowning death of his little brother. In a memory that haunted his life, he stood nailed to | en | Roger Ebert | https://www.rogerebert.com/reviews/ray-2004 | Ray Charles became blind at age 9, two years after witnessing the drowning death of his little brother. In a memory that haunted his life, he stood nailed to the spot while the little boy drowned absurdly in a bath basin. Why didn’t Ray act to save him? For the same reason all 7-year-olds do dumb and strange things: Because they are newly in possession of the skills of life and can be paralyzed by emotional overload. No one seeing the scene in “Ray,” Taylor Hackford‘s considerable new musical biography, would think to blame the boy, but he never forgives himself.
If he had already been blind, he could not have blamed himself for the death and would not have carried the lifelong guilt that, the movie argues, contributed to his eventual drug addiction. Would he also then have not been driven to become the consummate artist that he was? Who can say? For that matter, what role did blindness play in his genius? Did it make him so alive to sound that he became a better musician? Certainly he was so attuned to the world around him that he never used a cane or a dog; for Charles blindness was more of an attribute than a handicap.
Jamie Foxx suggests the complexities of Ray Charles in a great, exuberant performance. He doesn’t do the singing — that’s all Ray Charles on the soundtrack — but what would be the point? Ray Charles was deeply involved in the project for years, until his death in June, and the film had access to his recordings, so of course it should use them, because nobody else could sing like Ray Charles.
What Foxx gets just right is the physical Ray Charles, and what an extrovert he was. Not for Ray the hesitant blind man of cliche feeling his way, afraid of the wrong step. In the movie and in life, he was adamantly present in body as well as spirit, filling a room, physically dominant, interlaced with other people. Yes, he was eccentric in his mannerisms, especially at the keyboard; I can imagine a performance in which Ray Charles would come across like a manic clown. But Foxx correctly interprets the musician’s body language as a kind of choreography, in which he was conducting his music with himself, instead of with a baton. Foxx so accurately reflects my own images and memories of Charles that I abandoned thoughts of how much “like” Charles he was and just accepted him as Charles, and got on with the story.
The movie places Charles at the center of key movements in postwar music. After an early career in which he seemed to aspire to sound like Nat “King” Cole, he loosened up, found himself, and discovered a fusion between the gospel music of his childhood and the rhythm & blues of his teen years and his first professional gigs. The result was, essentially, the invention of soul music, in early songs like “I Got a Woman.”
The movie shows him finding that sound in Seattle, his improbable destination after he leaves his native Georgia. Before and later, it returns for key scenes involving his mother Aretha (Sharon Warren), who taught him not to be intimidated by his blindness, to dream big, to demand the best for himself. She had no education and little money, but insisted that he attend the school for the blind, which set him on his way. He heads for Seattle after hearing about the club scene, but why there and not in New York, Kansas City, Chicago or New Orleans? Certainly his meeting with the Seattle teenager Quincy Jones was one of the crucial events in his life (as was his friendship with the dwarf emcee Oberon, played by Warwick Davis, who turns him on to pot).
The movie follows Charles from his birth in 1930 until 1966, when he finally defeats his heroin addiction and his story grows happier but also perhaps less dramatic. By then he had helped invent gospel, had moved into the mainstream with full orchestration, had moved out of the mainstream into the heresy of country music (then anathema to a black musician) and had, in 1961, by refusing to play a segregated concert in Georgia, driven a nail in the corpse of Jim Crow in the entertainment industry.
In an industry that exploits many performers, he took canny charge of his career, cold-bloodedly leaving his longtime supporters at Atlantic Records to sign with ABC Paramount and gain control of his catalog. (It’s worth noting that the white Atlantic owners Ahmet Ertegun and Jerry Wexler are portrayed positively, in a genre that usually shows music execs as bloodsuckers.) Charles also fathered more children than the movie can tell you about, with more women than the movie has time for, and yet found the lifelong love and support of his wife, Della Bea Robinson (Kerry Washington).
The film is two and a half hours long — not too long for the richness of this story — but to cover the years between 1966 and his death in 2004 would have required more haste and superficial summary than Hackford and his writer, James L. White, are willing to settle for. When we leave him, Ray is safely on course for his glory years, although there is a brief scene set in 1979 where he receives an official apology from his home state of Georgia over the concert incident, and “Georgia on My Mind” is named as the state song.
Charles’ addictions were to drugs and women. He only beat drugs, but “Ray” is perceptive and not unsympathetic in dealing with his roving ways. Of the women we meet, the most important is his wife Della Bea, played by Washington as a paragon of insight, acceptance and a certain resignation; when one of his lovers dies, she asks him, “What about her baby?” “You knew?” says Charles. She knew everything.
His two key affairs are with Ann Fisher (Aunjanue Ellis), a blues singer, and Margie Hendricks (Regina King), a member of his backup group, the Raelettes. Who knows what the reality was, but in the film we get the sense that Charles was honest, after his fashion, about his womanizing, and his women understood him, forgave him, accepted him and were essential to him. Not that he was easy to get along with during the heroin years, and not that they were saints, but that, all in all, whatever it was, it worked. “On the road,” says Margie, in a line that says more than it seems to, “I’m Mrs. Ray Charles.”
The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special. Yes, there are moments when an incident in Ray’s life instantly inspires a song (I doubt “What’d I Say?” translated quite so instantly from life to music). But Taylor Hackford brings quick sympathy to Charles as a performer and a man, and we remember that he directed made “Hail! Hail! Rock and Roll,” a great documentary about Chuck Berry, a performer whose onstage and offstage moves more than braced Hackford for this film. Ray Charles was quite a man; this movie not only knows it, but understands it. | |||||
2661 | dbpedia | 1 | 9 | https://www.deseret.com/2004/10/28/20090645/film-review-ray/ | en | Film review: Ray | [
"https://static.themebuilder.aws.arc.pub/deseretnews/1707933931353.svg",
"https://www.deseret.com/resizer/v2/CT6GZVFVVUQ4IVQPNBNSDREOTA.jpg?auth=72579e2e012dda429416a7f48b66443ede5d44e70e1042c71a25d8732e7010bc&focal=130%2C70&width=800&height=430",
"https://www.deseret.com/resizer/v2/3RAD7432JVG4RHJ6FSBVAEYVMQ.j... | [] | [] | [
""
] | null | [
"Deseret News",
"Jeff Vice",
"www.deseret.com",
"deseret-news"
] | 2004-10-28T00:00:00 | You can hardly blame "Ray" for going soft on its subject. After all, the film is a narrative feature, not a documentary. | en | /pf/resources/deseretnews/favicon.png?d=160 | Deseret News | https://www.deseret.com/2004/10/28/20090645/film-review-ray/ | You can hardly blame "Ray" for going soft on its subject. After all, the film is a narrative feature, not a documentary.
Besides, the subject in question is the late R&B musician Ray Charles (born Ray Charles Robinson), one of the most beloved musical figures of the 20th century.
But the film puts up a front that it is going to come down on Charles harder than it does, and therefore doesn't really live up to its convictions. (Though it's not surprising, since Charles' family did authorize the film and Charles himself contributed to it before his death earlier this year.)
The result is a rather uneven and at times bloated biographical drama that strikes gold with Charles' music and by the good fortune of landing Jamie Foxx as its star. Foxx's spectacular, eerily accurate performance as Charles makes what would have been a rather sketchy movie better.
"Ray" makes an effort to be something of a warts-and-all biography, broaching the subject of Charles' various marital indiscretions and drug-addiction problems, which came to light in the 1960s after two high-profile arrests. However, it skimps on the details about how he developed his incredible musical talent, including his ability to copy the styles of other singers and musicians simply by hearing them.
That's what allowed him to leave Florida and join various jazz combos during the early 1950s. But he got his big break when he was signed by a fledgling record label. Later, his contract was bought out by Atlantic Records impresario Ahmet Ertegun (Curtis Armstrong), who helped him focus his talents (he even wrote Charles' first hit for that label, "Doin' the Mess Around").
With so much success all at once, Charles did succumb to the temptations of the road, having affairs with back-up singers Mary Anne Fisher (Aunjanue Ellis) and Margie Hendricks (Regina King), and putting his marriage to former gospel singer Della Bea Robinson (Kerry Washington) in jeopardy.
Director Taylor Hackford and screenwriter James L. White probably try to compress too much of Charles' life into a 2 1/2-hour movie, and consequently, much of it feels superficial (in particular, the portion dealing with his contributions to the civil-rights movement).
Still, it's Foxx's film, and he absolutely nails Charles' mannerisms, facial expressions and body language right. But it's no mere impression work here; this is career-defining stuff for the former comic, and certainly merits an Oscar nomination.
"Ray" is rated PG-13 for simulated drug use (marijuana and heroin), occasional use of strong profanity, racial epithets and crude sexual slang terms, some sexual contact, and some brief violence (a scuffle and a drowning). Running time: 152 minutes. | ||||
2661 | dbpedia | 0 | 50 | https://variety.com/2005/film/awards/taylor-hackford-james-white-1117915697/ | en | Taylor Hackford & James White | [
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif",
"https://variety.com/wp-content/themes/pmc-variety-2... | [] | [] | [
""
] | null | [
"Susannah Gora"
] | 2005-01-04T05:00:00+00:00 | This biopic portrays the life of music legend Ray Charles (Jamie Foxx) and his journey from an impoverished childhood in the South to worldwide acclaim. The film, electrified by Charles' music, delves into painful subjects including his blindness, addiction to heroin, guilt over the death of a younger brother and marital infidelities. | en | Variety | https://variety.com/2005/film/awards/taylor-hackford-james-white-1117915697/ | Studio: Universal (released Oct. 29)
Category: Original
Storyline: This biopic portrays the life of music legend Ray Charles (Jamie Foxx) and his journey from an impoverished childhood in the South to worldwide acclaim. The film, electrified by Charles’ music, delves into painful subjects including his blindness, addiction to heroin, guilt over the death of a younger brother and marital infidelities.
About the script: Like Charles, White is an African-American from the small-town South who struggled with heroin addiction. “This (film) is a story about a black man as a person — not as a cartoon,” says White. “In this business, a lot of stories about black people are either about the noble, above-board Negro that we all learn something from — who’s not really real, or they’re stupid clowns that none of us would want to have to dinner. “(Ray Charles) was a human being. And that’s the key to black films selling here and abroad: If you tell human stories, other humans are going to show up to watch them.”
Popular on Variety
Biggest challenge: White formed a strong relationship with Charles. “The hardest thing to do,” he says, “was to make sure that I did not mess up Ray Charles’ life.”
Breakthrough idea: “What made the (biographical) facts come together to make a movie,” says White, “was when I spoke with Della Bea Robinson,” Charles’ wife of many years. “Those two loved each other. What I wanted to do was bring that love to the screen, because without the emotion, none of this works.”
Standout scene: Charles’ mind and body are ravaged by heroin withdrawal symptoms, and he slips into an ethereal dream where he’s having a heart-wrenching conversation with his late mother and brother. “When you’re a junkie,” says White, “you have horrible nightmares. Mr. Charles told me about his. So we combined that with the love for his mother, and his guilt about his brother George.”
Choice line: Charles tells his new backup singers that they’re going to be known as the Raelettes. One of them (Regina King) replies, “Does that mean we have to let Ray?” | |||||
2661 | dbpedia | 0 | 0 | https://en.wikipedia.org/wiki/Ray_(film) | en | Ray (film) | [
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/2/2b/Ray_poster.jpg/220px-Ray_... | [] | [] | [
""
] | null | [
"Contributors to Wikimedia projects"
] | 2004-09-17T12:48:54+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Ray_(film) | 2004 biographical film about Ray Charles
RayDirected byTaylor HackfordScreenplay byJames L. WhiteStory by
Taylor Hackford
James L. White
Produced byStarringCinematographyPaweł EdelmanEdited byPaul HirschMusic byCraig Armstrong
Production
companies
Bristol Bay Productions
Anvil Films
Baldwin Entertainment Group
Distributed byUniversal Pictures
Release date
Running time
152 minutesCountryUnited StatesLanguageEnglishBudget$40 million[1]Box office$124 million[1]
Ray is a 2004 American biographical musical drama film focusing on 30 years in the life of soul musician Ray Charles.[a] The independently produced film was co-produced and directed by Taylor Hackford; it was written by James L. White from a story by Hackford and White. It stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix, Terrence Howard, Larenz Tate, Richard Schiff, and Regina King in supporting roles. Along with Hackford, the film was also produced by Stuart Benjamin, Howard Baldwin, and Karen Baldwin.
It was released on October 29, 2004, by Universal Pictures. It received generally positive reviews from critics, with particular praise for Foxx's performance.
Ray received many accolades and nominations and was nominated in six categories at the 77th Academy Awards, including for Best Picture. It won two Academy Awards: Best Actor for Foxx and Best Sound Mixing. Foxx also won Best Actor at the Golden Globe, BAFTA, Screen Actors Guild, and Critics' Choice becoming the second actor to win all five major lead actor awards for the same performance, and the only one to win the Golden Globe in the Musical or Comedy category, rather than in Drama.
Charles had planned to attend a screening of the completed film but died of liver disease in June 2004, four months prior to the premiere.[3]
Plot
[edit]
Ray Charles Robinson is raised in poverty in Florida by his mother, Aretha. Learning to play piano at an early age, Ray is haunted by the accidental death of his younger brother George, who drowns in their mother's washbasin. Ray loses his vision by age seven and becomes completely blind. Aretha teaches him to be independent, eventually sending him to a school for the deaf and blind.
In 1946, Ray joins a white country band and wears sunglasses to hide his damaged eyes. Two years later, he travels to Seattle and joins a nightclub band, though the club's owner demands sexual favors and controls his money and career. After discovering he is being exploited, Ray signs his own record deal and leaves the band. Touring on the Chitlin' Circuit as "Ray Charles", he is introduced to heroin.
Ray is discovered by Ahmet Ertegun of Atlantic Records and records his first hit with Ertegun's Yamilksa song "Mess Around". In Houston, Ray falls in love with Della Bea, a preacher's daughter. Though she and others are unhappy about Ray mixing gospel with his music, he marries Della and continues to gain fame with "I Got a Woman" and "Hallelujah I Love Her So".
A pregnant Della finds Ray’s drug kit and confronts him. They reconcile after the birth of their first child, but Ray begins an affair with singer Mary Anne Fisher. In 1956, as Ray's popularity grows, he hires a trio to become "The Raelettes" and immediately falls for lead singer Margie Hendrix. They begin their own affair, and a jealous Mary Anne leaves.
Margie asks Ray to let her try heroin, but he orders her to stay away from it. His producers recognize his now-complete addiction as he presents symptoms while recording "Night Time Is the Right Time" on a new electric piano, but despite their concern they recognize his genius and his recording career continues.
A few years later, when Ray's band finishes a set early and the club’s owner demands they play the remaining time, Ray performs "What'd I Say" on the spot. His popularity rises through the 1950s and he moves his family to Los Angeles but continues to use heroin, straining his relationships with Della and Margie. In 1960, he signs a better contract with ABC Records, negotiating to own his master tapes.
Ray continues to develop his music, recording such hits as "Georgia on My Mind". Margie reveals she is pregnant, and cuts off their affair when Ray demands she end the pregnancy. He writes "Hit the Road Jack" with a solo by Margie, who uses her newfound recognition to embark on a solo career, while Ray struggles with his addiction.
In 1961, Ray encounters civil rights protestors outside his concert in Augusta, Georgia. Deciding not to play at the segregated venue, he cancels the concert and is banned from playing in Georgia. After he allows black and white audience members to dance together onstage during a concert in Indianapolis, his hotel room is raided by police. His arrest for heroin possession is made public, to Della’s dismay, but his record label has the charges dismissed.
In St. Louis, Ray performs the country-influenced "I Can't Stop Loving You" and is impressed by announcer Joe Adams, who joins his tour. Ray moves his family to Beverly Hills, and learns that Margie has died of an overdose. Joe alienates Ray’s band and his longtime friend and manager Jeff Brown, whom Ray fires, for stealing.
In 1965, Ray returns from a concert in Montreal and is again arrested for heroin possession. Dismissing his excuses, Della pleads with him to overcome his habit, and he is sentenced to drug rehabilitation. Suffering vivid nightmares during withdrawal, Ray learns to play chess with Dr. Hacker and Hacker explains to him that his lawyer's arguments with the judge agreed to probation in Boston under the condition that he completes his drug rehab problem and agrees to take periodic drug tests, Ray has a vision of George and their mother, who, while praising the fact he became a success, chastises him for letting his addictions cripple him, with George telling Ray that his death was not his fault.
By 1979, Ray has permanently quit heroin and receives an official apology from the state of Georgia, which names "Georgia On My Mind" the official state song. Ray goes on to have a long and successful career as a world-famous entertainer until his death in 2004.
Cast
[edit]
Production
[edit]
The film's production was entirely financed by Philip Anschutz, through his Bristol Bay Productions company.[4][5] Taylor Hackford said that it took 15 years to make the film;[2] or more specifically, as he later clarified in the liner notes of the soundtrack album, this is how long it took him to secure the financing.[6] It was made on a budget of $40 million.
Charles was given a Braille copy of the film's original script; he objected only to a scene showing him taking up piano grudgingly, and a scene implying that Charles had shown mistress and lead "Raelette" Margie Hendricks how to shoot heroin.[3]
Hackford originally had the idea of using a stunt double to make it look like Foxx was playing the piano but was shocked to find out that he went to college on a classical piano scholarship.[7] Foxx does not sing as Charles with exception to cover versions Charles performs in his earlier years.[2] Kanye West and Ludacris have since made songs with Foxx singing as Charles in their songs "Gold Digger" and "Georgia", respectively. Instead of studying Ray Charles in person, Foxx watched old video footage of him to authentically recreate the vibe of Ray Charles when he was a lot younger. Foxx also shot the majority of the film blind as he used prosthetics to cover his eyes.[8]
Hackford stated that while Anschutz agreed to finance the film, he demanded that it be PG-13, which caused Hackford to walk away from the film twice.[9] Because Charles and Ahmet Ertegun asked him to make the movie, he agreed to do the film as a PG-13 rating. The film was rated PG-13 for "depiction of drug addiction, sexuality and some thematic elements".
Hackford stated that no studio was interested in backing the movie.[2] After it was shot independently, Universal Pictures stepped in to distribute it.[9] Part of the reason Universal Pictures released it was because one of its executives used to hitchhike to Ray Charles concerts.
The film's score was composed by Craig Armstrong. Ray debuted at the 2004 Toronto International Film Festival.[10]
Soundtrack
[edit]
Main article: Ray (soundtrack)
Reception
[edit]
Box office
[edit]
Ray was released in theaters on October 29, 2004. The film went on to become a box-office hit, earning $75 million in the U.S. with an additional $50 million internationally, bringing its worldwide gross to $125 million.[1]
Critical response
[edit]
On Rotten Tomatoes, the film holds an approval rating of 80% based on 206 reviews, with an average rating of 7.30/10. The site's critical consensus reads, "An engrossing and energetic portrait of a great musician's achievements and foibles, Ray is anchored by Jamie Foxx's stunning performance as Ray Charles."[11] On Metacritic the film has a weighted average score of 73 out of 100, based on 40 critics, indicating "generally favorable reviews".[12] Audiences surveyed by CinemaScore gave the film a rare "A+" grade.[13]
Roger Ebert of the Chicago Sun-Times wrote: "The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special." Ebert gave it a full 4 out of 4 stars.[14] Richard Corliss of Time praised the cast, saying "If there were an Oscar for ensemble acting, Ray would win in a stroll."[15] Peter Travers of Rolling Stone wrote: "Jamie Foxx gets so far inside the man and his music that he and Ray Charles seem to breathe as one."[16]
According to music critic Robert Christgau, "Foxx does the impossible—radiates something approaching the charisma of the artist he's portraying... that's the only time an actor has ever brought a pop icon fully to life on-screen."[17]
Awards
[edit]
Related projects
[edit]
In the wake of his performance as Charles in the film, Foxx featured on hip-hop songs that sampled Charles' songs:
Georgia by Ludacris also featuring Field Mob, which samples Georgia on My Mind.
Gold Digger by Kanye West, which samples I Got a Woman.
