Half of a Yellow Sun
Film Review by Kam Williams

Twins Kainene (Anika Noni Rose) and Olanna (Thandie Newton) hail from a well-to-do Nigerian family well-enough connected to send them overseas to college where they majored in business and sociology, respectively. Ironically, while the sisters were acquiring a first-rate Western education in England, the independence movement back home was seeking to sever its ties with Great Britain.

After graduating in the early Sixties, they returned to Lagos to launch their careers, only to land in distracting love affairs. Attractive Olanna became the mistress of Odenigbo (Chiwetel Ejiofor), an outspoken college professor who’d caught the anti-colonial fever, whereas willful Kainene entertained the advances of Richard (Joseph Mawle), a white expatriate writing a book about African art.

Sibling rivalry moves Kainene to tease her twin about the philanderer disdainfully referred to as “The Revolutionary.” Nevertheless, Olanna relocates to the bush to be with Odenigbo and his loyal manservant, Ugwu (John Boyega). However, upon subsequently learning that Odenigbo has been unfaithful, she readily rationalizes seducing her sister’s suitor for a one-night stand.

The resulting strain on the siblings’ relationship leads to their drifting apart, a development dwarfed by the bloody, three-year civil war which erupts all around them when Biafra secedes from the union. All of the above elements add fuel to the fires of Half of a Yellow Sun, the highly-anticipated screen version of Chimamanda Ngozi Adichie‘s best-selling novel of the same name.

The film marks the impressive directorial debut of Biyi Bandele, who also adapted the 543-page opus into a 113-minute saga that walks a fine line between romance drama and sprawling epic. That being said, the picture’s examination of the country’s explosive Christian-Muslim tribal tensions proves to be both timely and compelling, given how they’ve recently resurfaced during the radical group Boko Haram’s current reign of terror.

A steamy soap opera unfolding against the backdrop of a cautionary history lesson reminding us that in Nigeria, the more things change, the more they stay insane.

Very Good (3 stars)

Rated R for violence and sexuality

Running time: 113 minutes

Distributor: Monterey Media

To see a trailer for Half of a Yellow Sun, visit: https://www.youtube.com/watch?v=iq2dNtP-2hU&list=UUJT0RwcR7HRLljiEEvF4x9A

Neighbors
Film Review by Kam Williams

When Kelly (Rose Byrne) and Mac Radner (Seth Rogen) decided to settle down in suburbia, they reasonably expected to raise their newborn in a quiet community. But that dream was threatened soon thereafter, when the local chapter of Delta Psi Beta bought the house next-door.

As a precautionary measure, the concerned couple introduced themselves to their new neighbors and asked for assurances that there wouldn’t be any wild partying on the premises. Delta Psi’s President, Teddy (Zac Efron), and Vice President, Pete (Dave Franco), did agree to keep the noise down in exchange for a promise from the Radners not to call the police.

Nevertheless, it’s not long before the situation spirals out of control. After all, the infamous frat has a well-established reputation for rowdiness, having invented the toga party back in the Thirties and then beer pong in the Seventies.

So, today, Teddy feels pressure to match his predecessors’ checkered past. This means he’s inclined to up the ante in terms of outrageous antics, which can only spell trouble for Kelly and Mac once they go back on their word about complaining to the cops, and Delta Psi is placed on probation by the university’s dean, Carol Gladstone (Lisa Kudrow).

At that point, all bets are off, and the frat and the newlyweds proceed to square-off in an ever-escalating war of attrition with more losers than winners. That is the point of departure of Neighbors, a relentlessly-raunchy revenge comedy directed by Nicholas Stoller (Get Him to the Greek).

Unfortunately, the sophomoric parties prove to be more cruel than clever in their attempts to get even, and the shocking behavior displayed onscreen is invariably more smutty than funny, as it features plenty of prolonged frontal nudity. Plus, the picture’s only good gag, when the office chair jettisons Mac into the ceiling, was totally spoiled by the TV commercials.

Otherwise, the film is memorable mostly for its homoerotic humor, as director Stoller is fond of seizing on any excuse to lampoon gay sexuality. First, Kelly kisses a college coed she’s recruiting as a confidante. Then, fraternity pledges are forced to parade naked in a circle while clutching the penis of the guy in front of him.

On another occasion, a male student is raped by a classmate seemingly in his sleep, only to later admit that he was aware and welcomed the rude intrusion. And when Teddy and Pete fight over a girl (Halston Sage), they settle their differences in bizarre fashion, namely, by massaging each other’s genitals to see who climaxes first, while appropriating the gangsta’ rap mantra, “Bros before hos!”

Throw in the gratuitous use of the “N-word” twice, of anti-Semitism (“You Jews and your f*cking mothers!”), as well as a profusion of misogynistic comments like referring to breasts as “udders,” and there’s little left to recommend about this ugly descent into depravity.