Differences from noted events
[edit]
The film's credits state that Ray is based on true events, but includes some characters, names, locations, and events which have been changed and others which have been "fictionalized for dramatization purposes." Examples of the fictionalized scenes include:
The film's portrayal of Charles' brother George's death in 1935 shows him drowning in a metal tub after Ray does not attempt to rescue him because he assumes he is just playing; Ray's mother then discovers George drowning when calling the boys in for dinner. Though George did drown in a metal tub, Ray did try to pull him out, but was unable to do so due to George's large body weight;[18] Ray then ran inside to tell his mother what happened.[18]
Throughout the film, it is suggested that Ray's depression and heroin addiction were fueled by nervous breakdowns he had over the deaths of both George and his mother, as well as his blindness. In reality, the death of his mother did give him a nervous breakdown and was thought to be a leading cause of his depression,[19] but the death of George and his blindness did not lead to nervous breakdowns.[19]
It is true that Charles kicked his heroin addiction after undergoing treatment in a psychiatric hospital during 1965, as stated towards the end of the film, but it is not mentioned that he would often use gin and marijuana as substitutes for heroin throughout much of the remaining years of his life.[19][20]
In the scene in which "What'd I Say" is being played, Charles is depicted as playing a Fender Rhodes electric piano, but in reality, he used a Wurlitzer electric piano on the original recording and began using it on tour in 1956, because he did not trust the tuning and quality of the pianos provided to him at every venue.[21]
In the film, when his backing singer and mistress Margie Hendricks informs Ray she is pregnant with his child, Ray suggests she should have an abortion, out of loyalty to Della; Margie decides to keep the baby and soon leaves Ray to pursue a separate singing career after he refuses to abandon his family, move in with her and welcome the baby into his life. In reality, Hendricks did conceive a child with Charles and abandoned him after he refused to leave Della, but Charles never asked her to have an abortion, and welcomed any child he conceived, whether from Della or any mistress, into his personal life.[20]
In the film Margie leaves the Raelettes in 1961, but in reality she was fired from the group by Ray in 1964 after a heated argument.[22]
In the scene in which Charles is about to enter a segregated music hall in Augusta, Georgia, in 1961, a group of civil rights activists protesting just outside the hall successfully persuade him not to perform; Charles then declares that he will no longer perform in segregated public facilities and in response, the Georgia state legislature passes a resolution banning Charles from ever performing again in the state. In reality, a group of civil rights activists did successfully persuade Charles to reject this invitation, but the advice came in the form of a telegram rather than a street protest;[20] Charles also did make up for the gig later, and was never banned from performing in Georgia and still accepted invitations to perform at segregated public facilities.[20]
In the film, Margie Hendricks dies in 1964, and it was stated the death was caused by drug overdose. However, in reality she died on July 14, 1973, but no official cause of death was determined because an autopsy was not performed.[23]
During the final scene in the film, when Charles' version of "Georgia on My Mind" becomes Georgia's state song, Charles is congratulated by his wife Della, and a resolution is also passed to lift the lifetime ban he had received in 1961 after he declared he would no longer perform at segregated public facilities. In reality, by the time "Georgia on My Mind" became Georgia's state song in 1979, Charles and Della had already divorced, so she was not present when Charles performed at the Georgia State Legislature;[20] and since he had never been banned from performing in Georgia in the first place, no such resolution was ever passed.[20]
Notes
[edit]
References
[edit] | ||||||
2661 | dbpedia | 0 | 93 | https://widener.locate.ebsco.com/search%3Foption%3Dsubject%26query%3DBlind%2520entertainers--Drama | en | EBSCO Locate | https://widener.locate.ebsco.com/favicon.ico | https://widener.locate.ebsco.com/favicon.ico | [] | [] | [] | [
""
] | null | [] | null | EBSCO Locate | en | /favicon.ico | null | ||||
2661 | dbpedia | 3 | 91 | https://www.starsinsider.com/movies/367758/the-most-popular-american-made-music-biopics | en | The most popular American-made music biopics | [
"https://www.facebook.com/tr?id=208292183294332&ev=PageView&noscript=1",
"https://cdn.starsinsider.com/img/svg/logos/starsinsider_logo_white.svg",
"https://cdn.starsinsider.com/img/svg/menu.svg",
"https://cdn.starsinsider.com/img/svg/facebook.svg",
"https://cdn.starsinsider.com/img/svg/twitter.svg",
"http... | [] | [] | [
"Biopic",
"Film",
"Biography",
"Music",
"Music biography",
"Ranked",
"Movies",
"Britney spears biopic",
"The woman in me"
] | null | [
"StarsInsider",
"www.facebook.com"
] | 2024-08-02T12:45:00+01:00 | Britney Spears' memoir is being made into a major motion picture by Universal | en | Stars Insider | https://www.starsinsider.com/movies/367758/the-most-popular-american-made-music-biopics | The best-selling 2023 memoir 'The Woman in Me,' by the one and only Britney Spears, has been picked up by Universal Pictures. The studio secured the rights to the singer's book and has announced Jon M. Chu as the director. Chu is known for directing movies like 'Crazy Rich Asians' (2018) and the upcoming musical film 'Wicked' starring Ariana Grande and Cynthia Erivo. The actress who will play Spears has yet to be determined but the singer reportedly reserves veto rights when it comes to who will take on the starring role. The project is still in its infancy and very few details are available as of yet. However, producer Marc Platt is also on board, and both he and Chu have a history of creating musical movies. There's speculation that they may have snagged the rights to Britney's catalog and are planning to bring the biopic to life with her music. Platt also worked on 'Wicked' (2024), as well as 'The Little Mermaid' (2023) and 'Dear Evan Hansen' (2021).
Biographical films are so beloved because they unearth the deeply complex, violent, exciting, and inspiring worlds that lie beneath artists' songs. Check out this gallery to see some of the most popular American-made biographical films about legendary musicians. | |||||
2661 | dbpedia | 3 | 87 | https://www.dailychela.com/blood-in-blood-out-so-popular-exploitation/ | en | Why Is “Blood In, Blood Out” So Popular? | [
"https://www.dailychela.com/wp-content/uploads/2019/04/LIGHT-BLUE-LOGO.png",
"https://www.dailychela.com/wp-content/uploads/2022/03/DC-blue.png",
"https://www.dailychela.com/wp-content/uploads/2022/12/raza-banner-new.png",
"https://www.dailychela.com/wp-content/uploads/2023/02/Blood-in-blood-out-990x663.jpg",... | [] | [] | [
""
] | null | [
"Sarlos Cantana",
"society at large"
] | 2023-02-14T08:06:03+00:00 | Whether you like Blood In Blood Out or not, it’s important to distinguish between a cultural landmark and exploitation. | en | The Daily Chela | https://www.dailychela.com/blood-in-blood-out-so-popular-exploitation/ | There is a difference between a cultural landmark and exploitation.
What can you say about “Blood In, Blood Out: Bound by Honor” (1993), the Chicano exploitation flick that hasn’t been said already? “Blood In, Blood Out” is officially 30-years-old now and as someone originally saw the film in the theater, it’s odd to me that it’s more popular now than it was then.
It has generations of obsessive fans by now, dedicated social media accounts and merch galore. But for the life of me, I simply cannot comprehend why people hold this odd film and its perverse characters in such high regard, even after all these years.
“Blood In, Blood Out,” which was directed by non-Chicano, Taylor Hackford, is allegedly based on the “true life” experiences of Chicano poet, Jimmy Santiago Baca. How much of the film is actually based on his life remains a mystery, but a quick glance at his bio reveals that he did five years in Arizona State Prison in his early twenties—three of them in isolation—where he began to read and write poetry and eventually submit his writing to magazines.
The story for “Blood In, Blood Out” is credited to Ross Thomas, while the screenplay is partially credited to Baca in addition to Jeremy Iacone and Floyd Mutrux. Mutrux also wrote the screenplay for American Me and was its executive producer.
Murderers and Drug Dealers
The “Blood In, Blood Out” fanbase, which tends to be sensitive about criticism, refuses to let the film, or its characters, die. Like the undead in zombie movies, the characters of “Blood In, Blood Out” have been resurrected from the entertainment grave over the years, where they continue to this day in search of endless fandom, merch, lore, myth and even the possibility of a “Blood In, Blood Out” sequel, which is just flat out ridiculous.
You absolutely will not find another Chicano film that has the kind of fandom that “Blood In, Blood Out” does—no other film even comes close. Further, no other culture obsesses over prison films to the extent that “Blood In, Blood Out” fans do. “Blood In, Blood Out” competition, “American Me,” has its own fans and even some merch, but not to the degree of “Blood In, Blood Out” fandom.
Obviously, people are allowed to have their fandom and enjoy what they like. After all, people get obsessed with things like Harry Potter, Game of Thrones, Star Wars and comic book movies etc. But in no other fandom on earth do people hold characters in such high regard that are rapists, mass murderers, drug dealers and worse.
I know this might be shocking to some, but you’re not supposed to get your culture from a film, certainly not an exploitation film. This is lost on those who worship this movie and its characters. We’ve achieved this bizarre point in Chicano pop culture where it’s difficult to discern if life imitates art or if art imitates life.
It’s just a movie! I can already hear people saying. And I would have agreed 30 years ago. I too was a fan when the film came out. I too own a copy of the DVD and I too laugh at the memes. But “Blood In, Blood Out” is more than a mere film at this point—much more.
It’s an obsession for many people and a business venture for others. Its characters have reached this weird, mythic status that is usually reserved for science fiction, horror and fantasy films. Frankly, I’m shocked there’s not a “BIBO-con” at this point.
Darth Vader, despite being a villain, achieved mainstream recognition and is embraced as an icon of the genre. I would argue that Popeye Saavedra, aka “Pipi from La Onda,” has also achieved mainstream recognition—people know him by his red underwear! And despite being a pimp, a drug dealer, a backstabber and a rapist, he too is embraced as an icon of the genre.
Just as people wear Darth Vader tees and recite Vader quotes, they also wear Popeye tees and know his dialogue line for line. This says more about the fandom than it does the film. And that’s my point.
Prison, Machismo, Homoeroticism
If you search online, you will find tons of “Blood In, Blood Out” merch. Everything from t-shirts to posters, prints, artwork, stickers to coffee mugs and even coloring books (seriously). People love these characters! Several of the actors from the film make a living appearing at swap meets, selling autographs, doing advertising, selling merch and some even have Cameo accounts.
One of the truly puzzling things about “Blood In, Blood Out” is that, whether intentional or not, the film is incredibly homoerotic. This is bizarre considering the fanbase.
Previously, “American Me” was the most homoerotic prison movie ever made, but “Blood In, Blood Out” swooped in and knocked it out of the park. Olmos received death threats for the portrayal of rape in his film, so it’s unclear why “Blood In, Blood Out” gets a pass in that regard, but I digress—as I said, one of the writers worked on both films.
Consider the fact that the film is three hours long and there isn’t a single female love interest for any of the characters to be found. There’s not even a hint of one aside from when Cruz is attacked with his girlfriend at the party.
The closest thing we have to a “relationship” is the one between Miklo and Big Al. During that courtship, Miklo kisses Big Al on the mouth, tweaks his nipples, sucks his finger and squeezes his package. He even tells him he’s going to “lick him clean.” This is all in addition to the fact that Popeye tries to rape Miklo on camera and mentions later on that he would like to “put him back in high heels.”
Popeye is also a pimp for transvestite prisoners, whom we are led to believe through his actions as a pimp, that he has raped at least some of them. And people love this character! Why? No one has ever really formally questioned why these kinds of films typically have these themes in them but it’s definitely there for interpretation.
When it was initially released, “Blood In, Blood Out” was treated as nothing more than exploitation and its characters as caricatures. The reviews of the time are largely spot on, but fast forward 30 years later and these characters are now treated like warped Disney icons and the film as something almost biblical.
Chicano Cinema and Hollywood
It’s interesting revisiting this film three decades later and through a different lens. Much like the film Friday (1995), where I once identified with Craig and Smokey, I now identify with Craig’s father. Growing up will do that to you. So why then does the “Blood In, Blood Out” fanbase refuse to grow up?
Film critic Roger Ebert argued that there are no role models or heroes in “Blood In, Blood Out” and its “nihilistic” story but I disagree. When you watch the film as an adult, it becomes clear that Paco, despite his many flaws, is the “hero” of the story. But the film portrays Paco as the villain, the sellout, the coconut and the pig, and Miklo as some kind of Chicano sage.
This is a gross portrayal and sends the wrong message but people eat it up.
Despite its confused message or whatever its fanbase projects onto the film and its characters, “Blood In, Blood Out” is not about Chicanismo. It may start off in that vein but quickly degrades into exploitation, caricatures and Hollywood Shuffle-level tropes.
No matter if you like this film or not, it’s important to distinguish when something is supposed to be a cultural landmark and when it’s supposed to be exploitative. Films like “La Bamba,” “Zoot Suit,” “Stand and Deliver” and “Mi Familia,” just to name a few, are cultural landmarks for Chicano cinema. But you will not find a rabid and obsessive fanbase for them like you will with “Blood In, Blood Out.”
And while fandom is fine on its surface, it’s when these things turn into something more that there’s an issue. “Blood In, Blood Out,” with its dark and nihilistic story and perverse characters, in my opinion, should be left as a relict of the 90s and watched for fun, rather than be treated as serious filmmaking and or some kind of cultural icon. | |||||
2661 | dbpedia | 0 | 85 | https://cinemorgue.fandom.com/wiki/Ray_(2004) | en | Ray (2004) | https://static.wikia.nocookie.net/cinemorgue/images/2/2b/Ray_poster.jpg/revision/latest?cb=20210930031719 | https://static.wikia.nocookie.net/cinemorgue/images/2/2b/Ray_poster.jpg/revision/latest?cb=20210930031719 | [
"https://static.wikia.nocookie.net/cinemorgue/images/e/e6/Site-logo.png/revision/latest?cb=20230614230639",
"https://static.wikia.nocookie.net/cinemorgue/images/e/e6/Site-logo.png/revision/latest?cb=20230614230639",
"https://static.wikia.nocookie.net/cinemorgue/images/2/2b/Ray_poster.jpg/revision/latest/scale-t... | [] | [] | [
""
] | null | [
"Contributors to Cinemorgue Wiki"
] | null | Ray (2004) Director: Taylor Hackford The story of the life and career of the legendary rhythm and blues musician Ray Charles (Jamie Foxx), from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s. Jamie Foxx [Ray... | en | https://static.wikia.nocookie.net/cinemorgue/images/4/4a/Site-favicon.ico/revision/latest?cb=20210527220142 | Cinemorgue Wiki | https://cinemorgue.fandom.com/wiki/Ray_(2004) | Director: Taylor Hackford
Synopsis[]
The story of the life and career of the legendary rhythm and blues musician Ray Charles (Jamie Foxx), from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s.
Male Deaths[]
Jamie Foxx [Ray Charles]
Female Deaths[]
Regina King [Margie Hendricks]
Sharon Warren [Aretha Robinson] | ||
2661 | dbpedia | 1 | 5 | https://time.com/6295760/oppenheimer-true-story/ | en | The True Story of J. Robert Oppenheimer's Life | [
"https://api.time.com/wp-content/uploads/2023/07/oppenheimer-j-robert-cillian-murphy.jpg?quality=75&w=384 384w, https://api.time.com/wp-content/uploads/2023/07/oppenheimer-j-robert-cillian-murphy.jpg?quality=75&w=640 640w, https://api.time.com/wp-content/uploads/2023/07/oppenheimer-j-robert-cillian-murphy.jpg?quali... | [] | [] | [
""
] | null | [
"Megan McCluskey"
] | 2023-07-21T18:37:19+00:00 | What to know about how the true story of Oppenheimer's life compares to writer-director Christopher Nolan's new movie. | en | /favicon.ico | TIME | https://time.com/6295760/oppenheimer-true-story/ | After months of building anticipation, writer-director Christopher Nolan’s new movie Oppenheimer arrived in theaters Friday, kickstarting an opening weekend where it’s expected to collect around $50 million at the domestic box office.
The three-hour (and nine second) biopic centers, as its title suggests, on J. Robert Oppenheimer (played by Cillian Murphy), the theoretical physicist widely known as the “father of the atomic bomb” who infamously summed up his life’s work in a 1965 NBC News documentary by reciting a line from the sacred Hindu text the Bhagavad Gita: “Now I am become death, the destroyer of worlds.”
Based on Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning 2006 biography American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer—currently no. 1 on Amazon’s bestseller chart, thanks to the film—the movie jumps back and forth through time as it explores the life and legacy of its subject. “What I wanted to do was take the audience into the mind and the experience of a person who sat at the absolute center of the largest shift in history,” Nolan said in the film’s production notes. “Like it or not, J. Robert Oppenheimer is the most important person who ever lived. He made the world we live in, for better or for worse.”
Here’s what to know about how the true story of Oppenheimer’s life compares to the movie.
Read More: Oppenheimer Dazzles With Its Epic Story of a Complicated Patriot
Oppenheimer’s early life
Oppenheimer’s childhood doesn’t play out on screen in the movie, but his upbringing contributed to views he espouses throughout the film. He was born in 1904 into a wealthy secular Jewish family in New York City and educated at Manhattan’s Ethical Culture School, graduating in 1921. Although his parents were first- and second-generation Americans of German-Jewish descent, Oppenheimer refrained from embracing his heritage for much of his life.
“To the outside world, he was always known as a German Jew, and he always insisted that he was neither German nor Jewish,” Ray Monk, the author of Robert Oppenheimer: A Life Inside the Center, told the Jewish Telegraphic Agency. “But it affected his relationship with the world that that is how he was perceived.”
Antisemitism impacted him throughout his time studying at Harvard, and later, amid the Nazis’ rise to power in Germany, changed the way he engaged with his Jewishness.
“I had a continuing, smoldering fury about the treatment of Jews in Germany,” he said at his 1954 hearing before the United States Atomic Energy Commission (AEC), which is part of the movie’s central framing device. “I had relatives there, and was later to help in extricating them and bringing them to this country.”
Years in Europe
After graduating summa cum laude from Harvard in 1925, Oppenheimer traveled to England, as the film depicts, to conduct research at the University of Cambridge’s Cavendish Laboratory under British physicist and 1906 Nobel Prize winner J. J. Thomson. There, he struggled with mental health issues and ended up on probation.
American Prometheus reports that, during this time, Oppenheimer relayed a story to friends about lacing an apple with chemicals and leaving it on the desk of his tutor, Patrick Blackett (played by James D’Arcy). The book cites Oppenheimer’s friend Jeffries Wyman as suggesting that Oppenheimer might have exaggerated the incident somehow: “Whether or not this was an imaginary apple, or a real apple, whatever it was, it was an act of jealousy.”
The way the film depicts this alleged event, Oppenheimer snatches the apple out of the hand of his idol Niels Bohr (played by Kenneth Branagh) before the legendary physicist can take a bite.
Oppenheimer ultimately transferred to the University of Göttingen in Germany, where he earned his Ph.D in quantum physics. During his time in Germany, he studied with a number of prominent physicists, including Max Born and Bohr. Oppenheimer attended Göttingen alongside Werner Heisenberg (played by Matthias Schweighöfer), who would go on to lead the German effort to develop an atomic bomb.
Ties to the Communist Party
In 1929, after returning to America, Oppenheimer accepted an assistant professorship at the University of California, Berkeley, in a special arrangement that also saw him teaching at the California Institute of Technology. Over the next 14 years, he established Berkeley as one of the greatest schools of theoretical physics in the U.S. and garnered a loyal following of up-and-coming physicists. The film depicts the program’s growth by having just one student show up to his first class, then showing the classroom bursting at the seams within a short time as word of his class spreads among students. He also worked alongside, and became good friends with, leading experimental physicist Ernest O. Lawrence (played by Josh Hartnett), who would later help involve him in the Manhattan Project.
After entering into a tumultuous relationship with Stanford Medical School student and Communist Party member Jean Tatlock (played by Florence Pugh) in 1936—when she was 22 and he was 32—Oppenheimer began taking an interest in left-wing political causes, from supporting anti-fascists during the Spanish Civil War to unionizing academics. While Oppenheimer never officially joined the Communist Party, many of his closest friends and family members, including his brother Frank Oppenheimer (Dylan Arnold), friend Haakon Chevalier (Jefferson Hall), and future wife Katharine “Kitty” Puening (Emily Blunt), were members at various points in time.
The movie shows how the U.S. government was aware and skeptical of Oppenheimer’s communist affiliations early on, but chose to overlook them during the Manhattan Project when it became clear he was the right man for the job. However, these associations would ultimately come back to haunt him and lead to the destruction of his career at the height of American anti-Communist hysteria in the 1950s.
Romantic relationships
As the movie notes, over the years, Oppenheimer developed a reputation as a womanizer.
While Tatlock broke off their official relationship in 1939, Oppenheimer remained in contact with her and visited her in San Francisco, where she was working as a pediatric psychiatrist at Mount Zion Hospital, as late as 1943. That was several years into his marriage to biologist Kitty Puening.
Nearly seven months after Tatlock and Oppenheimer’s final June 1943 meeting, Tatlock’s father found his 29-year-old daughter dead in her apartment on Jan. 4, 1944. Tatlock had suffered from clinical depression and her death was ruled a suicide. However, some suspected there was foul play involved as Tatlock had been placed under surveillance by the FBI due to her relationship with Oppenheimer and past involvement with communist politics.
Oppenheimer wed the already-pregnant Puening on Nov. 1, 1940, shortly after she divorced her third husband, Richard Stewart Harrison. The Oppenheimers’ first child, Peter, was born in May 1941. Kitty later gave birth to a daughter, Katherine Toni, in December 1944, while living at Los Alamos. The couple remained married until Oppenheimer’s death in 1967—despite his relationship with Tatlock and rumored romantic entanglements with other women, including psychologist Ruth Sherman Tolman (played by Louise Lombard), the wife of his close friend, chemist Richard Tolman (Tom Jenkins).
The movie portrays Kitty as struggling with alcoholism and displaying an ambivalent attitude toward motherhood, having largely given up her scientific career, though she did serve briefly as a lab technician at Los Alamos. But she loyally supports her husband through thick and thin. She remained by his side throughout the 1954 AEC hearing and was one of his steadfast defenders.
The Manhattan Project
In early 1942, Oppenheimer was recruited for the Manhattan Project, the United States government’s secret World War II undertaking to build an atomic bomb. Later that year, General Leslie Groves (played by Matt Damon) appointed Oppenheimer as the scientific director of the program and, in early 1943, construction began on Los Alamos Laboratory in New Mexico—one of a number of laboratories in secret locations across the country, including Chicago and Oak Ridge, Tenn., involved in the operation. Oppenheimer convinced Groves that Los Alamos should be turned into town where scientists could live with their families, since many might refuse to relocate otherwise.
Oppenheimer assembled a group of the top scientists of the time to live and work at Los Alamos until the bomb had been completed. Less than three years after the laboratory’s founding, the world’s first nuclear weapons test, dubbed the Trinity test, took place in the nearby Jornada del Muerto desert on July 16, 1945. The test was successful in proving that the bomb worked, but it caused decades of immense harm to Indigenous people living in the surrounding area.
Three weeks later, on Aug. 6 and 9, respectively, the United States detonated two atomic bombs over the Japanese cities of Hiroshima and Nagasaki, ending the war. The bombings together killed between an estimated 110,000 to 210,000 people, most of whom were civilians.
Oppenheimer’s post-war life
Following the war, public opinion about the use of the atomic bomb wavered. While visiting the White House in October 1945, as shown in the movie, Oppenheimer told President Harry S. Truman (played by Gary Oldman), “Mr. President, I feel I have blood on my hands.”
However, Oppenheimer was hailed as a national hero by many and, in 1946, was awarded a Medal for Merit. When the Manhattan Project came under the jurisdiction of the newly-formed AEC, the agency charged with overseeing all atomic research and development in the U.S., Oppenheimer was named chairman of the General Advisory Committee. As chairman, he staunchly opposed the development of the hydrogen bomb—a “Super Bomb” conceived by fellow Los Alamos scientist Edward Teller (played by Benny Safdie) that was a thousand times more powerful than the atomic bomb—when Cold War tensions began to rise between the U.S. and the Soviet Union.
In 1947, Oppenheimer had also been appointed director of the Institute for Advanced Study in Princeton, N.J. by Lewis Strauss (played by Robert Downey Jr.), who would go on to become chairman of the AEC.
The AEC hearing
During his tenure as chairman of the General Advisory Committee, Oppenheimer’s controversial stance on the hydrogen bomb made him a number of political enemies. Strauss, whom Oppenheimer had humiliated at a Congressional hearing about whether or not to ban the sale of radioisotopes, took a particular dislike to the physicist.
In November 1953, William Liscum Borden (played by David Dastmalchian), a close confidant of Strauss and former executive director of Congress’s Joint Committee on Atomic Energy, sent a letter to FBI director J. Edgar Hoover suggesting that “more probably than not J. Robert Oppenheimer is an agent of the Soviet Union.”
The letter was passed on to President Dwight D. Eisenhower and Oppenheimer was informed his security clearance had been revoked in a December 1953 meeting with Strauss. Oppenheimer appealed the decision and, on April 12, 1954, a monthlong security hearing began during which Oppenheimer’s previous communist leanings and associations, views on U.S. nuclear policy, and other personal transgressions were used to discredit him in a kangaroo court-style proceeding led by AEC lawyer Roger Robb (played by Jason Clarke).