Poor (0 stars)

Rated R for crude humor, graphic sexuality, full frontal nudity, pervasive profanity, ethnic slurs, and drug and alcohol abuse

Running time: 97 minutes

Distributor: Universal Pictures

Robert Legvold

Interview with Nicholas Antoine

The New Russia-West Cold War

Dr. Robert H. Legvold is the Marshall D. Shulman Professor Emeritus at Columbia University's Department of Political Science, and is a specialist in the international relations of post-Soviet states. He is currently a contributor at Foreign Affairs Magazine.

Q. How would you summarize the current relationship between Russia and Ukraine?

A. Well, the relationship between Russia and Ukraine is particularly tense, strained and dangerous. The history is longstanding. Ukraine had been incorporated into what became Imperial Russia in the 17th Century. It was a critical part of Imperial Russian history and then later the second most important portion of the Soviet Union. Moreover, their relationship is also based on a deep sense of cultural linguistic identity. And so, given that close identity, since the breakup of the Soviet Union the orientation of Ukraine has been important to every Russian leader.

In recent years, Russia has felt that a large part of western Ukraine has been leaning towards the European Union and away from efforts to pull parts of the former Soviet Union together into a new kind of Russian-oriented integrated structure. Naturally, Russia has seen this as a great loss to both their cultural identity and their contemporary goals. All of this is now compounded by the current political and economic failure in Ukraine.

Q.So is Russia's concern over Ukraine more cultural than ideological?

A. My point is that there is a long history and cultural identity between Russia and Ukraine. They are, if you will, Slavic brothers. That’s the context, and so Russia’s immediate concern is Ukraine’s orientation. Is Ukraine going to remain roughly within Russian orbit? Will it be a country where Russia’s business community has important influence? Will Russia be able to count on their support in foreign policy and regional projects? Or is Ukraine going to defect to the West and become part of the E.U. and maybe even NATO, which Russia continues to define as an adversary? Now that everything has collapsed, I believe we are in what I call a new Russia-West Cold War.

Q. How would you characterize this new Cold War?

A. Obviously it’s very different from the first one. The original Cold War was universal in the sense that it dominated the entire international system. This time, China won’t be a part of it. Nor will India. And it won’t have the same kind of ideological basis of capitalism versus communism. Certainly, one hopes that it won’t also be under the continuous dark shadow of the threat of nuclear war.

However there are still similar characteristics, which is why I think people are wrong to dismiss the current tensions among Russia, NATO, and the United States. The old Cold War was very serious and this one will be too. The reason I call it a Cold War is not just because the consequences are serious, but because the tendency of each party is to see problems as a result of the nature of the other side. And while there may continue to be brief moments of cooperation, the relationship between Russia and the West is no longer ambiguous. Each side sees the other as an adversary.

Q. Is Vladimir Putin a 21st Century dictator?

A. Well I would say that Putin has gone in an increasingly authoritarian direction. The Russian political system itself is certainly more autocratic than it is democratic, but it’s not a dictatorship in the same way the Soviet Union was. Putin is not Stalin or Hitler, but he is scarcely a Jeffersonian democrat. He claims the system remains democratic, but I think very few people, especially those who would like to organize effective political parties or enjoy completely free press, would agree. However it is a projection of our imagination for us to assume that he is determined to hang onto power in the most dictatorial fashion and aggressively reconstitute what used to be the Soviet Union. That’s not who Putin is.

Q. What's the possibility of a full Russian invasion into Ukraine?

A. Well, it’s not that Putin has a plan that ends with a Russian invasion and seizure of Ukraine. But what he does, in my view, will be determined by unpredictable events. That's why this thing is so dangerous. We don't know what's going to happen next in Eastern Ukraine. Right now pro-Russian forces have seized many Ukrainian towns and are trying to control them. It's uncertain whether military clashes will escalate. The next uncertainty is what happens in Donetsk, where they evidently intend to hold a referendum on May 11th.

It's not clear what the outcome of the vote will be. Will there be demand for substantial autonomy within a federalized Ukraine, or will there be an effort to annex the Donetsk region to Russia? If it is the the latter (and it could certainly be a controlled election) then what will the Russians do? And if there is escalating violence, and we've seen it now spread to Odessa, the Russians have said they would have to protect Russians in Eastern Ukraine. If they start doing that, even with partial military efforts, what happens if the Ukrainian military responds? Or if this situation spirals upwards into a full-blown civil war and the Russians become fully involved, what will NATO and the U.S. do? This situation is so dangerous because, as you can see, it's so unpredictable.

About the Author

A business enthusiast and biography buff, Nick Antoine holds an A.B. in History from Princeton University and is currently a research associate for a financial firm in the Chicago area. He is the founder of graham + west, a blog that presents insights into American culture through highlights from interviews with leading authorities in business, art, science, sports, and politics. You can visit his site at http://www.grahamandwest.com/

Boz Scaggs

Concert Review by Kam Williams

Boz Brings His Mellow Brand of Blue-Eyed Soul to the Garden State

            Boz Scaggs will be turning 70 next month, but you’d never know it judging by his demanding two-hour set, including three encores, at New Jersey’s legendary State Theatre in New Brunswick on May 7th. The legendary singer/songwriter/guitarist brought his unique brand of blue-eyed soul to town on a cross-country tour promoting “Memphis,” his first studio album in five years.