Later life
The result of the security hearing came to define Oppenheimer for the rest of his life, with Oppenheimer’s close friend and fellow physicist Isidor Isaac Rabi (played by David Krumholtz) later saying that, “[Oppenheimer] was a man of peace and they destroyed him. He was a man of science and they destroyed this man. A small, mean group.”
Oppenheimer stayed on as director of the Institute for Advanced Study until 1966, shortly before dying of throat cancer at his Princeton home on Feb. 18, 1967. Prior to his death he was presented in 1966 with the AEC’s highest honor, the Enrico Fermi Award—the award we see him receiving in a flash forward while talking to Albert Einstein (played by Tom Conti) in the movie’s final scene—by President Lyndon B. Johnson.
In his acceptance speech, Oppenheimer referenced former President Thomas Jefferson’s odes to “the brotherly spirit of science.”
“We have not, I know, always given evidence of that brotherly spirit,” he said. “This is not because we lack vital common or intersecting scientific interests. It is in part because, with countless other men and women, we are engaged in this great enterprise of our time, testing whether men can both preserve and enlarge life, liberty, and the pursuit of happiness, and live without war as the great arbiter of history.”
Correction, Aug. 4
The original version of this story misstated the name of the institute Oppenheimer directed. It is the Institute for Advanced Study in Princeton, N.J., not the Institute of Advanced Studies at Princeton. | ||||
2661 | dbpedia | 1 | 10 | https://dsq-sds.org/index.php/dsq/article/view/591/768 | en | Disability Studies Quarterly | [
"https://dsq-sds.org/public/journals/1/pageHeaderLogoImage_en_US.jpg",
"https://dsq-sds.org/templates/images/ojs_brand.png"
] | [] | [] | [
""
] | null | [] | null | en | null | That Ray Charles Robinson, as portrayed in Ray, was a musical genius is never in question. Yet his greater genius rests in overcoming society's and his own psychological handicapping impediments. Born to an unwed, uneducated mother, Ray survived hardscrabble 1940s southern poverty. Due to his mother's insistence that her illiteracy and social status would not condemn them to subservience, Ray was toughened for the struggles ahead.
The film illustrates five formative childhood events. First, Ray witnesses his mother confronting an unethical employer, who summarily fires Ms. Robinson. As they march home barefooted on a dusty, rut-filled road, Ray's mother says, "Scratch a lie, catch a thief," a truism Ray remembers later when he dismisses a manager for embezzling his earnings. Second, Ray's mother admonishes him, "Don't never let no one take advantage of you cuz you don't got no education." Later we see Ray attending school due to his mother's determination to help him escape her plight.
A third incident haunting Ray for decades was the tragic drowning of his younger brother. The disturbing image of small hands and feet flailing against the water's death grip appears to Ray again and again. Without being explicit, the film implies that Ray's handicapping drug abuse emanates from his psychological distress over having done nothing to save Georgie.
A fourth brief but important vignette shows Ray being mentored by a backstreet long-fingered black musician composing the blues. From him, Ray first learns how to coax improvised riffs from the piano that will become part of his musical repertoire.
The final telling childhood episode, for which Ray is best known, depicts his insidious, undiagnosed loss of vision, leaving him able to see only faint shadows. Again, his frail but feisty mother imbues him with the will to surmount this obstacle: "You promise me, Ray, don't let nobody ever make you no cripple." Bravely sending her sole surviving son away to a school for the blind, Ray's mother helps him succeed in a handicapping, often heartless world insensitive to "cripples."
As a young man, Ray makes his debut at a mediocre club in Los Angeles run by a monetarily and sexually voracious woman who insists on becoming Ray's manager. The film follows Ray's bus tours with a group to play in small "colored only" dives. These endless, meaningless gigs with musicians already addicted to drug-induced euphoria, coupled with Ray's terrifying flashbacks of Georgie's drowning, lead Ray to start using heroin. Despite marrying the love of his life and shrewdly negotiating record deals "better than Sinatra," Ray continues his drug-addicted decline. According to the movie, in fact, more than suffering racial discrimination, more than people's attempts to exploit him because he was blind, the most handicapping experience of Ray's life was self imposed: the seduction of the needle.
Ray is to be applauded for his (albeit belated) challenge to "whites only" southern concerts. One day in Atlanta, as he is escorted past black protesters not allowed to buy tickets to his performance, Ray recognizes that by going along with apartheid, he was contributing to it. Never again playing for whites-only venues, Ray helps dismantle an ingrained, handicapping Jim Crow system and advances the struggle to achieve equality.
Finally, too, and as reluctantly, Ray confronts his drug abuse and, in brief but grim scenes, fights the demons cold turkey. The biopic implies that only by receiving absolution for Georgie's death from a psychiatrist is Ray finally able to beat his worst disability: drug addiction.
While musically enthralling, the movie Ray, like the man himself, is nonetheless seriously flawed. Ray, the man, was a womanizer, a drug user, and more fueled by ambition than loyalty to friends. Ray, the movie, Hollywoodizes the story. While conceding many of its subject's shortcomings, the film focuses far more on rationalizing Ray's actions rather than fully acknowledging that Ray's controlling and sometimes cruel behaviors were choices he made to achieve his goals. The movie reduces the countless mistresses--and sometimes fathered children--left behind in his wake down to two. In both cases, the women are portrayed as seductresses hoping to barter Ray's fame into careers of their own.
Perhaps the worst criticism for the film, however, is the sudden and abrupt condensation of the last half of Ray's life into a two-minute voice over with words on the screen heralding Ray's nonstop performances without the crutch of drugs until his death. As a gerontologist, this reviewer reproves such a clumsy ending that reinforces the belief that aging is such a serious handicapping condition, it is unworthy even of film time.
Despite these criticisms, Ray stands as a tribute to a man who prevailed in spite of vision loss, racism, and drug addiction in the meanest of mean streets, the music industry. For that, the soundtrack, and Jamie Foxx's Academy-Awarded portrayal, the film is worth a look. | |||||||
2661 | dbpedia | 2 | 12 | https://www.deseret.com/2004/10/28/20090645/film-review-ray/ | en | Film review: Ray | [
"https://static.themebuilder.aws.arc.pub/deseretnews/1707933931353.svg",
"https://www.deseret.com/resizer/v2/CT6GZVFVVUQ4IVQPNBNSDREOTA.jpg?auth=72579e2e012dda429416a7f48b66443ede5d44e70e1042c71a25d8732e7010bc&focal=130%2C70&width=800&height=430",
"https://www.deseret.com/resizer/v2/3RAD7432JVG4RHJ6FSBVAEYVMQ.j... | [] | [] | [
""
] | null | [
"Deseret News",
"Jeff Vice",
"www.deseret.com",
"deseret-news"
] | 2004-10-28T00:00:00 | You can hardly blame "Ray" for going soft on its subject. After all, the film is a narrative feature, not a documentary. | en | /pf/resources/deseretnews/favicon.png?d=160 | Deseret News | https://www.deseret.com/2004/10/28/20090645/film-review-ray/ | You can hardly blame "Ray" for going soft on its subject. After all, the film is a narrative feature, not a documentary.
Besides, the subject in question is the late R&B musician Ray Charles (born Ray Charles Robinson), one of the most beloved musical figures of the 20th century.
But the film puts up a front that it is going to come down on Charles harder than it does, and therefore doesn't really live up to its convictions. (Though it's not surprising, since Charles' family did authorize the film and Charles himself contributed to it before his death earlier this year.)
The result is a rather uneven and at times bloated biographical drama that strikes gold with Charles' music and by the good fortune of landing Jamie Foxx as its star. Foxx's spectacular, eerily accurate performance as Charles makes what would have been a rather sketchy movie better.
"Ray" makes an effort to be something of a warts-and-all biography, broaching the subject of Charles' various marital indiscretions and drug-addiction problems, which came to light in the 1960s after two high-profile arrests. However, it skimps on the details about how he developed his incredible musical talent, including his ability to copy the styles of other singers and musicians simply by hearing them.
That's what allowed him to leave Florida and join various jazz combos during the early 1950s. But he got his big break when he was signed by a fledgling record label. Later, his contract was bought out by Atlantic Records impresario Ahmet Ertegun (Curtis Armstrong), who helped him focus his talents (he even wrote Charles' first hit for that label, "Doin' the Mess Around").
With so much success all at once, Charles did succumb to the temptations of the road, having affairs with back-up singers Mary Anne Fisher (Aunjanue Ellis) and Margie Hendricks (Regina King), and putting his marriage to former gospel singer Della Bea Robinson (Kerry Washington) in jeopardy.
Director Taylor Hackford and screenwriter James L. White probably try to compress too much of Charles' life into a 2 1/2-hour movie, and consequently, much of it feels superficial (in particular, the portion dealing with his contributions to the civil-rights movement).
Still, it's Foxx's film, and he absolutely nails Charles' mannerisms, facial expressions and body language right. But it's no mere impression work here; this is career-defining stuff for the former comic, and certainly merits an Oscar nomination.
"Ray" is rated PG-13 for simulated drug use (marijuana and heroin), occasional use of strong profanity, racial epithets and crude sexual slang terms, some sexual contact, and some brief violence (a scuffle and a drowning). Running time: 152 minutes. | ||||
2661 | dbpedia | 0 | 27 | http://www.markreviewsmovies.com/reviews/R/ray.htm | en | Review of RAY | [
"http://www.markreviewsmovies.com/images/header_r1_c1.gif",
"http://www.markreviewsmovies.com/images/10best2004.gif",
"http://www.markreviewsmovies.com/images/stars4.gif",
"http://www.markreviewsmovies.com/images/mpaa-pg13.jpg",
"https://www.paypalobjects.com/en_US/i/scr/pixel.gif",
"http://www.markreview... | [] | [] | [
""
] | null | [] | null | null | Become a fan on Facebook Follow on Twitter
Review by Mark Dujsik
Propelled by the life, times, and music of the late, great Ray Charles and a virtuoso performance by Jamie Foxx, Taylor Hackford's Ray emerges as an honest and loving tribute to one of the few, true legends of modern music. The film chronicles Charles' early career and childhood, painting a portrait of a man who overcame going blind at the tender age of seven to become the most diverse musician of his (and, arguably, any) generation but, for a long time, was unable to conquer his own personal demons. Despite of and perhaps driven on by this, Charles managed to take his passion for music to an unprecedented level. Following the perpetually bespectacled Charles from smoky jazz clubs to highly efficient (and equally smoky) recording sessions to sold-out auditoriums, the film documents his musical growth and output of the period, giving a fascinating perspective on the creation of the music (both from the artistic and business end of matters) beyond mere highlights on the soundtrack. Hackford and company wisely and instinctively trust this story and simply allow their work to serve it, and the result is a film that does its subject due justice.
Charles (Foxx) grew up in rural Florida as Ray Charles Robinson, the son of Aretha Robinson (Sharon Warren), a for-hire washer. After finishing school in Florida , the still-young Charles makes his own way to Seattle in 1951, where he quickly makes a name for himself as a virtuoso pianist in local bands and for his solo act, impersonating the likes of Nat "King" Cole. After discovering that his current manager is keeping money from him, he moves on to a new manager, who sends him on the road as the pianist for a different ensemble. He finds even more recognition in his place here and feels even more separated from the rest of the world, which leads him to experiment with heroin and an addiction that would last over a decade. After an intense falling out with that act, Charles moves to New York and is approached by Ahmet Ertegun (Curtis Armstrong), founder of Atlantic Records, who offers him a record deal. With the support of the company and of his eventual wife Della Bea (Kerry Washington), Charles goes on to record hit after hit, but the death of his younger brother shortly before he went blind continues to haunt him and sends his personal life slowly but surely on a downward spiral.
Screenwriter James L. White's script doesn't gloss over the less attractive areas of Charles', although he certainly doesn't condemn them (after all, Charles lent his personal approval to the screenplay). In addition to his heroin addiction, the film portrays his womanizing, including a pair of extramarital affairs with backup singers (dubbed The Raelettes, leading one of them to jokingly ask if they have to "let Ray") that he partook in while on the road. The affairs surprisingly put less of a strain on his marriage than they do on the music. Mary Ann Fisher (Aunjanue Ellis), the first we encounter, desperately wants a solo, which he grants her. Eventually, when Ray's affections turn to Margie Hendricks (Regina King), the leader of the new vanguard of Raelettes, Mary Ann leaves. The ensuing relationship is complicated by Charles' addiction, and it leads her down a similar road, despite his threats to keep her away from drugs. His wife is not doormat of any sort, though, and she insists that he keeps what happens on the road out of their home. When the life of the road threatens to potentially end his life, career, and marriage, she finally confronts him, telling him that if he doesn't give up his current lifestyle, he will lose the thing he loves the most: his music.
It's not surprising that this is the turning point in his life, considering how much attention the film pays to his music. The soundtrack features classic and new recordings from Charles himself, but Hackford goes beyond a mere highlight reel by fully integrating the music within the story. We see the inspiration for a few songs, including "Marianne" being performed for his mistress and a fight between Charles and Margie leading to an impromptu performance of "Hit the Road Jack" in a hotel room. The scene that perhaps best illustrates the creation of music is one in which Charles and his band finish a concert early and are forced to perform longer or face a heavy fine, and the improvised set that ensues leads to Charles' cross-over hit "What'd I Say." Similarly, the music heightens certain scenes, including one of many confrontations between Charles and Bea before which he plucks away at "You Don't Know Me." The film also touches upon the controversy that arose when Charles took gospel music and infused it with lyrics of sexuality and his decision not to play for a segregated auditorium in Georgia, which led him to be banned from the state for life.
Hackford directs these musically inspired scenes in a way that captures the energy of the creative process, but he also handles scenes involving Charles' demons with an equal intensity. He and cinematographer Pawel Edelman give the flashback scenes an aesthetically pleasing, overly saturated look, and one scene, depicting the young Charles learning to "see" the world for the first time after losing his sight to Glaucoma, has a great emotional resonance. There's also a harrowing scene with Charles in a detoxification center, which leads to one of many show-stopping moments for Foxx. The comedian-turned-actor has had solid performances before, but his performance here is unlike anything he's done. Foxx moves far beyond caricature, which, considering the signature physicality of his subject, his performance might easily have fallen into. He embodies Charles, not only looking uncannily like him but also displaying the internal workings of the man. A Julliard-trained classical pianist, Foxx lends authenticity to the scenes of performance as well. As Charles' wife, Kerry Washington is a worthy partner, giving a wholly sympathetic performance as a strong and understanding woman who is far from naïve about her husband's philandering.
This leads one to wonder why Charles stayed so isolated in confronting his feelings of helplessness, considering the support structure of family, professional associates, and countless fans surrounding him. Perhaps he felt he could only depend on himself. Perhaps he did not think anyone else could understand the world the way he did. Or perhaps it was pure stubbornness. Whatever the reason, Ray stands as an absorbing and stirring examination of the complex life of a musician who rightfully earned the moniker "the Genius."
Copyright © 2004 by Mark Dujsik. All rights reserved. | ||||||||
2661 | dbpedia | 3 | 72 | https://www.amazon.com/prime-video/actor/Debra-Winger/amzn1.dv.gti.fc3c1376-4a25-4593-908f-f2164a1bd74b/ | en | Debra Winger: Movies, TV, and Bio | [
"https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:138-0040519-5177274:D9EHFX9FWHTEENGC7N55$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DD9EHFX9FWHTEENGC7N55:0",
"https://m.media-amazon.com/images/G/01/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB587940754_.png",
"https://m.media-amazon.com/images/G/01/digi... | [] | [] | [
""
] | null | [] | null | Browse Debra Winger movies and TV shows available on Prime Video and begin streaming right away to your favorite device. | en | https://www.amazon.com/prime-video/actor/Debra-Winger/amzn1.dv.gti.fc3c1376-4a25-4593-908f-f2164a1bd74b/ | Mary Debra Winger was born May 16, 1955 in Cleveland, Ohio, to Ruth (Felder), an office manager, and Robert Jack Winger, a meat packer. She is from a Jewish family (originally from Austria-Hungary and the Russian Empire). Her maternal grandparents called her Mary, while her parents called her Debra (her father named her Debra after his favorite actress, Debra Paget). The family moved to California when Debra was five. She fell in love with acting in high school but kept it a secret from her family. She was a precocious teenager, having graduated high school at an early age of 15. She enrolled in college, majoring in criminology. She worked part-time in the local amusement park when she got thrown from a truck and suffered serious injuries and went temporarily blind for several months. She was in the hospital when she vowed to pursue her passion for acting.
After she recovered, she abandoned college and studied acting. Like any struggling actor, she did commercials and guest-starred on 70s TV shows like Task Force: Part I (1976) and Wonder Woman (1975), where she performed as Diana's little sister, Wonder Girl. She also made her feature film debut in the embarrassing soft-core porn film, Slumber Party '57 (1976). (Years later on Inside the Actors Studio (1994), host James Lipton asked her to name her first film, and she refused to answer him.) Her next two films, French Postcards (1979) and Thank God It's Friday (1978), did absolutely nothing for her career. When Sissy Spacek said no to playing the character Sissy in Urban Cowboy (1980), almost every young actress in Hollywood pursued the role. Debra won the role over a then-unknown Michelle Pfeiffer and gave a star-making performance as John Travolta's wife. Her handling of the mechanical bull made her a new kind of sex symbol. She would always remain grateful to her director James Bridges for threatening to quit the film if the studio didn't cast her. However, she followed it up with a flop, Cannery Row (1982). But, she became part of one of the top-grossing films of all time by providing her deep, throaty voice to the title character of E.T. the Extra-Terrestrial (1982) as a favor to the film's director Steven Spielberg (Note: IMDB cast list for E.T. indicates Pat Welsh as the voice for that character.). She also appeared in the film for a few seconds in the Halloween scene, where she is wearing a zombie mask and carrying a poodle. She received her first Academy Award nomination as Best Actress for the huge hit, An Officer and a Gentleman (1982), where her on-screen love scenes with Richard Gere became just as legendary as her off-screen fights with him and with director Taylor Hackford.
Debra's reputation as a great talent, as well as her reputation as a difficult actress grew with her next film, Terms of Endearment (1983), which not only earned her a second Oscar nomination as Best Actress but also won the Best Picture as well. She also earned the Best Actress Award from the National Society of Film Critics. Debra was at the top of her game and was the most sought-after actress in Hollywood, but she turned down quality roles and lucrative offers for three years. Some speculated that the reason was her romantic involvement with Bob Kerrey, then-governor of Nebraska, while others have stated it was her back problems. Whatever her reasons were, her career lost its heat. Her long-delayed film Mike's Murder (1984), reuniting her with her "Urban Cowboy" director James Bridges, didn't help matters either when it became a critical and financial flop. Debra tried to revive her career by starring in the big-budget comedy Legal Eagles (1986), but she disliked the film so much that she publicly stated that the director, Ivan Reitman, was one of the two worst directors she worked with, the other director being Taylor Hackford (An Officer and a Gentleman (1982)). She also walked out on her agency, CAA, but returned several years later.
Her personal life made headlines when she left Bob Kerrey and eloped with Oscar-winning actor Timothy Hutton in 1986. In 1987, she gave birth to their son, Noah Hutton. She also starred in Black Widow (1987), which wasn't a hit, and acted alongside Hutton as a male angel in Made in Heaven (1987) which flopped. She followed that up by starring in another flop, Betrayed (1988), which featured a fleeting cameo by Hutton. She separated from Hutton in 1988 and they divorced in 1990, at which time she had two more bombs, Everybody Wins (1990) and The Sheltering Sky (1990). However, she relished the experience on The Sheltering Sky (1990) so much that she stayed in the Sahara desert long after filming wrapped. She came back to US and filmed a Steve Martin vehicle, Leap of Faith (1992), which did nothing for her career. But, she found love on the set of her next film, Wilder Napalm (1993) when she co-starred opposite Arliss Howard, who became her next husband. The film flopped but their marriage lasted. She received good notices for A Dangerous Woman (1993), but it was Shadowlands (1993) which finally brought her renewed respectability and her third Academy Award nomination as Best Actress. She followed that up with a forgettable comedy, Forget Paris (1995). Then, she signed to do "Divine Rapture" with Marlon Brando and Johnny Depp in a small village in Ireland, but two weeks into filming, financing fell apart, and the film was never completed. Winger was never paid for her work, and neither were the poor villagers, and Winger said she was devastated for them. Now 40, Debra felt that there were no good roles for her and she concentrated on motherhood by having a second son, Babe Howard, in 1997. Her six-year absence from films inspired a documentary by Rosanna Arquette titled Searching for Debra Winger (2002), which is about sexism and ageism in Hollywood. In 2001, she returned to acting in her husband's film, Big Bad Love (2001), which she also co-produced. It renewed her love for acting, and she has ventured out into television as well by earning her first Emmy nomination as Best Actress for Dawn Anna (2005), directed by her husband. In 2008, she wrote a well-written book, based on her personal recollections, titled "Undiscovered". And she followed that up by winning rave reviews as Anne Hathaway's mother in Jonathan Demme's Rachel Getting Married (2008). However, it wasn't enough to reignite her feature film career, so she ventured towards television in 2010 with a guest-starring role on "Law and Order" titled Boy on Fire (2010), to a seven-episode stint on In Treatment (2008), to a two-part miniseries The Red Tent (2014), to a regular role on The Ranch (2016) . Her television exposure reignited her feature film career, and she was cast in her first romantic lead in 22 years in The Lovers (2017). And she had also mellowed with age, presenting an award to Richard Gere in 2011 and saying kind things about director Taylor Hackford in 2017, after having fought with both of them during An Officer and a Gentleman (1982). Nobody can deny that Debra Winger is one of the best American actresses ever. Her fans hope that Hollywood will finally reward her talent with a long-overdue Academy Award. | ||||||
2661 | dbpedia | 3 | 7 | https://bulletproofscreenwriting.tv/taylor-hackford/ | en | BPS 178: Navigating the Hollywood Machine with Oscar® Winner Taylor Hackford | [
"https://www.facebook.com/tr?id=1647020462245144&ev=PageView&noscript=1",
"https://bulletproofscreenwriting.tv/wp-content/uploads/2021/10/BPS_Logo_HEADER-sml-2.png",
"https://ir-na.amazon-adsystem.com/e/ir?t=whatisbroke-20&l=am2&o=1&a=6317642125",
"https://ir-na.amazon-adsystem.com/e/ir?t=whatisbroke-20&l=am2... | [] | [] | [
""
] | null | [
"Bulletproof Screenwriting"
] | 2022-03-02T09:30:51+00:00 | Sitting down with one of the big names in this business this week was a really cool opportunity. I am honored to have on the show today, Academy Award-winni ... | en | Bulletproof Screenwriting | https://bulletproofscreenwriting.tv/taylor-hackford/ | Alex Ferrari 0:04
I would like to welcome to the show Taylor Hackford, how you doing Taylor?
Taylor Hackford 0:07
I'm doing great.
Alex Ferrari 0:09
Thank you so much for coming on the show. It is a, it is a humbling honor to speak to you. So I'm a huge fan.
Taylor Hackford 0:18
I wanted to say that, you know, it's interesting with your last name, I love it. Well, you know, you got the fast car, but I there was a guy who ran, he ran actually, two different big companies. He ran Columbia Pictures in Italy. And he ran Warner Brothers in Italy. I mean, he was by far the best European distributor of American films I know of. And his name was Paolo, karate. And you know, you drive with him in raw, you know, in Rome, and he'd be driving around, you'd be gripping things. And he looked at you and, and, and raises eyebrows and say, they don't call me FERRARI for nothing.
Alex Ferrari 0:59
Well, if I ever give you a ride, Sir, my Prius does not corner Well, at high speeds.
Taylor Hackford 1:05
Well he's a great guy anyway. Side mentioning his name,
Alex Ferrari 1:12
I appreciate that. So, first, before we get going, how did you get started in the in the business?
Taylor Hackford 1:20
You know, I'm not one of those filmmakers who grew up, you know, with chronic asthma, or, you know, I was in a terrible accident. So I, I lived through movies when I was growing up, you know, I was pretty active in various things, I played sports, I was involved in politics, student politics, all those kinds of things. And, you know, I went to the movies, I liked the movies, I read a lot of books, but I had not really kind of outlined as a child or as a adolescent, or even as a teenager, that this was what I wanted to do. You know, I, as I said, I was a political animal. And I grew up in the 60s, when I say grew up, I reached a majority in the 60s. So when I was in college, you know, is 1967 1968 it was major things that were happening in the world, I think 1968 is still the most momentous year minmatar, free with all the things that happen. And I in 1968, I was in the Peace Corps, I lived in South America in Bolivia. And at that point, I had been, I thought I was going to maybe go to law school, I'd been accepted to law school, I started hanging with some film students, in my senior year in college, and, you know, I'd go to they would series film that, you know, and they go and they, and I spend time looking at their, at the films that they would see, and seeing through their eyes, the study and the process of looking at style. And I got hooked. And I got myself before I went to the Peace Corps, I got myself a super eight camera. And I took it to Bolivia with and I started shooting, you know, just whatever I wanted, you know, making little films that were part and parcel of the experience that I was going through, which was intense, you know, Americans when they grew up, you know, we are so fortunate we so lucky. You know, you live in a culture where most people are healthy, you know, you have media, you have all the conveniences of modern life. When you go to a third world country, you realize that you realize how lucky Americans are. And then you have to confront a different life. You know, we I was living in a, you know, in a barrio outside of La Paz, you know, with mostly imar Indians. And it was it was intense and very interesting. And the process of seeing that, and when the camera, I started shooting, and I was interested, what I'd become interested in when I hung with my film students was the political power of film, the impact what film could do in terms of communicating ideas, and to create change. So without being too pretentious, they know. But at the time, in the 60s, if you were political, you were pretty political. And one of the reasons I was in the Peace Corps was that I didn't want to go to Vietnam, I didn't want to fight in Vietnam, I freely admitted, but I did want to serve my country. So you know, that was an alternative and the alternative i thought was far preferable. And when I was there, it just, you know, you're bombarded with all of this cultural diversity. And, and, and, you know, plus, like, I'm speaking Spanish. I'm learning Spanish and learning and to speak. So it's it's it was a really really positive, very strong experience for me. And what I came to the realization was that I liked shooting film, I liked being able to express myself visually, that it wasn't, you know, I, when I came back from the Peace Corps I was there, got involved in, we created a volunteer newspaper only for volunteers, but still I was. So doing journalism. And what I found was that expression, being able to express myself, both in print and, and on on screen, I mean, these are little screens separate. Remember what I do did. It just captured me. So when I came back from the Peace Corps, I had been accepted law school. And I went, you know, it's kind of like, you have that momentum going, this is what you're supposed to do. And I spent two weeks there in the class, and kind of went, you know, this could be perfectly fine to do in life, you know, I'm sure, but it's not what I want to do. And it was weird, because I didn't have any money. I put any money I had down on tuition. I got up, walked out with, you know, for fitting all of that. And when I was in college, I had been student body president of USC. And I said involved in student government, student politics, and general politics in general, leaning toward the left, I might say. And I had been interviewed at a public television station in Los Angeles called KC et when I was a student politician. And the producer, there had been nice and so on, I just quit law school, drove up to Los Angeles. went over to Casey t asked to see this guy. Just call it a cold call, you know. And basically, he would did remember me and I and he was quite well, he didn't go to film school, did you? I said, No. I majored in international relations and economics. And he goes, Well, I can tell you what, we got room in the mailroom. And it's a good place to go, and you can work your way out and I said, I'll take it. And that was it. So and I was married at the time. You know, my wife had been with me, my then wife was with me in the Peace Corps. I mean, basically, I took a really low paying job, I had to learn how to mimeograph print, and deliver mail. It's a far cry from expressing myself visually. But on the weekends, I still short film. And I and I started going to film you know, I attended a lot of screenings with my friends in the film and film school and I was the scene. But I really started taking it seriously, I would go because there was a lot of, at the time in Los Angeles, there were a lot of repertory film houses and then showed classics. And I basically did what my friends that had been film schools did my though their film students had seen all those films, and I decided I had to do it. So I would go to probably, and this is no baloney. I would probably see 12 1314 movies a week, and I was working full time, ya know, at night, I would go, you know, I would go to see a double feature. You know, you see all of Birdman, you see all the Fellini, you see all of Andre vida, you know, you see all these years, you know, at that time, I was looking at European films, but at the same time, you know, john Ford, Howard Hawks, you know, that, you know, john used in the, the, the great American directors who had style, I was also and so, you know, I was soaking that up, plus, I was out shooting my own kind of super eight and eight millimeter movies. And basically working in the mailroom, and then, you know, I got to know the great thing about being in the mailroom, and I think you hear about it in Hollywood, you get to go to every department, you got to go you get to meet everybody, you're handing them, they're male, that's an important thing. And you shoot the shit, you know, if you're a good bullshitter you, you talk to them about what they're thinking and they either like you or they don't. But there is a process that if they do like you, and they feel that you got something on the ball, they might be you know, it might be conducive to them giving you a break when the time comes. And so there was a there was a show in case at a couple of reporters from the LA Times, and at that time, there was a lot of student ferment going on. When I graduated from college, I got into the Peace Corps I'd come back but it all that political stuff was roiling, and up at UCSB in Santa Barbara, the bunch radicle students burned down a bank of america crazy and literally burnt it down. And on my own, I got up and it was on the weekend. And I said to hell with it, I got in the car, took my super aq. And I went up to Santa Barbara. And I got up at like four in the morning so I could get there. I read that it had been burned down at midnight. We literally got one up there. And I'm now at this place, and it's still smoldering. And the students are standing around kind of like, hey, look what we did. You know, they're there. They they have the police had been there and done things. Some people have been arrested, and there's others. But clearly, it was a big kind of mob. This painting, which I thought was an amazing kind of statement that was that's, you know, the fact that it's the Bank of America and the students decided to take that as a symbol. And I shot some footage, and I interviewed some people.
Taylor Hackford 10:57
And I came back down to kct. And on Monday morning, I went and I said I went up and did this. And these guys put me on the air. They basically put me on the air and I showed my footage. And they asked me as though I were a reporter. You know what I'd seen who I'd interviewed, etc. And I expressed myself because I'd always you know, as I said I was a student politician, I could talk and they liked it. And all of a sudden, they said, Can you shoot? Well, then, one day, the cinematographer who worked for the studio, you know, got sick or didn't come in and something they say Can you shoot 16 and I lied and said I could, you know, because, you know, super eights very different, you'd have a cartridge to put in. And I was shooting a millimeter, you did have to thread it through the camera. But I've never shot 60. But I went out and I kind of taught myself and I didn't screw up too bad. And I started shooting. And then I started reporting and you know, in a way kct was my film school. That's amazing. It was great. Because, you know, when you're in film school, you got a semester to do a project, I had to do things every single day, I had air dates, and I started to become a political reporter on air. I also at the same time, you know, is the great thing about this was understaffed the station. So as long as you didn't care about sleep, you could do a lot of stuff. And I would do reports during the day. And I would do cultural shows because I was a student of rock and roll. I started doing, you know, uninterrupted music on TV. And, and then at the same time, I started doing longer documentaries. And I ended up by making a film about Charles Bukowski who was, you know, a great, great la poet. And I got very close to him, and he loved me make this portrait and lo and behold, and so, you know, I would I would edit the film at night. I would do my news work during the day do my cultural shows, you know,
Alex Ferrari 12:58
and sleep and sleep. How long?
Taylor Hackford 13:01
Who needs sleep?
Alex Ferrari 13:02
At that age? You don't need much sleep
Taylor Hackford 13:04
now. No, no, it was it was an opportunity. Shannon, the because the film took him to me about, you know, nine months to make because I shot it. And then I edited it. And I edited the San Francisco Film Festival and it one good progress document. And it and you know, those are the kinds of things that you do you don't know you didn't set out? Although, you know, I grabbed the opportunity. I thought because it was important. here's here's a cultural affairs department that and I public television station in Los Angeles. They have no idea who Charles because. And I said, Well guess what? JOHN Janae and john Paul Sartre call it America's greatest poet. So, you know, they think he's important. I think he's important. Why don't we deal with it since this is called called, quote, cultural affairs. And it's that's poetry. But you know, but koski was not what they had this idea of a poet. And of course, you know, because he was brawling and trumpkin. And, you know, all he could do is talk about fighting with women and so on. So in the film got, you know, when the film was finished, they were kind of shocked, but they put it on. And people complained, and I love this, this, I take this as a great, great compliment. It was because there was the word fuck. And there was a lot of there was a lot of things with Rakowski that you know, you can't alter you know, so I put it on it was an hour documentary. And somebody complained to the FCC and said I that this this this film had violated FCC was amoral, and it violated FCC rules. And it was investigated by the FCC. And if in fact, they agreed the student is the station could lose his license, right? She's so you know, we're all waiting around and with a great deal of worry for the meantime You know, I'd won the San Francisco Film Festival. And then the word came back and it said, we reject this challenge. We find this film a work of art.
Alex Ferrari 15:13
Oh my god, that must have been amazing feeling with
Taylor Hackford 15:17
it was a really cool thing to have happened. And then and then you know, use one from there.
Alex Ferrari 15:23
So, so it took from from what I saw you from filmography you that came out around 73. And then you got another film called idol maker and seven years later took you to get to that point. But then you made another little film called officer in the gentlemen. Now how, because for people and I was I was young, I was a young man when that came out. But even I my age, heard of Officer and a Gentleman and even when I got older, it was just something with the in the sight guys remember that? It was everywhere. Everybody was talking about everyone's spoofing it and talking about it. What was it like being in the middle of that kind of cultural hurricane?
Taylor Hackford 16:04
It's, uh, you know, it's a big surprise. You know, my, my first feature was the automaker, if I told you, I did a lot of rock and roll, right? It was, you know, when you get your first opportunity, you would pay them for the opportunity. Oh, yeah. I mean, I had done other documentaries, and I'd done a lot of music shows and so on, I finally quit Casey T. And because because people would say you make documentaries, you can't work with real actors. Wait a minute, you know, when you can get real people to reveal themselves and their type, all the barriers of that takes a certain challenge when you work with actors who want to give themselves I mean, you know, well, I had to go out and I made a, I made a short, dramatic film that won an Academy Award for Best Dramatic short, that was my ticket. Because now I can say to them, hey, these are actors. I won the Academy Award. Yes, it's a half hour film. But uh, you know, I guess I can work with that.
Alex Ferrari 16:56
Not too shabby, not too shabby.
Taylor Hackford 16:58
And, and so to do the filmmaker, was was was a great gift. And it was an interesting process. Because I really identical, I wrote a couple of drafts of the script. I didn't get credit, because directors don't get credit. But regardless, I know I got that film made. And I directed it. And I got, you know, very nice reviews. But it came at a time it was made for a company called the United Artists. And then United Artists, when they made my film in my film was, you know, a $3 million film was small. They were also making the most expensive movie ever made. Heaven's Gate. Yes, Heaven's Gate. And I always remember for my film, we had a promotional screening at Radio City musical in New York, with 5000 teenagers, it was, you know, a huge space, they flip the movie, they loved it at the same time afterwards, and the producers are jumping around going, oh, wow, this is gonna be great. We got to hit. And I was looking around the corner, I looked at the human artists, people, they had these clowns on their faces. I mean, they looked miserable. And, and I went over it because I knew the Pr Pr says, what's what's going on? Because I mean, I expected them to be looking at my film. And hopefully, like the producers thinking well, and they had this look in their face. And they said, Well, we just screened heaven's gate in New York last night for the critics. And it was a disaster. The filmmaker and the actors were on a plane from New York to go to the Toronto Film Festival. And the head of the United Artists, the president united goddess was on the film unplaned with him, telling them that they pulled the film. And these people were like, this is how this is Hollywood, they were looking at Doomsday. And, and, you know, they invested so much money. And of course, you had an artist went out of business, again, bought by MGM, and so on. But my little film was just collateral damage. It never really know. I mean, I'm proud of film, but it was out there. But enough people saw it that you know, I was able to get a second film. That's what it's all about, you know, you get enough for the first film, you got to do well enough and make it a show that you know what you're doing to get your second film and that was often the gentleman. And that then became a big deal. And I made it Paramount a month and it was when Michael Eisner Jeffrey Katzenberg and Barry Diller were there. And, you know, that was a tough place. That was a really tough place. And, you know, I, I wasn't like the writer, I didn't have anything to do with developing it, although I work with him in very intensely. And, you know, they said to me, you know, you got to make this movie, our production guy said, it's gonna cost cost this much to take this long. We don't like the film, we don't want to do it. This is it, you're talking right. But if, but if you make the film for, you know, much less and, and a shorter schedule, we'll make an Of course, you know, you know, yes. Well, okay. I got to make the movie. And of course they were they were literally walking me on the plank. And you know, so the first two weeks I was day behind on both weeks and they were gonna fire me, of course and and it was also the spring after Mount St. Helens eruption. Yeah, I remember that day it rained every single day, every single day of that shoot, it rained.
Alex Ferrari 20:23
It looked it looks, it looks like
Taylor Hackford 20:26
it actually gave the picture great saturated look, right. Yeah. But But regardless, it was, it was a tough thing. They're gonna fire me and you know, Richard Gere Devo. And your Lou Gossett just basically said, Sorry, if he goes, we go. And that's, you know, I never forget things like that. Because in an instance, where, you know, the you got a bunch of executives who really don't know shit, but are but are mean son of a bitches. And they're difficult. And, and in the word came, you know, you finished this week, or you're out? Well, I finished and I went on, and I made the film. And then, you know, and I'd had a big fight with the producer, the producer on the film just didn't believe in the film. He was constantly calling Hollywood and undermining the film and talking about you know, it's you don't know, a lot of people don't know, when you make films. how tough it can be. You have a vision, you're trying to carry that vision out, and people are subverting that vision. But the crew wasn't and we made the film. And then I came back and they made seven, they made six other films at that time, they were trying to beat a preschool strike. And I just kept working. And nobody had any. And I finally made my cut. And we had our first screening. And audience loved audience really loved it. And the word studio and it turned out, that was the only movie out of the seven films they made, they made no money. But it made so much money that it made everybody a hero. And you know, nobody remembers, you know, the fact that they, you know, they were tougher, by the way, you know, was I tough? Yeah. And, and did I make a film that actually delivered something? I was pleased to be good. I was. But when you ask us is a long answer. Your question, I prepared for that kind of response. Meaning, you know, the film made over $100 million. It was a it was a little 82 and 82. Yeah. And, and it was, it was a kind of social phenomenon. And people love the film. And you know that obviously after that, it helps your career considerably. You know, when you go to Hollywood and something makes a lot of money. People stand up and take notice, and then things get easier. When you're making a film. It never gets easier. It's always a tough, it's always a battle. But I can't say that opsins gentlemen didn't pave the way for my career. Now and that end scene, that famous end scene with Richard and Deborah,
Alex Ferrari 23:13
I hear that that almost didn't happen that way. I think Richard didn't want to do it or something. And by the way, was Richard Richard Gere at that point. Yeah. Did he is that before or after American Gigolo?
Taylor Hackford 23:25
It was after? Okay. You know, Richard had he but you know, my sense with Richard. I love Richard. He really delivered for me big time. He's a great guy. He's a terrific actor. But up to that point, you know, Richard had been asked he Richard has this incredible look, right? He has this incredible look. And there's a kind of brittle veneer. You know, I mean, you see him in America glow. And he's, he's walking around looking fantastic. You know, in, in looking for Mr. goodbar. You know, he has this fantastic character will replace a guy with a knife. He looks at it has an attitude that doesn't allow you him. And with an officer and gentlemen. You know, I had a script in Vegas script by a guy named Douglas de Stewart. But it's about a guy who is had a really weird appearance and has a lot of armor. And in order to make this film work, I thought, I got to break through the armor and I got to get in there and make the audience feel for this guy. And so I told Richard, you know, this is a thing you meeting somebody that I work with? And I said, Listen, I, I think that you're fantastic. And I know how talented you are. But I think up till now there's been this veneer over. And I'm gonna break through that veneer and get inside. And his response was Have at it, you know? And, you know, so in order to, to really do that, you know, I put him through some really interesting things. He knew he was complicit in that scene in the bunker out there when he breaks and says, I got it. nowhere else to go. Yeah, that's a big moment. And I had physically just beat him down. You know, with all that all his money, his face and mud and that means sticking in the mud. He had to stick at it, you know, that's who was my surrogate? That's the drill. But, you know, there were things without about that film that I thought were really interesting. You get a really good script. Lou Gossett role has always been written. White, you know, Doug's days towards di and he'd been a naval officer was a little Bender, Bruce, that Bantam rooster Southern cracker. If I couldn't find the right act was well written. So I said, visited Pensacola where the real basic training is. and ethnic, you know, like, the eyes are black and Latino. And, and, and I said To hell with it, and I got new glasses put him in a position, Doug, Doug, you know, didn't want it. But I thought, you know, look, I said when the Academy Award was interesting, first time a black man having total control over a bunch of white cadets, you know, in this instance, and he was tough. And, and I knew that to be the case, because I've been down there. When basically he was a working man, he was an enlisted man. He was a guy that that had been in battle had been battle tested, and he's training people. And he was basically saying, you know what, at the end of this, I have to salute damned if I'm gonna pass somebody through here that doesn't deserve you know, it's gonna have that built into battle and maybe kill him. I'm not gonna, you know, so look, I'm on it is all possible. And he was, and it's a great role. It's a great character, and you understand what he's doing. He's really committed military guy, marine. And, you know, when they pay him at the end for that salute, they earned it. And I think the audience got it. But anyway, going to what he was saying at the at the very end, there's a sequence that was scripted, Doug's done a story, because there's this it's a love story, in addition to this bonding experience of men and women wanting to become officers in the Navy Air Corps. There's a story about, you know, working class girls, and then open your bytown this is very real, this happens. I visited Pensacola and in Mobile, Alabama, there was the paper factories, and they call them mobiel depths. And, you know, when we went to we shot it in Washington State and had to create that, but we call the Puget Debs up there at the Puget Sound.
But, you know, basically these is working class girls and the paper factories. A big catch for them was to catch an officer and Debra Winger and Lisa Blount play these two girls, by the grace of brisky played the mother, Deborah, they worked in this paper factory they'd had, you know, I make I'm working class. My mother was a waitress, I make films about working class people. That's what I do. And I like, and I wanted to make them real. And so anyway, it you know, Deborah's is a tough character in this. She's a real young, working class woman, you know, and, you know, there's, the film is about young people, and it's about sex. And it's about all of those things that young people were forming themselves. But, you know, they had he, she and Richard had their ups. Like, they're, they're finished, right. And Deborah makes a kind of heroic Deborah's character, Paula makes a kind of heroic gesture. And, and kind of gives up her wanton ways as it were, she, she, she is ready to give up retreat and still keep her integrity and assets dug in with the sequence where at the end, he graduates he has ever had a rocky road getting there, he pays for that salute from any you know, he's going to go ahead and do really well. But he goes to the factory and he walks in and he picks her up and carries her out. And it's a kind of fairy tale. Although, I would submit it's a working class story, and it's a working class, you know, nobody's wearing glass slippers.
Alex Ferrari 29:30
Not at all. I mean, the factory she's picking her up at
Taylor Hackford 29:33
is a real but you know, I didn't know it was gonna work but I you know, when you when you make a commitment, you know, when you make a film, you're involved with comrades, male and female and you're working your ass off in the film is a collaborative effort. If it works, it doesn't just work because the director has a vision. It works because everybody shares that vision and expands on it and improves. So Douglas de Stewart was the writer I had a good relationship with and I I committed to make his film. That sequence was always in the script. You know, I have a feeling studio went to hell with this. And the producers certainly want to make it. But you know, Doug believed in it. And he begged me and I said, Yeah, I'm gonna have to beg me. I quit. You created the script, I committed to make that script and I'll shoot it. Well, the studio didn't want to shoot it. The producer definitely didn't want to shoot it. Richard Gere thought it was the shoot it. But I said, Hey, word to Doug Stewart. So what they did, you know, this, this is a pretty complicated scene, you know, these girls are there, the paper bag, they're coming in, they're working, whole factories going. I mean, basically, they gave me I think, three hours to shoot that sequence. They effectively are saying, We don't need it, we don't want it. And second of all, it's not going to be in the movie. So it's a waste we're getting out of here. And I didn't as I told you, I had a real problem with the producers. So you know, I just said, fuck you, I'm going to shoot it. And, and, and I and I set everybody up was like Chinese flag jobs. I mean, the factory was working. And I didn't have control of it. I just had to get things ready. And I had Richard back here to walk in through the machines with his white uniform. And I Deborah and, and, and Lisa Brown with their machines. And I got one little brief rehearsal. And what we did is the women who were running the machines, the working class women, the women that actually were worked in this paper bag factory their entire lives, stepped back from the machines behind the camera. And they're standing there because they're not gonna be very long. Shoot, it's so fast. And Richard walks up, I got one little rehearsal, he walks up Deborah's working. And she doesn't know he's there. And he taps her, and she turns throughout, and there's the rehearsal, and then I had to rush them back to shooting. But when I was doing that, I heard this noise behind me that I turned around. And these women were clapping, and crying. And laughing, they were clapping and laughing, and crying at the same time. And these are hard, tough. Women who are factory workers who had tough lives. And they looked at this, see, and they were that one sheet, they were dead. And at that moment, I knew this he was going to work. I knew it. I didn't know what up to then I never noticed through the whole movie, but I'm shooting it. And now I have to I just boom, boo, boo, boo, boo, boo, boo, boo, boo, my shooting it, getting it like, and I got out in time. And we made that we got that we got the sequence, you realize that? That's the sequences very, very famous. And it really works. And I had three hours to shoot. It was just a killer. But the interesting thing is, I knew right there, because if those women, those women, no, no, no, that's bullshit. That's Hollywood. Oh, give me a fucking break. Right? No, no. That was their lives. They identified they got it. And that's the way audiences responded in general.
Alex Ferrari 33:22
Yeah. And I like I told you, I remember it being spoofed on television shows. And I mean, it was just one of those moments. The simple they did a whole episode. Yeah. Simpsons episode like that. It was remarkable. But now I know this the behind the scenes stories that and generally a lot of times when you see these, these iconic moments in film, most of the time you hear like, yeah, had an hour. Oh, that was a throwaway. Oh, that was it's never like I had four weeks to prep for that shot. And never happens. During the 80s you had a run of really Zeit Geist style films like white knights. I remember very good and against all odds, as well. These are films that at least in my household, maybe it maybe it was just my parents love these movies. I knew about them, but I do remember seeing them, but specifically with white knights. I remember in the 80s I mean, Baryshnikov was, and still is, I mean, he's, he is who he is. He is he is the Michael Jordan. He is the goat as they say the greatest of all time of what he does, how did you approach directing a non actor of his magnitude in his world? I mean, that must have been intimidating as a director, but then not only directing, arguably the greatest dancer of his generation, but then trying to pull up performance out of it, which was a fantastic one at that.
Taylor Hackford 34:42
Yeah. You know, the thing is interesting is that Nisha is a truly a great artist. I mean, he is a truly great artist. And at the time, the world's greatest ballet dancer. I mean, I had the world's greatest tap dancer, Gregory Hines. And and but great He had done films he done things. But you know, the problem with this film, it was a dance film. I wanted to be a dancer. It's a it's a weird film because it's a dramatic dansville it isn't all singing all dancing fan. It's, it's a specific story about, you know, people behind the Iron Curtain. And they are doesn't exist anymore, but it did them. And so with meesha, you know, you just need you need to meet the department, you meet the Cal Bruce to come. And you're impressed because he holds himself incredibly well. He is very smart. He is a fabulous artist dancer. But he's got a lot going on. And and you know, you can see that look in his eyes. You know, all movie stars, they've got a movie star is a movie star, because look they have in their eyes, if they can communicate without words, and tell you whatever. That's the one key that I think is an all great actors, you know that I don't mean great actors on the stage, great actors on the stage. Who's their voice? It's all about projection. And, and in saying your Shakespearean thing, you know, you on the stage, you can't see people's eyes, right? No, but but the camera, the eyes, or the or the or the, the opening to the soul, and you know, camera and close up and that that is people don't understand how important the eyes are, and and how important it is for at least for an activity still, still and let that power and that energy come out of their eyes. So number one beach is playing somebody who's playing himself. I mean, he's playing a defector who ends up by going back home. And you know, the truth of why Knights was that defecting is a crime in communist Russia. It was a crime. You know, and punishable by some pretty bad stuff. So to find himself back inside Russia, by accident because of plane crash is a moment that is very real to me. You know, something that can be terrifying to him. He still has never gone back to Russia. He's never got once he got out. There's everybody. Roman Polanski went back to Poland. People have gone. Rushkoff will never go back to Russia, at least. I don't think he will. He certainly hasn't gone yet. And that's because he loves Russia. He loves it with a passion without the Russians when they can't speak Russian, you know, basically, like they are. They are, they're being robbed of their soul. They know eat Russian food, they know. I mean, it's it's there's a sadness to meet you. That's amazing, however. And he carries himself. He is a star. He carries himself on stage when he's dancing like a star. And I thought that he carried himself in front of the camera as a star. So, you know, he committed I committed and Greg Hines who was one of the great people that ever lived and Greg Hines is a fantastic artists but it's amazing human being and a very good actor. You know, they made this commitment. Three of us made the commitment together and all the people around. You know, Mike, my wife was in the film. Isabella Rossellini was of the film. Jerzy Skolimowski was
Alex Ferrari 38:27
a decent cast decent cast.
Taylor Hackford 38:28
Yeah, it was a great it was a great group. But most importantly, it was Twyla Tharp was the choreographer. And she's, you know, believe me, there's, there's a woman that's got, she's, she forget about a reputation, she is tough as nails, and she's really tough to deal with. However, she's great. And and so we had a, we had a very terrific unit, and we shot in Europe, and we shot in, you know, interesting places. And I'm very proud of the film, you know, when the film came out, you know, people going, Oh, well, this is bullshit. And, you know, I said, you know, what, every Eastern European, every Russian, Czech poll, all those people that have been behind the Iron Curtain, see white knights, they get it, they immediately understand it. And they understand what was going on. And because, you know, we wanted to imbue on the Eastern Bloc, our own ideas, oh, everything's cool, and everything's melting and so forth. Only the people that have lived there and had lived under that system, as artists understood how difficult it was. So, you know, I have a lot of respect for Russia and for Russians. But I also know that a lot of the stuff in white knights, I think, struck a real chord, at least to the people who knew that experience.
Alex Ferrari 39:54
Now you I mean, you've been able to pull some of the most amazing performances out of actors over the years. Oh, Your career? How do you or what advice do you have for directors on directing actors? Because a lot of times, young directors specifically, they all think about the pretty shots and moving the camera, they'd never think about talking to the actor getting the book, because that's what people are looking at. They're not looking at the camera shots, they're looking at the performances, what advice do you have for pulling out those performance?
Taylor Hackford 40:19
Well, that's, you know, that's interesting, because I set out I mean, I'm, as I told you, I'm a real student of film, I love film I've studied, I've seen so many films, and I love you know, I was president, the Directors Guild of directors, but my style, and you know, everybody has a different style. And I'm not taking anything away from great directors who really know what they're doing. But I didn't want to call attention to myself, the, you know, the Howard Hawks versions of directing, you know, to me, and there are a lot of great directors, I don't want to just singling them out. The idea that you don't know that the camera is you, you go through the camera into the drama, and the nuances of the story you're telling is on your actress faces, I was going for it because I guess when I started making documentaries, I didn't want arch style. In terms of acting style, I wanted to naturalistic acting style. And those subtleties that are expressed, which we experience every day in our lives, are the things that I think an audience can see and go, Whoa, I'm buying this, I'm buying it I this person is, is is in trouble, or this person has inner feelings, or this person is frustrated. And I'm writing along now with him in this story, to see what happens to them. So, you know, I didn't really ever want to hang from my feet by the ceiling, when the camera in my hand, swing around. So the audience is going, Wow, look at that camera. I have a lot of camera movement in my films, but I try to cover it. So that you're not aware, but you're aware of are the actors and the story. And you asked that question, basically, I tell the actors what I'm going for. But it's a collaboration. It's a real collaboration. I'm not. You said what do you say to them? What do you talk? You know, you don't say, Oh, this is I'm I never give a library am?
Alex Ferrari 42:30
Of course not.
Taylor Hackford 42:31
Well, there are people who do you know, people, they're great directors who give libraries? I don't, I don't because that's, you know, I'm not going to say to them, oh, say it this way. That's their choice. I'm, I'm working through the the my instrument is them. And so I want them to feel the character I work with each actor individually. I I'm, I will do a read through of the material. I go out and I find all the locations or if it's on a set, I still do that there. And I bring the actors to the location. It just once in advance and we don't you know, I I'll make them read through the scene there. But it's not because I'm you know, Sidney Lumet was very famous for rehearsing, rehearsing, rehearsing, chalked out things in the ground, and they rehearse to me, and by the way, great director, and I, there's not a better film than Dog Day Afternoon. I but but the point is, and, and. and john, you know, his partner in that was brilliant, brilliant performances. So it's just every director does it differently. But to me, I don't want to over rehearse a scene. I want the actors to know their lines, and I sit with them, and I work out their backstory, you know, when you meet them. On camera, you meant them at the beginning of the story. They've had this whole life, the characters has lived the life up to them. I worked that out with the actors. So when they walk in, they know who they are. But when the actors are meeting two actors in the scene for the first time, I want there to be some sort of, you know, if you rehearse it over and over again, oh, you know, I know Ferrari. And we work this thing out. And you know, so you come into it. And it's kind of like, well, there's no there's no spontaneity because we know it all. But if dopers together like that, they know the script, of course, but they don't know what's going to happen. And I believe the camera captures that
Alex Ferrari 44:35
magic.
Taylor Hackford 44:37
It is it is and that doesn't mean that there's not a you know, huge amount of technique. And there's not a lot of prep, but I work individually with the actors. So when they get together, there's something that because, you know, nobody, I
Alex Ferrari 44:50
won't say you don't work with them as a group.
Taylor Hackford 44:52
No, I don't. I mean, like I said, I do a read through the whole cast, and I take You know, people that are in a scene out to the location because, again, what you got to watch is that, you know, when you spring things on actors, and they walk into a strange place they've never seen before. It's kind of like daunting. And sometimes if you say, hey, I want you to walk over by the window, and I want you to stand over here. And then I want you to say these lines, and they go, well hold it. Who the fuck are you? No, no, I know, we got no time. But this is not doing a television series. Right. Right. And, and in that instance, by taking them there, and having them kind of feel the rule. And sometimes they even say, you know, just just improvise, just do something here, I see something they do, and I use in my corporate, so they feel like they've contributed to the scene. And by the way, it soon falls apart. So they asked me, they'd help. But the fact is, they've been there. And the reason you do that, is that the day you show up, there's an army that moves and the lighting is there, they run in, you do a walkthrough, and then they go to makeup. And when they come back, they got to be ready. If they are seeing it for the first time. And they kind of go, I'm just completely for mercy. I'm completely mixed up. I don't, I'm confused. I don't know, that's no way to start to sing. So by having them go to that location, that's something that I always try to do, if I can, doesn't have to be very long. But it's enough that when they come back again, they're ready. And they're not going well. I'm completely unsettled. I don't feel right. That's where you lose time when you shoot. Because now you got to stay with them until they get comfortable.
Alex Ferrari 46:39
Right. And I always I always find it that it's kind of like, my job as a director is always to try to catch the lightning. And, and if you rehearse, rehearse, rehearse, rehearse, like you just said, it gets stale. Whereas you just got to take them just to the edge, and then let them play. And that's when those amazing things happen, that you just can't plan for.
Taylor Hackford 46:58
That's, that's kind of my philosophy. And, and if the actors know that you trust them, I guess the other thing, and then what you do, because, you know, I passively, you know, I started I sometimes made a lot did a lot of checks. I don't anymore, I really trust the actors, if the actors are good, you know, you get it, and you got to, you know, so that. And also you don't have the same schedule as you used to. So you try to get it as quickly as possible, however, adjustments once you start, if you're if you're deft at being able to jump in for the, the the accuracy or not, so that everybody else again, I don't want all the actors in the scene to hear the notes that I'm giving Helen Mirren you know, he's going to respond in a way that I can jump over, and I can deal with Al Pacino. And I can go over and deal with Dennis Quaid. Or I can go over and deal with Jessica Lange. You you deal with different people individually, and then they come back in the scene and they may change it. But again, that's a valuable thing. They're changing their delivery. And the response of the other actors in the scene aren't Whoa, that's not the way they did last time, which then gives a kind of right. reeling in an energy that I think is good. It's good for the drama.
Alex Ferrari 48:16
Yeah, no question. Now you made a milk film called Dolores Claiborne, which I absolutely adored when I saw it. years ago. And I've watched it many times since those flashback scenes, that was the first time in your work that I noticed that technique, because you were saying like you try to hide the camera. But I noticed that technique and it wasn't a camera move, but it was so it was very cinematic. What you did, how did you approach the flashback scenes? It was that in the script like that in the book like that, how does that work? Well,
Taylor Hackford 48:48
I'm gonna give Yeah, I want to give the credit to again, you know, you know, work alone. And my screenwriter. On that film is the first time we worked together his name Tony Gilroy. He's become a resident, okay,
Alex Ferrari 49:01
he's done. Okay. Yeah, he's
Taylor Hackford 49:01
done okay for himself. But that was, you know, that was our first film. We made three films after that. Tony did a brilliant job of adaptation. It was a Stephen King novel. And Stephen King is, you know, I mean, you know, it's my, my best selling author in the United States. You know, I came on that picture. And it was a wonderful script. Wonderful script. And it was it was it was two stories tall, 20 years apart. And they weren't, they weren't like you did a flashback. At the beginning of the end. All the way through the movie. There was your cutting back and forth from different time periods. Fine, I loved it. I worked with him on two drafts, we're getting ready to go. And then I also picked up the book. I mean, anybody who's gonna do an adaptation? I read the book and Stephen King it was in Doris was a fantastic Stephen King, such a great writer. Amazingly, kids characters so fantastic, but this was not this was This was a dotnet core story. But it was not a special effects movie. It was not a fantasy. were no monsters. No monsters coming up. It was the monster was in these people, right? So I read that book and I went, Whoa. Now I really have an appreciation for what Tony do because in the book, it's very straight procedural, a woman is caught maybe killing her employee plate and her employer. And she goes into the police station and they are going to arrest her and they don't know. And she says I didn't kill her. I didn't want to kill her. I didn't kill her. Well, it certainly looked like it. And she said I didn't. But I did murder my husband 20 years ago. And at that moment, it's kind of like watch. And then you flashback to 20 years before, or 25 years before when she's a young woman. She's married. And she has a 12 year old daughter. And that's the story. The characters that the actors who were in my movie was starring Kathy Bates as the mother of two different ages. But Jennifer Jason Leigh playing the adult, Selena, the daughter, that adult Selena was not in the book, never in the book. So you understand what Tony did. This, the subject of Dolores Claiborne is the worst crime that I think there ever was the worst crime, which is an incest. You know, when a parent incest the child, their own chart, there ain't no worse priming. That's what this film is about. So what Tony did, which is brilliant, is that when a girl is interested in she's 12 years old, it doesn't him for her. He grows up, he becomes a woman, she becomes a mother, she becomes a grandmother. She's carrying that inside. She's caring that she's been scarred for life. But he was brilliant enough to say I'm going to bring this character back, Selena as an adult as a educated woman who believes that her mother killed her father. And she is blocked out why she's blocked in her mind because of the severity of the crime. He blocked out what and and because her mother is accused of a new murder. You know, 25 years later, she has to come back when she hates her mother. And they're they're fighting each other. And the whole mystery of the peace and this again, Stephen Stephen King, is the realization that that Selena have, because the mother realizes she never ever understood what went on ad. And so it's a great, it's a great story generated by Stephen King, and then a great screenplay by Tony Gilroy. That took what's the Stephen King was saying and expanded it. So, you know, I get this script. And what I've got to do is tell two separate stories with the same character 25 years apart, and I and I found a young, really wonderful young actress named Ellen Muth, who plays the young Selena David Strathairn, great, great actor who has to play the father Joe Oh, his daughter. And he's such a sweet guy. It's such a great father. But he understood what he had to play. And the great Christopher Plummer, you know, who is recovering who has come back on that movie, he really, he showed everybody and afterwards, he says to one great film after another after another, but you're working with those kinds of great actors. I then had my own idea about how to mix these. And you were you were saying, you know, sometimes the first flashback I wanted the audience to know I needed to make it clear,
Alex Ferrari 53:58
establish the language,
Taylor Hackford 54:00
you know, that establish the language and also give the audience a little zetz you know, a jolt and so you're, you know, you've got Selena coming to this terrible house in blue rock, seeing her mother and Kathy, this old old woman and you can feel it. And then I have a motion control shot which is for the audience. It's where you lock the camera in a particular way that can't move. And I Dolly across Cathy's back you see the place Selena sitting at the table and you and you bring it across and as you bring it across? You go from the past to the present to the past. And Selena goes from a you know, Jennifer Jason Leigh disappears. And this 13 year 12 year old girl runs into the room. And you know right there and the colors change. So what I what I did because I want that was the first one that no one could miss. You know from that moment on a wonderful the audience I kept wanting to have them you No think that they were in one place. And then they Oh, shit. I'm in a dip. Oh, no, they're there. And I think it works. But But what I did was that I, I and you, you do it psychologically my cinematographer is a wonderful artist named Gabrielle Bernstein is a Mexican. And he came from Mexico and he was working in the states and I'd worked with him on blood and blood out, which was another one of my movies. Anyway, Gabby and I worked it out. And what we what we did is say, listen, just look at the film stock. Let's look at folks like Kodak, which is the Eastman Kodak was the stock that everybody used at the time. It's sharp. It's got really strong blacks. It is in itself a kind of cold look. I mean, you can you can warm it up. But you know, it's it's sharp, it's and so it has a coldness to it anyway. And in Maine where we shot we shot this in Nova Scotia was supposed to be Maine. It's cold, it's bitter. It's winter. And so what we decided to do I both Gabby and I'd see the film that spin Nyquist had shot for in my bourbon called the passion of Anna. And the pack of Anna is almost black and white. It's colored, but it's almost back. It's so bleated out. You just felt that coast of Sweden just made you cold to the bone. That's what we did we d saturated codec, and turned up the blues, it was blue Mexico code. So the presence of Dolores Claiborne is shot on Kodak has been D saturated. And there's it every time we went to a flashback, we switched film stock to Fuji. And in anybody who shot Fuji, Fuji is pastel, right? It's kind of soft, and it has a more grain. And it's just a pastel look. And I kind of you know, thought it fit for the old doors whose life has been one hardship after another. And she's in such pain, that that cold look fit. But to go to 25 years before when she's a young woman, and she has hopes and dreams, she still hopes that things are gonna work out, you know, you want the film to have a different look. So pretty soon when you made these transitions, and I got better and better at finessing them, you know, you could just feel it, you felt you went from cold to warm, you went, you know, it's uh, you know, near the end, there's a wonderful like sequence where Kathy and Jennifer are having a conversation at the kitchen table. And they really don't mean Jennifer doesn't like her and is kind of sick. And just, she just is really upset. And Cathy demands that she sit down and listen to it because she's going to tell her the truth. And she has a bottle of whiskey. And she pours drink for saline for Jennifer. And she, I go into a close up, but she pushes it across the table. And it sits there and the hand comes out. And then a man's hand comes in and picks it up and you follow it up to his face and David's stress. So amazing. You've just gone in one shot. And this has no special effects or anything else. This is just the director kind of working on shots. But you've literally gone from an intense relationship between a mother and daughter to a man picking up the drink. And it's the father who insisted his daughter and the mother is confronting. So in that moment, you you know, I kind of did it subtly until at the end. The audience is like used to it, the audience does that they don't even there's no rise. They just go Okay, got it. Now I'm here now I'm there. I'm back and forth, and I'm in it. And that kind of storytelling is really fun to do.
Alex Ferrari 58:52
No, it was it was it was again, one of the first times I've ever seen that that technique, or at least for the first time was brought to my attention was absolutely wonderful. Now I have to ask you, the devil's advocate had been what a wonderful film. What was it like directing a force of nature? That is out the Chino as the devil note, lads.
Taylor Hackford 59:15
It's brilliant. When you haven't you know alpa Chino, and I can't. I've worked with some great actors. I've worked with narrow I work with Chino I worked with, you know, Joe pece. I work with great male actors, and I worked with some great female actors. I mean, I think my wife is the greatest actress there is.
Alex Ferrari 59:36
I mean, I'm not gonna argue with you at all.
Taylor Hackford 59:40
But, you know, in that instance, where you have al and again, it was not a foregone conclusion, you know, yeah, Tony Gilroy was with me. He wrote the screenplay. He wrote a, we took a screenplay that existed and completely changed. My concept of this was I wanted a Dramatic satire on the millennium, I wanted to know I wanted to make a statement about again, it was in the original source material, but not like we did it. I wanted to do something that really confronted the ego, the whole process of, of where we were at a certain point in our life, and lawyers, who, as we say, in their head, become the new priesthood. You know, everybody, everybody deserves a good lawyer as long as you can pay for it. And you know, the ones that that don't kind of pay for it are probably going to lose, because the better ones are going to come in and the people with a lot of money hired. So it was a lot of statement that was going to go on here and I convinced Tony I had to convince Tony do it. He goes, it's a devil movie. I'm not doing it. And I haven't convinced them alpa Chino goes, Yeah, it's the devil who cares? I said, out, you're just a complete Shakespeare night. You know, you you think those are great roles. Come on, that this is the devil. Come on. It's the greatest role you can have. And and, and we call the character john Milton, by the way, who wrote Paradise Lost? Of course, of course. But But you know, we had to write some new scene throughout. Because the fact is, it was Canada's movie. And, and, and although the devil is cool, you know, Allison Ellis got a big appetite. And he wanted it. But you know what? I went back, Tony rewrote some scenes, and Al did the role, but you have him in the film. And you just have, you know, just it's such a pleasure. You know, every single time he tackles something, you don't know what's going to come out? Yeah, he's got the words. Yes, he knows the words. Yes, he's going to deliver them, but how he's going to deliver it and also his abilities, probably the greatest at the end of that film. There is the final scene that you know that Canada who kind of comes in, he comes to Milton's apartment. And there's Connie Nielsen, it's just the three of them in the scene. And in the devil is basically you know, he's heard from his mother, you know, who's Judy, IBM is fantastic in the movie, that she is a young girl had been seduced by john Milton, and that that and he's, you know, he's, he's actually john Milton, son. It's like all this craziness is going to happen. So we shot the whole movie in New York, but we shot that big sequence back here in LA. And we went down to to Vernon, City of industry, where the big warehouse it was, it was incredibly high. We Bruna Rubio, who is my production designer, and five films, great, great collaborator of mine, built this fantastic interior set, and we shot it. But I went in the weekend before because I wanted to again, remember I told you what the act is to feel the space. And I and I took Connie and Kiana and Alan and I said listen, forget the text. All right. I want you to feel this space. I want you to use it. I want you to forget the text. I want you to improvise something, whatever you care, whatever you want to do. And I think you know Kiana and Connie were like, improvise what it was like Chino went okay, and pre Chino starts parading read this. I mean he's doing he owns it. He's just creating is probably the most brilliant, the most brilliant improvisations I've ever seen. Unbelievable. And he didn't use the text. So at one point, he's all excited and he started singing. It happened in Monterey. A long time ago, it happened in Monterey. You know, Mexico, stars and Steel Guitars, like singing this Frank Sinatra song. It's where the hell did that come from? No one knows. I put it in the seat. You know, I put, you know, put, you know the devil at a certain point where he's feeling his oats. He starts singing with Frank Sinatra's voice, but of course the devil could could be but that was all LPG. No. And I you know, I mean, the rest of it was Tony Gilmore. And I and I and he did a brilliant job of text in that piece. But you throw something like that in an alpha Chino can bring it off.
Alex Ferrari 1:04:28
And that many actors Could I mean, it is something very special. Yeah, I just remember that. You know, like he's an absentee landlord and all those wonderful lines but the way he did that's amazing dialogue but also that you really like out like you love john melt like you really are. You can he's seducing the audience. I mean, in his place, also
Taylor Hackford 1:04:51
seducing he's really seducing Kevin, right here. I love it. You know, and when, you know there's a sequence and let me tell you, you know, Tough sequence, I and there's a sequence where he's walking through Chinatown. With with Kevin, and they're playing through Chinatown. And, you know, he goes to this Chinese vendor, he says, where's the chicken that you can predict the future? You know? And, and he's tells Kevin about this. And Kevin is this, like, Who is this guy? He's the, he's the. And I had all the way through, it was my idea to basically have him speak all these different languages. Every time you see Alex speaking in a different language speaking in Chinese, he's speaking in Spanish in the subway, he's speaking this and that, and so forth. But anyway, he's in. He's in Chinatown. And he speaks to the vendor in Chinese. And I remember that's it. And, and it was, let me tell you try, we stole that sequence. We had to go in and shoot it without any control, because you can't control chinato. It was wild. I mean, talk about there's a there was a guy named Burt Harris, who was my ad is very famous. He used to shoot a lot with labette in New York. And he, he said, You know, there's no way to do it, just go steal it. But anyway, there at the end of that sequence, you know, he's taken Kevin as part of a seduction, where he's, you know, he's king of the world. He's had this huge international corporate law firm, all those things. And at the end, he goes across the street. He's like, Where's your limousine? He says, Kevin, it's New York. Take the subway, take the train, learn it, at any step that token and he's going down into the subway. So you're going this guy who run who the Master of the Universe still takes the subway in New York, you got to love him.
Alex Ferrari 1:06:44
You got to let it's it's amazing. Now, one of one of the films in your in your career that you that really I know, meant a lot to you. And obviously meant a lot to a lot of people was Ray. And and you bring in Ray Charles story to the big screen. I know that took you a while to get going. How did you? Yeah, yeah, I know. That was like a real big passion project for years. And then finally, Jamie showed up and he was right. I mean, he there's no doubt about it. How, how was it bringing that to life? How did you how did that performance? Because obviously he won the Oscar with that performance. And it is uncanny. I mean, you watch, it is uncanny. Not only his performance, but he could like his voice can sing, like way sounds like right. How did you how did that work?
Taylor Hackford 1:07:33
Well, two things. You know, I, it took me 15 years to get that for me. It's kind of fortuitous, because I wouldn't have had Jamie Foxx if I don't, you know, at the very beginning. And, you know, partnering with an actor, I talked a lot here about partnering with actors. I think that a great partnership was Jamie and myself. You know, I cast him. I didn't know him. And he was an irreverent comedian. booty call. So I found out when I talked to him that he'd gone to university on a piano scholarship. And I said, Oh, we'll funk and jazz, no, no, classical. When you hear the Jamie Foxx, the Reverend comedian, you know, played classical music and went to university on the basis of the fact that he played it brilliantly. You now realize, who's this guy is, and you realize he's got depth. He's got incredible soul. And he's really smart. And I just cast him on the spot. I just cast him. And that that dedication, that sense that Jamie and I were together, you know, went all the way through the film, because my sense was for him. And Jamie lives in the, you know, he lives in the back of it. And he's, you know, he's very much a black man in the black community. And I said, Listen, we're dealing with firing, Ray Charles is the greatest, you know, Ray, Charles, is it and everyone knows him. And if we fuck up, you're going to spend the rest of your life apologizing, and going around to your uncle and cousins like me, you just couldn't do it, you know? And I'm gonna look at every black friend, I have to say, How dare you, you know. And so it was kind of bonding there. But you know, the other part of it is, you know, if you if you didn't notice, I'm not black. I
Alex Ferrari 1:09:28
didn't notice that.
Taylor Hackford 1:09:29
But you know, what you do in that instance, because I'm making most of the cast is black. And I'm telling you a story about a black man. Now, Ray Charles, never had a problem. Ray Charles and again, I knew him for 15 years, one of the most brilliant people I've ever known, but he trusted me. And he wanted me to make the film and he never took the rights away. You know, many times I had to go back and apologize. Nobody would make it. He never did. Right. So can you and you kept asking for the rights but
Alex Ferrari 1:09:53
it just a couple more years. Just a couple more years. Yeah,
Taylor Hackford 1:09:56
exactly. But but in reality I Listen, you know, I've got one the screenwriter was, you know, I wrote this the story. And then the screenwriter came in, he was black. And he had, you know, it was from the south. And he had voice and he knew so you know, you you, you've got to listen. Because what you didn't experience what you don't know. And with Jamie, and all the other actors, and I mean, you know, Regina King is going through a huge thing. Yes, but he's my pastor is Margie Hendricks is she's as good and Ray as she's been anything else. I mean, she is so great. She a body, that woman. And you know, she and Jamie just created and Kerry Washington, a huge star. You know, they're in this movie. And they're both playing incredible roles, like the one of the great pains I had with Ray, and ingenue Ellis, who played Marianne. And Sharon Ward, who played Ray's mother was brilliant. And she's never, she was not a professional actress when I met him. But, you know, I had four women that I think all deserve to be nominated for Best Supporting Actress. They weren't the center of the movie, but they were big roles. And they all kicked ass. When you when your director and these actors have given you so much, and they're really they were on board was incredible collaboration. I love them all. I couldn't, what I should have said is say, carry. You're brilliant. You know, as D, you know, you know be you know, Ray's wife. But I'm going to go with Regina, or Regina, you're fantastic. And I'm going to go with Sharon Ward, or ingenue, you're terrific. But I'm going with Kerry Washington. I didn't. And you know what, not one of them got nominated. And they should have been, they really should have been. All of them should have been nominated, although that's kind of much one film. But what happened is they split the vote. And that's sometimes you got to be pragmatic, but I still couldn't say to him, you're out and this person's in
Alex Ferrari 1:12:09
there, we're all just too good.
Taylor Hackford 1:12:11
They weren't they were, let me tell you. I know, of course, I'm prejudiced because I've directed the movie. But you know, the thing of collaborating with people who know what they're talking about, who were raised black, they're raised in a community that and Jimmy White, who had written the dialogue knew what he was doing. They knew that fit. I mean, it was country as his country. And so it's great, Charles country, you know, but the fact is, we all collaborated beautifully together. And they gave me everything I asked the poor, it was a fantastic experience. And I still Jamie nerds still very, very close. And
Alex Ferrari 1:12:51
I have to ask you, there was a movie that you did not direct, but you were the editor and producer on which is arguably still one of my favorite documentaries of all time when we were kings. They know that we have a story because it took them like you shot with the juice. You didn't shoot it, but the director shot it. And then like, what, 20 years later or something like that you made the movie or something along those lines.
Taylor Hackford 1:13:14
Yeah, maybe basically they went they were shooting a concert film in Africa. That's a sore point for me because I was stupid. Partly, you know, they came to me with a film they couldn't. They didn't work that they couldn't ever do anything with. And and asked me to come in and I you know, I was president, the Directors Guild. I'm a bit so I didn't want to take the directors credit. But the fact is, I made that film. I did. I mean, I came in. I did all the interviews with maler. Plimpton, my leak is biographer Spike Lee called spike up because he'd gone to Africa and never interviewed one African. He never talked, you know, here's this story. But it's, it's about Li going to Africa and capturing that spirit. So I did all the interviews, I had final cut of the film. I went back and bought the they didn't they weren't there for the flight, that whole last act, I confected and made that like, like, they were there, because I bought the footage from the fight. And, and, but in any event, I'm very proud of it. And the reason I made the film is it Ollie To me, it was the greatest movie star of my generation. You know, what a great person an incredible, incredible presence. And I wanted my son's it because at the end of his life when he got Parkinson's and he was all shaking, you know it and that you know, the producer and did lean on what let's get let's go shooting now. It'll be a good tear at the end. I said, No fucking way. I'm not going to I don't want the world to see that. I want the world to see this man who was the champ who was in charge, you know, in complete control of everything. And I want them to go out realizing what I realized was there was nobody you Nobody alive like Muhammad Ali. And that's I was celebrating him, actually. So my two sons could could see that.
Alex Ferrari 1:15:07
Yeah, and I just remember watching it. And you see, you set that story up so beautifully as you know, as foreman as this absolute monolith. And, and honestly, physically, Ali was not the same as his form of form, it was a monster. But I
Taylor Hackford 1:15:24
understand that the way the film was came to me, you know, there was a, you know, what happened to fight fires, of course, the first in the first press conference, Ollie kind of predicts it all. And, and there was no film that was just like, what are we gonna, we'll look at the software. So what I had to do was build up, as you were just saying, George formance invincibility. And you know, when you get those old, that old footage where you see him, literally, knock Joe Frazier off his feet, take Ken Norton and destroy him, you know, everybody in his path, he was destroyed. And now, you know, I get mailer and Plimpton to talk about the fact that Ollie in that press conference where he's talking about this or that he's terrified, he's terrified. He thinks he's gonna lose, but he has no option. He has to come back from the drug, the draft dodging thing and so forth. And, you know, so I kind of structured that whole movie, to be able to get to the conclusion that it was so obvious. But the other part The other reason I wanted to do the film, is that I made the film for women. You know, I happen to love boxing, and I love the sweet sport, the sweet science, but most women go, Oh, it's terrible. It's just such a terrible thing. And it's brutal. And yes, it is brutal, but it's brutal. And they're stupid, as I say. The people who really understand boxing, understand that it's hard. You know, it's skill. Its brains, and it's hard. And the great, great, great fighters have it. They're not just lugs they have it probably was so smart. You know, Muhammad Ali couldn't be George. Come on. He's in his, you know, 30s George form is 24. He's invincible. Ali won that fight here. That fight Bye, bye. Absolutely out, maneuvering, mentally George Foreman, and all of that stuff that went on. And so you kind of see it. Plus, I had, you know, Norman Mailer who incredible voice George Plimpton incredible voice, Spike Lee, who, you know, can talk about, you know, in rightfully, as, and also, you know, he can talk about black people in America. He's focused his career, but he also understood it, nobody has any history, people have forgotten who he was. So you could have him put that in context. And then I had a friend who had been part of Peter Brooks international theatre company named Molly Baba JoJo, he was from Mali. And he actually was the voice of Africa in that film. And he could talk about as an African, what they thought of Bali, how they look, because Foreman's darker form is much darker, he should be the guy they, instead they say, No, no, it has nothing to do with the color of his skin. He embodied what Africa was about, we loved and we, you know, and anyway, in that film, you, you see that evolution. And you also realize how great a champion he was. Because when women see the film, if I succeeded, they come out, they go, Oh, he won that. By being smarter. He psychologically psyched him out completely. They get it. And then and that's, that's what I was setting out to do.
Alex Ferrari 1:18:55
What drives you to continue to make movies, I mean, you've made some some of the greatest movies in in Hollywood history, arguably speaking. What makes you making wanting to keep making stories, but making movies?
Taylor Hackford 1:19:08
You know, that's the I told you when I was in the Peace Corps, and I started with my super a camera, and I eat, it excites you, you'll get the opportunity to tell I'm a storyteller. As I said, I'm more interested in using the nuances of an actor's face and telling the process on camera than I am in, in creating some big cameras, that everybody goes, wow. Because when we're honest, what you say, those big camera moves take you out of the movie. What they're saying is, oh, wow, this filmmaker really is showing me something. And until I'm back here, looking at it, instead of in there with the actors doing the story, right? That isn't again, that's not sad to put anybody down. I love directors with great time. I am a fan of it, I just don't choose to tell my stories that way. And I think that the, the excitement of having a story, like I said, I just developed six projects, I want to make all of them. And in the last few years, it's tough. I mean, I would never be able to make rain today. I want a Blackberry. It's just, I can't do it. So I was lucky to be able to have that experience. You know, I knew Ray Charles and I felt I did injustice. And he told me I did. But you know, today's world is different. But I still have a passion to tell, you know, stories that excite me, and, and the fact that I can, until I know, hopefully, it's hard getting money harder now than it ever was. If I get the opportunity, you can bet I'm going to jump out there and be the first one out of the blocks at the starting gate. And that you know, and and be able to be there when I come around with the finish line. Because it's it's a, it's a, it's a great gift, it's a great opportunity. And, you know, if you have to hunger to tell the story, and you work with collaborators, that the other thing is the realization that you need, you're not a novelist, alone at your typewriter or theater. So you need really talented people, you've got to seduce a whole group of people, whether they're actors or crew members to come along with you. And then you've got to give, you've got to listen to them, because they're all contributing, so that when you finish it, you've been through war together. But you also realize God, we we put something together, we put something together together, all of this collaboration, and then it's better than anybody could have done alone. And that process if that's what you like doing that, you know, again, I like all the processes of filmmaking. I love the editing room, I love, you know, pre production getting set. But it's when you're shooting, that's what you're dancing. That's the case you got to come up, there's always going to be things that come out of Nope. It's all these things that are never expected and can destroy you. And how bad things on your feet and solve them and and shoot your way out of a corner. It's what it's exhilarating. It really is.
Alex Ferrari 1:22:27
And I'm gonna ask you a few questions asked all of my guests. What advice would you give a filmmaker trying to break into the business today?
Taylor Hackford 1:22:34
Grab a camera and tell a story. I mean, you know, it's easier today than it ever was. But you know, I, I got my break, to be able to make dramatic film. Because I I shot a dramatic short. And they won an Academy Award. And that was taken for me. But without it, you know, people would still said, Yeah, you did documentaries. But can you work with actors? Can you tell a story proven, and you don't need to do half hour, you can do 15 minutes, you know, it's hard to tell a short story and make it make sense. But you can do it. And now that you've got an iPhone, you can you know, you can you can shoot whatever you want. I didn't have that option. You know, I had to make things look, you know, cool and get a cinematography. I mean, sooner or later, you want to have people and I would just also the idea of even though you're using an iPhone, get it, get somebody to shoot it. Because you need to talk to the actress. You know, you want a great editor, you know people can do in a Steven Soderbergh is a friend of mine, and he's a great director. But you know, he shoots, he edits, he does it all himself everything. And, you know, that's great, I could never do that. And I, I want I feed off of the energy of all those collaborators, because they got great ideas you got, you just have to know. You can't take their word for everything. You know, yes, they're talented, but it's you making the film. So you say I want to know what you think I want to get these ideas. And then you finally have to say, those are all interesting things. But I'm doing it this way. My Way, as you can't sit in the movie theater at the end, as people are walking out telling, well, that wasn't my idea. No, it's got your name on it. So, you know, what I would say is make or choose a group of people keep a team small planes. You think of that, and make a small short film that you can show as your calling card.
Alex Ferrari 1:24:37
Now, what is the lesson that took you the longest to learn whether in the film industry or in life?
Taylor Hackford 1:24:44
It's interesting. I'm going to tell you a story of this brilliant, brilliant man, but I do Ray Charles and I was recording was using him to record some early lol Folsom elements. He played piano for local some of the road boltholes was a great blues map. Every every day, I have the blues, some. And Ray was going to, you know, I asked him what about an arranger that puts us there and says how I rank those things. I'll do it for you. So I was in raised studio and Ray had always been really cool, really cool. You know, Taylor, you got the eyes, you got the passion, I'm supporting you. But he was doing he was sitting in the chair that he knew a lot about, which is music. And he was going to be putting together these, these the band, I had a wonderful blues, young blues guy from Louisiana, came named Chris Thomas came. And he's really good. But he was going to say you play the guitar, but the bandulus but before we did that, I had a sequence in the film where I wanted ready to be playing and kind of contemplative groups. And, you know, he's, he's hurting, he has never been on the road before. He's a blind man. He's out with a bunch of musicians. There's, he's, they've finished the gig, guys are at the bar, and they've got some girls, and they're going to go out and re wants to go with him. We're sitting there alone with him and says, Hey, fellas, where you going? And they, and they hear this guy say, We don't need no cripple with us. Let's get out of here, you know. And, you know, he's, he's left. And this is all leading up to his his pain and his sadness. And when he started taking heroin, so it was these things, you need these scenes to build up to show how, how completely bereft is of any kind of joy in his life. So after those people leave, he starts playing this little melody, little kind of contemplative blues of the piano. And it becomes the intro to the next night when they're performing. Everyday I have the blues loaf or something. So I had a very specific, it's my creation of the scene where I wanted a piano intro, that then becomes the next night. And then afterwards, he goes and shoots heroin. Because he's so you know, low. So I asked me, like, describe how I want it. He's there. We were alone in the studio, because the engineer myself and Ray, and I described what he wanted, he sits down and starts playing. And it's real showing, it's just not at all what I want. And he finishes his How's that? And I said, well, to tell you the truth, man. It wasn't what I wanted. It's way too showy. It's way too busy. And it just didn't work. And Ray Charles, we've been so nice to meet, you know, now turns and says, Listen, mother fucker. I'm doing this as a favor to you. You know, I played that son of a bitch Exactly. Like you described it. Now you better get your shit together. I'm getting them a walking out of here right now. And the man who had been so cool to me, was in testing. Right? And what he said was right, I thought about it. And now I said, you know, because you can hear I, I know how to talk. And, you know, directors can talk and talk and talk. Well, the lesson that I learned, I stopped. You know, I mean, my heart was beating. I look, I look behind the glass at the booth. The engineer kind of slid down in his chair below, you can see, you know, they're all alone. You're all alone. Cobra when the rattlesnake came out of Ray Charles, let me tell you, he was frightened. And so I thought I had to think really quickly. And now I came back and I described what I wanted. In 25% of the words that I originally used. And race it. Okay, great turnaround, played it perfectly played exactly what I wanted. And he finished he said, how's that? And I said, was perfectly was just right. He said, okay, just say what you mean.
Alex Ferrari 1:29:21
So when you say 25% less, do you mean that you would just No, no 75% less? 75%? Right. 25%
Taylor Hackford 1:29:29
of the words i'd originally used in other ways the lesson learned for filmmakers. Don't talk so much that you're there your community know and rate. You know, sometimes people use their hands. They're trying to explain all these goes into what you're saying. Right. couldn't see any of them. He heard what I said. And he played it the way I described it. And I know Ray Charles, he played it the way I described it, I fucked up. I used to Too many words, mixed up things. And now he forced me to take 75% of the bullshit out. And I thought 25% of the words, and he knew exactly what it was, and he delivered what I asked. And so I think the best advice is what Rachel said. Just say what you mean. And don't dress it up with all that bullshit.
Alex Ferrari 1:30:24
And last question, three of your favorite films of all time.
Taylor Hackford 1:30:28
Oh, God. You know, that's really hard because I told you how much I love them. Sure. Treasure Sierra Madre moderate is perfect. It's a perfect. I think that the Wild Bunch pretty amazing film. Yeah, that really means a comb about age and about America. And, you know, the rest of you know. I mean, I'll just give you you know, I can't, you know, I can't give you you know, by giving you a third that I've got, I believe those two, and then I didn't realize that, you know, karasawa should be in there. Sure. No, Fellini's should be in there. Andre Vita, who is one of my favorite directors is check director. You know, there are too many young guys, any, any move is a great director. You seen films that stop your breath. And you realize that there are there are filmmakers out there who can truly tell the story and make you feel something that nothing else like it's film that will change your your perspective on life. So I don't have to give you a third,
Alex Ferrari 1:31:45
fair enough.
Taylor Hackford 1:31:46
It would be one of those filmmakers.
Alex Ferrari 1:31:49
Taylor, thank you so much for your time and your stories and your advice. It has been an absolute pleasure talking to you. So thank you so much and keep doing what you do. We need more films from you, sir. | |||||
2661 | dbpedia | 3 | 80 | https://www.deangoodman.com/chuck-berry-2006/ | en | Chuck Berry, Taylor Hackford, Keith Richards, Hail! Hail Rock 'n' Roll | [
"https://i0.wp.com/www.deangoodman.com/wp-content/uploads/2013/01/ChuckSpain1.jpg?resize=448%2C330",
"https://i0.wp.com/www.deangoodman.com/wp-content/uploads/2013/01/ChuckSpain1.jpg?resize=448%2C330",
"https://www.assoc-amazon.com/e/ir?t=deangoodmanco-20&l=as2&o=1&a=B000F0UTTW",
"https://www.assoc-amazon.com... | [
"https://www.youtube.com/embed/mHOiwOanIBM"
] | [] | [
""
] | null | [] | 2013-01-08T03:25:25+00:00 | Hail! Hail! Rock 'n' Roll is one of the greatest music documentaries of all time, a fascinating insight into the bizarre life and habits of Chuck Berry. | en | Dean Goodman | https://www.deangoodman.com/chuck-berry-2006/ | Follow @DeanGoodman
Chuck Berry’s Hail! Hail! Rock ‘N’ Roll is one of the greatest music documentaries of all time, a fascinating insight into the bizarre life of a rock legend. Even though he is one of the producers, Chuck does everything within his power to disrupt the making of the movie. The climax of the film is a 60th birthday concert in Chuck’s St. Louis hometown, with Keith Richards serving as musical director and barely escaping with his sanity intact.
Long out of print, it finally came out on DVD in 2006, with more than five hours of bonus footage. Included is a one-hour documentary, The Reluctant Movie Star, which reveals that Chuck demanded a big bag of cash every day before he would take part in any filming. On the other hand, Chuck is totally mellow in a wonderful conversation with Robbie Robertson. I spoke with the film’s director, Taylor Hackford, who is perhaps best known these days for Ray. When I submitted my story for editing, I supplied a headline along the lines of “The Chuck Berry documentary that became a horror movie.” But it was changed to something more bland. Oh well.
[UPDATE: By the way the film’s producer, Stephanie Bennett, mentioned below, recounted her experiences in the 2019 book Johnny B. Bad: Chuck Berry and the Making of Hail! Hail! Rock ‘N’ Roll.]
WHY DID YOU SIT ON ALL THIS BONUS FOOTAGE FOR SO LONG?
Universal had the film out on video for a number of years and then it went out of circulation, it went out of print and they had no interest in having it out there. When I was doing the film … it was costing them more and more. They came to me and basically — I was into it … and I gave back my fee. But I got the laserdisc rights which ultimately begat the DVD rights … I just want it out there. This is something I financed myself … Like everybody else, like Keith (Richards) and Eric (Clapton) and everybody, I signed on to this as a celebration of somebody who had had a major impact on our lives. So we went there to celebrate him, and we had every expectation to expect a lot of cooperation because he was also a producer. Lo and behold, as you see from “The Reluctant Movie Star,” we found quite a different situation.
WAS HE INVOLVED AT ALL WITH THE DVD?
No. Not at all. I have a huge amount of admiration, respect and really love for Chuck Berry. He opened himself up to me — to a degree! There’s nothing about this that’s about denigration. But if you set out as an artist to reveal somebody, it seems to me that what this DVD gave me the opportunity to do was — he’s a complex man, but you get the sense that he’s a lot more complex. I was brought on the project to do a celebration of Chuck Berry’s 60th birthday, and although there’s lots of conflict in the picture — and I ultimately made it a film about Keith Richards and Chuck Berry, that’s the kind of central relationship — it ultimately was a celebration and I cut it that way. This DVD gives you an opportunity to see another side of him that I think is absolutely fascinating and surprising and was not in the feature film. And then beyond that, little things like the rehearsals … I’m thrilled with some of the stuff we did. You see the scorpion, you see the sweet Chuck Berry … with Robbie (Robertson, as they peruse Chuck’s scrapbook and Chuck drops his guard).
WHEN YOU FILMED THAT SCENE WITH ROBBIE, YOU MUST HAVE KNOWN AT THE TIME THAT IT WOULDN’T MAKE THE FILM?
The way I conceived the film was that we built this kind of story in between the songs of the concert to reveal the man, and it all fit kinda nicely into short bits. What Robbie did was something that didn’t lend itself to excerpting. It’s not an interview, it’s a conversation, and the conversation has to flow and evolve and grow. I had it, and I decided I wasn’t going to use it. The great thing is, with a DVD, it’s something that needs to be played in its entirety. We watch that half hour and it’s a really fantastic, new revelation about Chuck … There’s a little bit more, I trimmed it down a little bit.
DID CHUCK SEEK MONEY TO SIT DOWN WITH ROBBIE?
In that instance, no. Listen, Chuck got paid hundreds and hundreds of thousands of dollars when the film was made. That was the thing that was so crazy. When he announced to me while we were making the film, ‘Oh by the way, Taylor, tomorrow I won’t be around. I’ve got a gig in Columbus, Ohio.’ That, was in and of itself a shock, but when I told him to cancel, like I say in the DVD, he said, ‘Hell no, I’m getting paid $25 g’s.’ So he could be paid $650,000 to do the film, but he still wanted that extra 25.
SO $650,000 IS THE FINAL FIGURE HE GOT?
I think it was more than that. I think (producer) Stephanie Bennett talks about it … When you’re caught in the middle of trying to make a movie and you’re being held up, literally every day, I’m sitting there with my camera wanting to shoot, and he’s holding her up. It’s kinda like, ‘All right, whatever it is, I’ll sign it.’
WOULDN’T CHUCK BE SMART ENOUGH TO KNOW THAT ANY ADVANCES WOULD BE RECOUPABLE?
I think Chuck has this thing from the very beginning, he gets his money in cash. That’s the thing, when he goes to that concert, like Springsteen said, here we are waiting to see him and he walks in, gets his money in cash, puts it on stage next to him as he plays, gets it back in the car and drives away.
DID YOU SEE THAT PROCESS TAKE PLACE IN COLUMBUS?
I think at that point, he took cashier’s checks. But he arrived, and here was this group of musicians going, ‘Hey Chuck!’ and he kinda walks right by them. The thing that was great about this is that with Chuck, you had to be improvisational, you had to flow with the punches, because Keith and I had signed on, regardless of all the plans, everything flies out the window with Chuck. So I turn to Oliver Stapleton, who was my DP, and say, ‘Strip everything down. We’re going on the goddamn plane with him, there’s no way that I’m not gonna shoot that.’ And in doing so, we shot this whole process that in a way is revelatory, because this is what he’s done for the last 30 years … The great thing was later when I finally got Springsteen, the story Springsteen told narrated that whole sequence. Springsteen and his band had done it, and here in fact 15 years later, he (Chuck) was still doing it. If you just stay with it, if you don’t let it throw you — that’s the whole idea with Chuck, don’t let him throw you — we ended up by getting at the time the rock ‘n’ roll star in the world to narrate this little thing and add extra meaning.
WAS KEITH INVOLVED WITH THE DVD AT ALL?
No, he was on tour. He, as the musical director, had to approve all the new mixes and so forth for the rehearsals, all of that stuff. The thing is, Keith and I had a great relationship, and ultimately he’s been very supportive. Chuck, by the way, did not have any say. There were some concert songs that we didn’t include that I would have loved to have had. And I called him — and of course I’m doing this myself — so I said, ‘Listen Chuck, I would never ask you for anything for free. I’m going to pay you, which is dear to me, but I’d love to be able to put those songs in.’ Of course, he laughed at me! Everything with Chuck Berry has to do with the dollar sign. But you know what? It’s OK.
WHAT SONGS DID YOU WANT TO INCLUDE?
Oh, “Jo Jo Gunne.” There was about six that we did in the concert that didn’t end up in the film just because of time.
AND HE DID LOOPING FOR ALL THOSE?
He did looping for a couple. I tell you the truth, and in the film, ‘Too Much Monkey Business’ I used the original copy. Even with no voice, he was unbelievably good. Like Curt Sobel says, who was my music editor and has had experience with a lot of looping in feature films, he said Chuck Berry was the best looper he had ever seen. He couldn’t believe it. Of course, he wanted to be paid for it, but he was able to give a very realistic portrayal. The man is an artist. He’s terrific. In any event, I still thought and I do say it in the DVD, with all of this crisis happening with his voice, and all the stuff that was around, he had 5,000 people in one concert and 5,000 people in another, and he was bound and determined to entertain them, and he could do it.
WERE THEY BOTH ON THE SAME NIGHT?
Both on the same night. It was crazy. The first one was supposed to start, I think, at 8 — it got started at 11. The second one started at 2 in the morning. We didn’t finish it until about 3:30. That interview with Keith Richards, I finally sat down at 4:30 in the morning and said, ‘OK, now we’re gonna talk.’ And he said, ‘Fine.’ He grabbed a bottle of Jack, sat down and we had that incredible interview.
IS THERE MORE OF THAT STUFF THAT YOU COULD HAVE USED?
No, I used most of what Keith had to say. It was such a great interview. I thought about running the whole thing because it’s so amazing to see just running straight. But we have five and a half hours of extras and I wouldn’t have had a lot of new material. I used a lot of what Keith has to say because he was my Homer in this.
IT MUST HAVE BEEN AWFUL FOR THE AUDIENCE TO LISTEN TO CHUCK CROAKING (HE HAD LOST HIS VOICE AT THE COLUMBUS GIG)?
You know what? Yesterday, I was talking to Sheryl Crow. Sheryl Crow was from Missouri and she was working as a school teacher in St. Louis at the time. She was there! I was telling her, ‘God, I’m doing this DVD. It must have been tough.’ She said, ‘It was a fantastic concert!’ In the audience, they loved it. Isn’t that amazing? This is somebody who is a pretty damn good singer/songwriter, so you would expect her to be critical. She thought it was a fantastic night … That just goes to show that that the band and Chuck really delivered.
HAVE YOU AND CHUCK CONNECTED OVER THE YEARS, OR ARE YOU ON HIS HIT LIST?
I ended with a great relationship with Chuck. I don’t know how he’ll feel about the DVD, frankly, and my sense is that I do respect and I have a lot of love for him. But in this instance, my job as an artist, it seems to me, is to preserve for posterity a really complicated, very complex individual. Nobody is ever gonna know what really goes on inside that head. No one’s ever gonna do the entire picture of Chuck Berry because it’s just too deep and dark… There’s a lot of material in the DVD that reveals the man even more, which I think just makes him a greater artist.
By the way, he and Keith are not on good terms. What happened in that film, which is also very unusual for a documentary and I think it was quite innocent, Keith at the end was just kinda theorizing, having spent a week working and rehearsing, having Johnnie Johnson. There was that bit where he’d kinda discovered that what Johnnie was doing had a great deal to do with the songwriting. Well, an enterprising lawyer found Johnnie Johnson and they sued Chuck. From that experience were some very bitter moments. Keith was subpoenaed. Somehow the case went away. I don’t know if it was settled, or whatever happened … But I don’t think their relationship is the strongest at this point.
DID YOU SEEK TO GET THE PRISON FOOTAGE OFF HIM? OR IS THAT A LOST CAUSE? (CHUCK CAUSED A MINI-RIOT WHEN HE DROPPED INTO A LOCAL PRISON, AND PLAYED AN IMPROMPTU SHOW TO CALM THINGS DOWN)
Ha! Ha! Ha! That’s a lost cause! Believe me, when I was doing the film, you can imagine, I had pleaded with him to give me that footage. Cos I had it. I have all the stuff that we’re talking about. But it’s very clear, he didn’t want any part of it … I talk to him periodically. He bought a house in Vegas. He’s living part-time in Vegas. That was a long time ago. I checked in with him when I was putting it together which was at the beginning of the year. It was nice. He’s always interesting.
ARE THERE ANY PLANS FOR ANY 80TH CELEBRATIONS?
I have no idea … I think Chuck Berry will just keep going until he falls off this mortal coil. There’s no question about it. He is a unique phenomenon.
I LIKE THE SCENE WHERE HE SAYS IT WILL 2000 BEFORE HE THINKS OF SEPARATING FROM HIS WIFE, THEMETTA.
That’s quite an interesting relationship, anyway, you know! (She and Chuck are pictured at the Kennedy Center Awards in 2000)
SO WHY DID HE CUT YOU OFF AFTER ONE QUESTION WITH HER?
Because he didn’t want her to say anything. I started as a TV journalist. I was a political reporter and things. We won the Peabody Award for a magazine show I did on public television. I know how to do the Mike Wallace thing. And I said to Chuck early on because I realized he was so defensive that if I tried to be too provocative with him, he would just shut up. But the other part of it is that the camera doesn’t lie. The camera reveals, regardless of what someone is trying to hide, what the real nature of them is. So I took the philosophy that I would go down the line and I wasn’t going to fight with him on camera. When I talked to him in the interview about prison, he said, ‘No, no. We’ll do that another time. Not here.’ Did he ever? No! And that moment where he shut the camera off with her, you hear, you know who the character is, you know the controlling nature of that relationship. Inevitably people said, ‘Hackford tried, but did he really reveal?’ I think the camera reveals. And in a way also with the Robbie Robertson interview, he does talk about prison. It was very interesting. And the whole concept of when he went away. The most revelatory thing was when he was 18 and went to prison that’s where he read all that poetry. And that poetry, as strange as it is when he recites it, it still gave birth to all those lyrics. There’s a lot of revelation of the man, I think, and the artist in this piece.
THE FILM DOES MAKE THE POINT OF TALKING ABOUT HIS SONGWRITING PROWESS.
Of all those early people, that’s why he is the greatest. Who can be a better performer than Little Richard? And Jerry Lee Lewis is great. And Bo (Diddley) had all that incredible rhythm stuff. But none of them were writing — Dylan says it, Chuck Berry was a poet … and influenced all those people. Dylan was going to be one of the guests on the show and at the last moment canceled. It’s pretty hard for any substantial artist to say he wasn’t influenced by Chuck Berry.
DYLAN WOULD HAVE BEEN A PERFORMER OR ONE OF THE INTERVIEWEES?
No, he was going to be a performer.
I GUESS HE WAS GOING THROUGH A PRETTY BAD PHASE THEN, ANYWAY?
Yeah, yeah he was.
AND LIKEWISE I GUESS THAT’S WHY KEITH’S PREFERENCE FOR CHARLIE TO PLAY DRUMS DIDN’T PAN OUT SINCE HE WAS GOING THROUGH HEROIN?
Yeah. I don’t know about that. Steve alludes to that, a bit. Keith was the musical director. I had a lot of input, but ultimately we had a real dividing line. The music was Keith’s bailiwick, and I handled the whole film. Keith was really great in the sense of letting me cut the film the way I wanted. It was a great collaboration between Keith and I. We’re still friends and have a lot of respect for each other. But in a way we were driven together because we were on this ride with this provocateur, and we just had to roll with the punches and try to make it work.
I LOVE THAT SCENE WHERE THEY’RE REHEARSING “CAROL” AND KEITH IS ABOUT TO BLOW UP
That was a very tough moment because it was a humiliating moment where Chuck is taking him to school, and that instance — with the cameras on you — it’s like, ‘Go ahead, Keith. You’re the big rock ‘n’ roll star. Blow up and stomp off.’ Keith just stood his ground. It’s such a wonderful moment. Certainly Keith knew the line. He just was playing it in his own style. Keith didn’t have to prove anything, but what he was there to say was, ‘You’re the man. You’re my man … You wanna shit on me, go ahead.’ I have a huge amount of time for Keith Richards. He’s a mensch in the true meaning of the word. He stands his ground. I don’t have any question in my mind. Mick Jagger is brilliant. He’s a very, very smart businessman. He’s a terrific artist. But the man who leads that band is Keith Richards.
YEAH. WELL, ACTUALLY I THINK IT’S CHUCK LEAVELL. BUT I KNOW WHAT YOU MEAN!
Ha! Ha! By the way, Chuck had just started playing with the Stones. When I made this film, the Stones were broken up. They were apart, and it was ugly. It was a terrible time, and Mick refused to be part of Chuck Berry’s film.
YOU SOUGHT MICK’S INPUT?
Yeah, I met with him personally. He refused.
BECAUSE OF THE KEITH SITUATION?
Well, I won’t even get into that. I’ll just say that he refused, and I think it had equal amounts to with Chuck and Keith … Mick is a very smart, very cool businessman, and I’m sure he has a good relationship with Chuck. They both understand economics very well!!
SPEAKING OF WHICH, HOW MUCH DID THE FILM MAKE IN ITS THEATRICAL RUN?
The film cost … $3 million, a good budget. I don’t think it made that money back in theatrical … I know this, that this DVD experience, I’ve done it as a labor of love … a historic document … You always have some tough battles,. It’s always a war when you’re making a film. This was a huge surprise that it was as complicated and as difficult.
IS IT TRUE THAT CHUCK WAS HITTING ON STEPHANIE?
I don’t think there are many women that have some sort of shape or beauty that Chuck Berry wouldn’t hit on! Let’s just say this, Chuck’s reputation as a Lothario and as somebody who is a major sexual animal is not ill-founded!
IT MUST HAVE BEEN A BREATH OF FRESH AIR TO WORK WITH RAY CHARLES (FOR THE MOVIE RAY)?
Ray Charles could be really difficult. The thing that was really interesting to me is that Ray is just such a great artist and was an incredible collaborator with me. Was he easy? Absolutely not. But the difference is that I think Ray Charles really did understand his legacy. And I don’t mean that in a horrible, egotistical way. He knew what he’d done and that was that. But I do think he understood his position, he understood that to be able to say, ‘My story can actually say something to people, don’t let anybody tell you you don’t have a shot in life. And anybody can do something.’ And I don’t think Chuck really understands his legacy. I don’t really think he understands how great he really was. He prides himself on being a businessman. He knows he’s a consummate artist. But in terms of his impact and his import I don’t think he gets it.
DO YOU HAVE PLANS FOR ANY OTHER BIOPICS, OR HAVE CHUCK AND RAY WIPED YOU OUT?
Listen, I did When We Were Kings on Muhammad Ali. I didn’t get director credit because I didn’t ask for it but I put that film together. I didn’t shoot it originally, but I had final cut of it. I always make films about working class people. My feature films are all about that anyway. I’m always interested in artists who start from nothing, and through sheer talent and brilliance end up by playing for kings and queens, right? I don’t have anything on my plate at the moment in that area, but I’m always looking. It seems to me that it is inherently great dramatic material.
###
NOTE: Unrelated to the above interview, my gossipy rock bio Strange Days: The Adventures of a Grumpy Rock ‘n’ Roll Journalist in Los Angeles is available here . For more info, go to strangedaysbook.com
Copyright © 2006, 2013 by Dean Goodman. PLEASE DO NOT CUT AND PASTE THE WHOLE THING | |||||
2661 | dbpedia | 3 | 79 | https://blavity.com/2000s-black-movies-ranked | en | 21 of the Best 2000s Black Movies Ranked | [
"https://sb.scorecardresearch.com/p?c1=2&c2=37669200&cv=4.4.0&cj=1",
"https://blavity.com/images/logo-blavity.svg",
"https://cms.blavity.com/wp-content/uploads/2023/11/TrainingDay-compress-1.jpg",
"https://blavity.com/images/subscribe-banner-mobile.png",
"https://blavity.com/images/logo-blavity-white.svg"
] | [
"https://www.youtube.com/embed/DXrl5K6HngY?feature=oembed",
"https://www.youtube.com/embed/hG46_SvgtRI?feature=oembed",
"https://www.youtube.com/embed/Uu7qV57UKSo?feature=oembed",
"https://www.youtube.com/embed/N2b1pmWL3j8?feature=oembed",
"https://www.youtube.com/embed/kDDv6pAbN_U?feature=oembed",
"https... | [] | [
"Blavity",
"Black Twitter",
"Black Lives Matter",
"Black Millennials",
"Black News"
] | null | [
"Leah Jones"
] | null | The 2000s was an iconic time for all things entertainment , marking an impressionable era for a range of generations. Many Gen Z and millennials were just kids during this time, greatly impacted by the films that were released. These include comedies that thousands still quote to this day and dramas that still sting too painfully to watch back. A unique time in history that cannot be compared to any other, picking the top movies of the 2000s is a near-impossible feat. But while it may be a little controversial, that is what this list of 2000s Black movies aims to do. These movies showcase a range of genres and stories, all significant in their own right within the landscape of Black cinema in the 2000s. For example, many of them center stories and themes that depict real-life struggles faced by the Black community . Others are iconic comedies that stand the test of time and continue to make new generations laugh. Enjoy this throwback to some classic films or finally venture into... | en | /favicon.ico | Blavity News & Entertainment | https://blavity.com/2000s-black-movies-ranked | The 2000s was an iconic time for all things entertainment, marking an impressionable era for a range of generations. Many Gen Z and millennials were just kids during this time, greatly impacted by the films that were released. These include comedies that thousands still quote to this day and dramas that still sting too painfully to watch back. A unique time in history that cannot be compared to any other, picking the top movies of the 2000s is a near-impossible feat. But while it may be a little controversial, that is what this list of 2000s Black movies aims to do.
These movies showcase a range of genres and stories, all significant in their own right within the landscape of Black cinema in the 2000s. For example, many of them center stories and themes that depict real-life struggles faced by the Black community. Others are iconic comedies that stand the test of time and continue to make new generations laugh. Enjoy this throwback to some classic films or finally venture into them with this list of 2000s Black movies that are ranked by their IMDb rating and Rotten Tomatoes score.
21. ‘Soul Plane’ (2004)
IMDb: 4.5/10
Rotten Tomatoes: 18%
Soul Plane, directed by Jessy Terrero, is a comedy that follows Nashawn Wade (Kevin Hart), a man who wins a lawsuit against an airline after a humiliating experience on a commercial flight. With his settlement money, Nashawn decides to start his own airline, NWA (Nashawn Wade Airlines), catering specifically to the Black community and infusing it with extravagant amenities and a vibrant atmosphere. The film humorously explores the over-the-top and outlandish experiences aboard NWA, featuring an eccentric crew, wild passengers and a series of comedic misadventures during the inaugural flight. Though criticized for its exaggerated humor and caricatured portrayals, Soul Plane aims to entertain with its slapstick comedy and exaggerated scenarios, targeting a specific comedic style and audience.
20. ‘Get Rich or Die Tryin’ (2005)
IMDb: 5.4/10
Rotten Tomatoes: 17%
Get Rich or Die Tryin’, directed by Jim Sheridan, is a semi-autobiographical film inspired by the life of rapper Curtis “50 Cent” Jackson. The movie portrays the journey of Marcus, played by 50 Cent, a drug dealer who turns to rap music as a means of escaping the dangerous streets of Queens, New York. After a near-fatal shooting that prompts him to reassess his life, Marcus pursues his passion for music, navigating the challenges of the music industry while grappling with his past and the temptations of his former lifestyle. The film delves into themes of perseverance, redemption and the pursuit of dreams against all odds. It offers a glimpse into the struggles and motivations behind one man’s rise from a life of crime to becoming a successful artist. Get Rich or Die Tryin’ blends elements of street life, music and personal resilience, reflecting 50 Cent’s own journey to fame and success.
19. ‘Next Friday’ (2000)
IMDb: 6.1/10
Rotten Tomatoes: 21%
Next Friday, directed by Steve Carr, is a comedy sequel to the film Friday. The movie follows the adventures of Craig (Ice Cube) as he relocates to his uncle’s house in the suburbs to escape trouble in his neighborhood. However, chaos ensues when he encounters quirky and eccentric characters in the new neighborhood, including his cousin Day-Day (Mike Epps). As Craig tries to navigate through outrageous situations and outwit the local troublemakers, the film unfolds with a series of comedic mishaps, confrontations and humorous escapades. Next Friday maintains the lighthearted and comedic tone of its predecessor, offering a blend of slapstick humor, eccentric characters and situational comedy, making it a fun and entertaining addition to the Friday franchise.
18. ‘Drumline’ (2002)
IMDb: 5.9/10
Rotten Tomatoes: 82%
Drumline, directed by Charles Stone III, is an energetic and spirited film that follows the story of Devon Miles (Nick Cannon), a talented young drummer from Harlem who earns a scholarship to join the marching band at a historically Black university. As Devon navigates the challenges of fitting into the band’s strict traditions and clashes with its disciplined leader, Dr. Lee (Orlando Jones), he brings his innovative drumming style, injecting new life into the band’s performances. The film showcases the exhilarating world of competitive marching bands, highlighting the dedication, discipline and camaraderie among its members. Drumline celebrates the power of music and the pursuit of excellence in a vibrant and rhythm-filled narrative.
17. ‘Notorious’ (2009)
IMDb: 6.7/10
Rotten Tomatoes: 52%
Notorious, directed by George Tillman Jr., is a biographical film chronicling the life of iconic rapper Christopher Wallace, known as The Notorious B.I.G. The movie traces Biggie’s rise from a struggling Brooklyn street hustler to becoming a larger-than-life figure in the hip-hop industry. It delves into his journey through the music scene, his relationships, including his tumultuous marriage to R&B singer Faith Evans, and the infamous East Coast-West Coast rivalry that tragically led to his untimely death. Jamal Woolard delivers a compelling performance as he embodies the essence of Biggie, capturing his charisma, lyrical prowess and the complexities of his life. Notorious offers a glimpse into the personal and professional life of one of hip-hop’s most influential figures, celebrating his impact on the music industry while exploring the challenges and controversies that defined his legacy.
16. ‘Brown Sugar’ (2002)
IMDb: 6.5/10
Rotten Tomatoes: 66%
Brown Sugar, directed by Rick Famuyiwa, is a romantic comedy-drama centered around childhood friends and music enthusiasts Sidney Shaw (Sanaa Lathan) and Dre Ellis (Taye Diggs). The film explores their lifelong bond and shared passion for hip-hop as they navigate careers in the music industry. Sidney works as an editor for a hip-hop magazine, while Dre becomes a successful record executive. As their lives intertwine, they grapple with evolving relationships, career pressures and the complexities of love. Brown Sugar beautifully captures the essence of hip-hop culture, using music as a backdrop to explore themes of friendship, love and the enduring power of a shared passion. The film’s heartfelt storytelling and chemistry between the lead characters make it amongst the most nostalgic 2000s Black movies and a charming depiction of romance within the backdrop of the music industry.
15. ‘Baby Boy’ (2001)
IMDb: 6.4/10
Rotten Tomatoes: 71%
Baby Boy, directed by John Singleton, is a raw and intimate portrayal of life in South Central Los Angeles. The film revolves around Jody, played by Tyrese Gibson, a young man grappling with the transition into adulthood. Jody struggles to mature and take responsibility for his life despite being a father to two children with different mothers. He lives with his mother, Juanita, portrayed by A.J. Johnson, whose overbearing presence adds to his struggle for independence. As Jody navigates complex relationships with his girlfriend Yvette (Taraji P. Henson) and other women, tensions rise, and confrontations escalate, exposing the challenges of masculinity, family dynamics and societal expectations. Singleton’s film delves into the complexities of urban life, offering a poignant exploration of the pressures and conflicts faced by young Black men as they navigate adulthood in a challenging environment.
14. ‘The Secret Life of Bees’ (2008)
IMDb: 7.2/10
Rotten Tomatoes: 59%
Here is one of the arguably underrated movies amongst this list of 2000s Black movies. The Secret Life of Bees, directed by Gina Prince-Bythewood, is an emotional and touching drama set in South Carolina during the Civil Rights era. The film follows Lily Owens (Dakota Fanning), a young girl haunted by the memory of her mother’s death, as she escapes her abusive father with her caregiver Rosaleen (Jennifer Hudson) to find solace and answers in the home of the Boatwright sisters. The Boatwrights—August (Queen Latifah), June (Alicia Keys) and May (Sophie Okonedo)—are beekeepers who offer Lily and Rosaleen refuge on their honey farm. As Lily becomes intertwined with the Boatwrights’ lives, she discovers the power of female resilience, the healing force of love and community and the importance of facing her past. The film beautifully captures themes of sisterhood, empowerment and the search for belonging, delivering a moving and heartfelt narrative buoyed by strong performances.
13. ‘Coach Carter’ (2005)
IMDb: 7.3/10
Rotten Tomatoes: 64%
Coach Carter, directed by Thomas Carter, is an inspiring sports drama based on the true story of Coach Ken Carter, played by Samuel L. Jackson. The film follows Coach Carter as he takes on the coaching role at a struggling high school basketball team in Richmond, California. Determined to instill discipline, academic excellence and integrity in his players, Coach Carter implements strict rules, including maintaining a high GPA to play. As the team faces challenges on and off the court, Carter’s unyielding commitment to their personal growth and success becomes a beacon of motivation. The movie delves into themes of leadership, education and the transformative power of mentorship. It emphasizes the importance of integrity and perseverance in achieving one’s goals. Samuel L. Jackson’s portrayal of Coach Carter highlights the coach’s dedication and unwavering belief in his players’ potential, making the film a stirring and impactful sports drama.
12. ‘Barbershop’ (2002)
IMDb: 6.3/10
Rotten Tomatoes: 82%
Here is a film that involves the infectious humor couples with real-life turmoil that is quintessential to 2000s Black movies. Barbershop, directed by Tim Story, is a comedic drama set in a South Side Chicago barbershop owned by Calvin Palmer Jr., played by Ice Cube. The film revolves around a day in the life of the barbershop and its colorful cast of characters, including Eddie (Cedric the Entertainer), Terri (Eve), Jimmy (Sean Patrick Thomas) and others. As Calvin contemplates selling the barbershop due to financial struggles, the diverse group of barbers and customers engage in lively discussions, debates and humorous interactions, tackling topics ranging from politics to relationships. Through witty dialogue and relatable situations, Barbershop portrays the barbershop as a hub of community and culture, highlighting its significance as a place for camaraderie, sharing stories and debating life’s complexities. It’s all about ultimately celebrating the sense of belonging and unity within the community.
11. ‘Dreamgirls’ (2006)
IMDb: 6.6/10
Rotten Tomatoes: 79%
Dreamgirls, directed by Bill Condon, is a dazzling musical drama set in the 1960s and ’70s that follows the rise of a female singing trio called The Dreamettes. The film chronicles the journey of Effie White (Jennifer Hudson), Deena Jones (Beyoncé Knowles) and Lorrell Robinson (Anika Noni Rose) as they navigate the trials and tribulations of the music industry, striving for fame and success. Initially serving as backup singers for James “Thunder” Early (Eddie Murphy), the trio eventually becomes a sensation but faces internal conflicts and personal sacrifices as their careers skyrocket. Dreamgirls captures the dreams, struggles and transformations of its characters, showcasing themes of ambition, betrayal and the price of stardom. Jennifer Hudson’s breakout performance earned her an Academy Award for Best Supporting Actress, contributing to the film’s acclaim and cementing its status as a captivating musical spectacle.
10. ‘Hustle & Flow’ (2005)
IMDb: 7.3/10
Rotten Tomatoes: 82%
Hustle & Flow, directed by Craig Brewer, is a gritty and soulful drama centered around DJay (Terrence Howard), a Memphis hustler and aspiring rapper determined to escape his life of poverty and make it in the music industry. DJay, with the help of his friends and fellow musicians, embarks on a journey to produce his own rap music while facing numerous challenges and setbacks. As he navigates the struggles of his past and present circumstances, DJay’s passion, determination and raw talent drive him to pursue his dreams despite the odds stacked against him. The film skillfully captures the essence of hip-hop culture and delves into themes of redemption, ambition and the power of music as DJay strives to find his voice and make a meaningful mark in the world. Terrence Howard’s compelling performance adds depth and authenticity to the character, making Hustle & Flow a standout film within the realm of music-driven dramas. It also earned him an Academy Award nomination for best actor.
9. ‘The Pursuit of Happyness’ (2006)
IMDb: 8/10
Rotten Tomatoes: 67%
The Pursuit of Happyness, directed by Gabriele Muccino, is an emotional and inspiring biographical drama starring Will Smith as Chris Gardner, a struggling salesman facing homelessness while raising his young son, played by Smith’s son, Jaden Smith. The film portrays Gardner’s unwavering determination and resilience as he endures numerous hardships while pursuing a career as a stockbroker through an unpaid internship at a prestigious brokerage firm. Despite facing immense challenges and homelessness, Gardner’s commitment to providing a better life for his son drives him to overcome obstacles and pursue his dreams. The movie captures the emotional journey of a father-son relationship amidst adversity, culminating in a heartwarming and uplifting narrative that resonates with themes of hope, perseverance and the pursuit of happiness against all odds.
8. ‘Training Day’ (2001)
IMDb: 7.7/10
Rotten Tomatoes: 74%
Training Day is a gritty crime thriller directed by Antoine Fuqua that follows a day in the life of LAPD narcotics officer Alonzo Harris, played by Denzel Washington. The film primarily centers around rookie cop Jake Hoyt, portrayed by Ethan Hawke, who is partnered with Harris for a day of evaluation. As the day progresses, Hoyt discovers the depths of corruption and unethical practices within the department as he is exposed to Harris’s controversial methods of enforcing the law. Washington delivers a powerhouse performance as the morally ambiguous and manipulative veteran cop, while Hawke portrays the moral conflict and internal struggle of a principled officer facing intense ethical challenges. The movie’s tension-filled narrative, coupled with strong performances, explores themes of power, morality and corruption within law enforcement, making it a standout in both Denzel Washington’s career and the crime thriller genre.
7. ‘Love & Basketball’ (2000)
IMDb: 7.2/10
Rotten Tomatoes: 85%
This is one of the 2000s Black movies that many would go up in arms for to defend as the best. Love & Basketball, directed by Gina Prince-Bythewood, is a romantic drama that follows the intertwined journeys of Monica Wright (Sanaa Lathan) and Quincy McCall (Omar Epps), aspiring basketball players and childhood neighbors. The film spans over a decade, chronicling their deep bond forged through their shared love for basketball and each other. As they navigate their personal and professional lives, the film explores themes of love, ambition and the challenges of pursuing dreams while maintaining a relationship. Love & Basketball stands out as a heartfelt and compelling story that transcends sports and delves into the emotional landscape of relationships and aspirations. It does this with its authentic portrayal of the complexities of love and the dedication required to follow one’s passion.
6. ‘Antwone Fisher’ (2002)
IMDb: 7.3/10
Rotten Tomatoes: 78%
Antwone Fisher, directed by Denzel Washington, is a deeply moving and autobiographical drama based on the life of Antwone Fisher, portrayed by Derek Luke. The film follows Fisher, a young Navy sailor with a troubled past marked by abuse and abandonment, as he seeks counseling to confront his emotional scars. Under the guidance of his psychiatrist, Dr. Jerome Davenport (Denzel Washington), Fisher begins a transformative journey of self-discovery and healing. Through poignant sessions, Fisher confronts his traumatic past, grapples with his anger and insecurities and gradually finds the strength to overcome his demons and embrace a hopeful future. Antwone Fisher is a powerful and emotional exploration of resilience, forgiveness and the search for identity, shining a light on the redemptive power of therapy and the human spirit’s capacity to heal.
5. ‘Akeelah and the Bee’ (2006)
IMDb: 7.4/10
Rotten Tomatoes: 86%
Akeelah and the Bee, directed by Doug Atchison, is a heartwarming and inspirational drama centered on Akeelah Anderson (Keke Palmer), a young girl from South Los Angeles with a remarkable talent for spelling. Despite facing various challenges and doubters in her community, Akeelah finds encouragement from her coach, Dr. Larabee (Laurence Fishburne), and eventually earns the opportunity to compete in the Scripps National Spelling Bee. The film beautifully portrays Akeelah’s journey of self-discovery, resilience and the importance of believing in oneself, as she navigates academic pressures while grappling with personal loss and insecurities. Akeelah and the Bee is a touching story that celebrates the power of determination, mentorship and the pursuit of excellence, resonating with themes of community support and the triumph of the human spirit. It remains one of the many nostalgic 200s Black movies that resonated with Black youth of its time.
4. ‘Remember the Titans’ (2000)
IMDb: 7.8/10
Rotten Tomatoes: 72%
There seemingly can not be any 2000s Black movies without the iconic Denzel Washington. Here is another. Remember the Titans, directed by Boaz Yakin, is a powerful sports drama based on the true story of the integration of the T.C. Williams High School football team in Alexandria, Virginia, during the early 1970s. The film follows Coach Herman Boone (Washington) as he takes on the challenge of uniting a racially divided team and community after being appointed as the first Black head coach. Amidst racial tensions and resistance, Coach Boone and the team’s white captain, Gerry Bertier (Ryan Hurst), work together to overcome prejudice and differences, fostering unity and a shared sense of purpose through football. Through its stirring portrayal of teamwork, friendship and the fight against racism, Remember the Titans delivers a message of hope and solidarity, illustrating how sports can transcend societal barriers and bring people together. The film’s inspiring narrative and standout performances make it a beloved classic in sports cinema.
3. ‘Precious’ (2009)
IMDb: 7.3/10
Rotten Tomatoes: 92%
Precious, directed by Lee Daniels, is a poignant and emotionally intense drama based on the novel Push by Sapphire. The film centers on Claireece “Precious” Jones (Gabourey Sidibe), an African American teenager living in Harlem in the late 1980s. Precious endures unimaginable abuse and hardship at the hands of her mother, portrayed hauntingly by Mo’Nique, while facing numerous challenges, including illiteracy, obesity and sexual abuse that leads to multiple pregnancies. With the help of a compassionate teacher (Paula Patton) and a social worker (Mariah Carey), Precious begins to find hope and strength as she strives to overcome the traumatic circumstances that have plagued her life. Precious is a raw and unflinching exploration of resilience, survival and the pursuit of a better life in the face of overwhelming adversity, anchored by powerful performances that shed light on the harsh realities faced by many marginalized individuals. Mo’Nique won an Academy Award for Best Supporting Actress for her role as Precious’s abusive mother, delivering a chilling and impactful performance.
2. ‘Ray’ (2004)
IMDb: 7.7/10
Rotten Tomatoes: 79%
Ray, directed by Taylor Hackford, is a powerful biographical film chronicling the life and career of legendary musician Ray Charles. Jamie Foxx delivers an extraordinary performance as Ray Charles, capturing his musical genius and personal struggles. The film traces Charles’s journey from his early years in Florida, his rise to fame in the music industry and his battles with blindness, addiction and personal relationships. Through Foxx’s immersive portrayal, the movie beautifully intertwines Charles’s groundbreaking musical achievements with the emotional complexities of his life. It offers an intimate and moving portrait of the musical icon. Foxx’s performance earned widespread acclaim, including an Academy Award for Best Actor, solidifying Ray as a standout biopic in cinematic history.
1. ‘The Last King of Scotland’ (2006)
IMDb: 7.6/10
Rotten Tomatoes: 87%
Topping the list of 2000s Black movies is The Last King of Scotland. This film was directed by Kevin Macdonald and is a gripping historical drama set in Uganda during the 1970s. The film revolves around the fictionalized account of Nicholas Garrigan (James McAvoy), a young Scottish doctor who becomes the personal physician to Ugandan dictator Idi Amin, portrayed brilliantly by Forest Whitaker. As Garrigan becomes increasingly entangled in Amin’s inner circle, he witnesses the dictator’s charm, volatility and brutal tyranny. The movie skillfully captures the escalating tension and fear within Amin’s regime, showcasing the psychological manipulation and moral dilemmas faced by Garrigan as he grapples with his complicity in Amin’s atrocities. Forest Whitaker’s mesmerizing portrayal earned him critical acclaim and an Academy Award for Best Actor. This added depth and complexity to the character of Idi Amin and made The Last King of Scotland a compelling and haunting political thriller. | ||||
2661 | dbpedia | 0 | 94 | https://www.firstshowing.net/author/kpowers/page/6/ | en | All Posts by Kevin Powers | https://www.firstshowing.net/favicon.ico | https://www.firstshowing.net/favicon.ico | [
"https://media2.firstshowing.net/firstshowing/images/FirstShowingMinLogoRev23-9.png",
"https://www.firstshowing.net/img2/joaquin-phoenix-retiring-img.jpg",
"https://www.firstshowing.net/img2/werewolf-dark-redeyes-img.jpg",
"https://www.firstshowing.net/img2/unborn-poster-crop-tsrimg.jpg",
"https://www.first... | [] | [] | [
""
] | null | [
"Kevin Powers"
] | null | Read all of the articles written by Kevin Powers. | Page 6 | en | /favicon.ico | https://www.firstshowing.net/author/kpowers/page/6/ | ENJOY THE MOVIES
Kevin's Review: Zack and Miri Make a Porno - In a Way, Just Like Real Porn
Analyzing Kevin Smith's Zack and Miri Make a Porno feels remarkably similar to what it must be like to review an actual porno. The film has baseline appeal, so the only question is whether it's really good or really bad. The film has a built-in draw since Smith mated his universe with Judd Apatow's, creating a cast and context that definitely gets you excited. But like most adult films, Zack and Miri serves a solitary purpose of providing a good time. Smith hits this low bar pretty easily, delivering punching, raunchy lines the likes of a headboard rapping against a wall. But for all the raucous obscenities and those fan-favorites delivering them, Zack and Miri is an adult film that delivers pretty much what's on the box.
Joaquin Phoenix Retiring from Acting Completely?!
At a benefit for Paul Newman this past Monday, 34-year-old actor Joaquin Phoenix told the show "Extra" that he's retiring from acting to focus on music. I don't know about you, but this is a real bummer in my mind. From To Die For to Buffalo Soldiers to Walk the Line to Reservation Road (even 8MM), I've always enjoyed the guy and thought he was pretty damn talented. He also seems to have a knack for music, however, too. His work on the soundtrack to Walk the Line won him a Grammy. And presently, he's recording an album with Tim Burgess, lead singer of The Charlatans. If time proves this to be true - but you probably shouldn't question him on the veracity of his statement - let's hope he sticks around in the public eye, and doesn't pursue music like other actor-turned-musician hacks. I won't name names.
Rumor: Ridley Scott Acquires Werewolf Script?
Is Ridley Scott going to apply his cinematic sensibilities to the subject of werewolves? The news is oddly timely considering that Halloween is right around the corner, but that's just what Blood Disgusting is reporting. And even though we chase news from time to time, following the legendary director's movements like a stalker is just something we have to do, even if the development is big on surprise and light on details. Apparently Death Sentence scribe Ian Jeffers, who also rewrote the script for the upcoming adaptation of Castlevania, has sold an original story to Scott surrounding everyone's favorite full-moon critters. The first question we need to ask: Will Scott direct or produce the rumored project?
Kevin's Review: Changeling - Not The Film You Think
I think it's safe to say that most expect Clint Eastwood's Changeling to be the next Million Dollar Baby. After all, Eastwood directed both, and instead of Hilary Swank front and center, it's now Angelina Jolie as single mother Christine Collins. Both films maintain a studied focus on the lead heroine and the events that surround her, but that's where the similarities end. While Baby was a delicate, heart-breaking gem made rich by a simple story and amazing performances, Changeling is quite the opposite - sprawling in its scale, with drama that is derived from the story's details, which are largely based on true events. While Changeling can wear the badge of "stranger than fiction" proudly, it's definitely no Million Dollar Baby.
Check This Out: David Goyer's The Unborn Official Poster
"It wants to be born. Now!" Well, more like January 9th of next year, when Dark Knight-scribe David Goyer's new horror film The Unborn hits theaters. And ahead of that release we now have the official poster (in addition to the trailer that surfaced a few weeks back) thanks to our friends at Bloody Disgusting. As we've mentioned before, The Unborn is about a soul that is attempting to inhabit another body. Goyer twists that a bit in that this spirit is a pretty malevolent one - the stillborn twin of lead character Casey (Odette Yustman). The poster is a solid one, and holds up to the excitement from the trailer pretty well.
Quarantine Duo Tapped for Shyamalan's Night Chronicles
While the man definitely incites raucous opinion of his work, M. Night Shyamalan will probably find a happy consensus around news that his trio of thrillers titled Night Chronicles are officially off and running. Shortly after The Happening hit theaters, it was announced that his next project would be a series of movies for which he would create the central premise, and then pass the idea off to suitable writers and directors; that news probably couldn't have come at a better time, considering the vitriol that surrounded The Happening (18% on Rotten Tomatoes). Word from Bloody Disgusting is that they've found adoptive parents for the first film - the guys behind the recently released Quarantine, John and Drew Dowdle.
Taylor Hackford Tries to Find Love Ranch a Home
It seems odd that director Taylor Hackford would be peddling his latest project to studios like a door-to-door salesmen. The guy was behind Ray, after all, which garnered Jamie Foxx an Oscar for Best Actor; he also helmed Proof of Life, Devil's Advocate and Dolores Claiborne. In short, he seems a pretty bankable guy. So will a studio swoop in and pick up distribution rights to his indie drama Love Ranch and make this article outdated before it's published? Maybe. Hackford actually took this same approach for Ray, completing the film himself before approaching studios. We'll see if it works this time around.
Unman Remake - The 'Next Disturbia' on the Way?
Disturbia was a surprisingly successful thriller that is probably my favorite Shia LaBeouf film to date (there aren't many). Instead of making a sequel - a path we all know profitable properties like to travel - director D.J. Caruso and LaBeouf went on to make Eagle Eye. And while a rumor has surfaced today via Bloody Disgusting that DreamWorks is eying their "next Disturbia," the potential project is by no means a sequel. Instead, the studio apparently wants to remake the 1971 Austrian thriller Unman, Wittering and Zigo. The film surrounds a 9th grade prep school class whose teacher is murdered. The new teacher that is brought in as a result begins to discover the class' secret - they were behind the murder.
Twilight is Officially Getting a Sequel - Are You Worried?
I should have seen this coming had I been paying attention to the Twilight madness, which is bordering on an epic frenzy in anticipation of the film. Deadline Hollywood is telling us that Summit Entertainment has already lined up a sequel (presumably titled New Moon after the second book in the series), which actually surfaced as a rumor much earlier this year. This should really come as no surprise, considering Twilight has a following that is surprising (if not scary) to most. I'm certainly not cheering at this news, but not for the reason you might think. Twilight is certainly not my bag. Nevertheless, it's always a bit sad when you see a creative property hooked up to the corporate machine and bled dry. So while most fans will see this announcement of a sequel as the second-coming, I say you should be a bit worried. Here's why.
Kevin's Review: Body of Lies - Probably the Best Thriller of Its Kind
Post-9/11 thrillers have come and gone over the years, but none have ever really gotten the recipe right. The Kingdom is too heavy on action; Traitor tries to be too smart; and there's just no redeeming Rendition. It's easy to say that Ridley Scott's Body of Lies is a bit tardy, but I'd prefer to describe the film's entrance into this growing genre as fashionably late. With Scott at the helm, and Leonardo DiCaprio and Russell Crowe as leads, Body of Lies is a blockbuster both on paper and in execution. The truth is, it's taken a visionary like Ridley Scott to combine the right ingredients in such a way as to create the only truly compelling film of its kind that, despite dealing with combustible topics, manages not to destroy itself.
Must Watch: David Goyer's The Unborn Trailer!
The Unborn, written and directed by Dark Knight-scribe David S. Goyer, has been given a damn impressive first trailer. If you recall, Goyer spoke at length about his "old school horror movie," which is, in part, based on a bit of Jewish folklore. The film surrounds a girl that must fight off a spirit that attempts to inhabit her body, lest that spirit be reborn causing the living girl to wander the netherworld in its place. The plot seems approachable enough, and with Gary Oldman involved as a spiritual advisor, I'm totally on board. Don't let Michael Bay's name scare you off as this might actually be a hit for Platinum Dunes - some of these scenes and effects look top-notch. Check out the trailer and let me know what you think!
Jamie Foxx Joining Gerard Butler in Law Abiding Citizen
Director Frank Darabont's next project, Law Abiding Citizen, could have Gerard Butler and Jamie Foxx going head-to-head. We learned earlier this year that Butler would play one of the leads - a successful D.A. targeted by a grief-stricken husband out for revenge following a plea deal that set one of the killers of his daughter and wife free. Foxx will play the vigilante husband. If you're a fan of "Law and Order" you know that going after the lawyer is rarely a smart (or effective) move. Being that Foxx's character is set to cross conventional vigilante lines, Law Abiding Citizen certainly has an air of intrigue. |