            The show featured the best of Boz tunes released over the course of an enduring career which has spanned a half-century thus far and counting. Believe it or not, this critic first caught him in concert 45 years ago at the Fillmore East when he was a sideman in the Steve Miller Band as the opening act for Neil Young.

            Last night, Boz’s group was the only one on the bill, and it performed inspired renditions of his much-beloved hits like “Lido Shuffle,” “What Can I Say,” “Harbor Lights” and “Lowdown” which won the Grammy for Best R&B Song of 1976. They also played an array of popular standards ranging from “Rainy Night in Georgia” to “Proud Mary” to “Corrina, Corrina” to Sly and the Family Stone’s “Thank You (Falettinme Be Mic Elf Agin).”

            Since he was fresh from the New Orleans Jazz Festival, Boz decided to do “Sick and Tired” in tribute to Big Easy native son Fats Domino. And he played “Cadillac Walk” and “Mixed Up Shook Up Girl” from the new CD, too.

            Boz’s velvety voice was backed by a very talented ensemble ostensibly well-schooled in creating the trademark lush ambience his fans came to hear. A truly soothing, mood-setting treat by a smooth crooner who like a fine wine just gets better with time.

To hear “Lowdown” by Boz Scaggs, visit: https://www.youtube.com/watch?v=I-hKBmTAADo 

To order a copy of Memphis, visit: http://www.amazon.com/exec/obidos/ASIN/B00AYR2FOI/ref%3dnosim/thslfofire-20 

Gugu Mbatha-Raw
The “Belle” Interview
with Kam Williams

Born in Oxford, England on June 30, 1983, Gugu Mbatha-Raw trained at the Royal Academy of Dramatic Art in London. Her first professional role was as Celia in an open air production of Shakespeare’s As You Like It. Gugu subsequently landed roles at Manchester’s Royal Exchange Theatre where she performed the title roles of Cleopatra in Antony and Cleopatra and Juliet in Romeo and Juliet, the latter opposite Andrew “Spider-Man” Garfield.

Her other stage credits include the critically-acclaimed Big White Fog at the Almeida Theatre and David Hare’s Gethsemane, a production at the National Theatre that later toured the UK. Gugu made her West End debut as Ophelia in Hamlet opposite Jude Law, which was brought across the pond to Broadway in 2009 where it became a  big hit at the Broadhurst Theatre.

Her television credits include “MI-5,” “Dr. Who,” “Spooks,” “Marple: Ordeal by Innocence,” “Bonekickers” and “Fallout.”  In 2008, she was selected as a ‘Star of Tomorrow’ by the showbiz industry magazine Screen International. A couple of years later, Gugu starred as Samantha Bloom in the NBC-TV series, “Undercovers,” for which she was nominated for an NAACP award for in the Best Actress in a Television Series category.

On the big screen, she found her first major feature film work in Larry Crowne, directed by Tom Hanks and co-starring Julia Roberts, followed by Odd Thomas alongside Willem Dafoe. She also recently finished filming Jupiter Ascending with Channing Tatum and Mila Kunis.

Here, Gugu, who divides her time between L.A. and London, talks about playing the title character in Belle, a biopic about Dido Elizabeth Belle (1761-1804), the orphaned offspring of an African slave and a British ship captain who was raised in England by her father’s rich relations.

Kam Williams: Hi Gugu, thanks for the interview. I’m honored to have this opportunity.

Gugu Mbatha-Raw: Thank you, Kam.

KW: I loved the film. Have you read my review yet?  

GMR: No, I haven’t seen it. I always get a little bit scared reading reviews, but I’m sure I’ll read it at some point. [Laughs]

KW: I have a lot of questions for you for you from fans. Children’s book author Irene Smalls asks: What interested you in the film and how did you feel about the idea of playing Dido Belle?

GMR: There were so many wonderful things that drew me to this project. First and foremost, the historical elements, the fact that this character really existed and that the script was inspired by a real painting. That was fascinating to me because, as a biracial girl growing up in England, I’d never really seen any historical characters who looked like me depicted on film before that weren’t being brutalized or playing slaves. It was refreshing to know that there had been a biracial girl in the aristocracy. I felt that that was a perspective on history that had been so much overlooked, and a story that needed to be told. I was also drawn in by the romance, the beautiful love story at the core of the drama, having grown up with Jane Austen’s classics like “Pride and Prejudice” and “Sense and Sensibility.” I just thought that would be a fascinating period to explore. And besides being a period drama, we have so many contemporary themes in this film, such as race and class and gender and identity which, as is shown in the news nowadays, are still issues we’re struggling with daily. So, I felt that Belle had a wonderful number of layers that made it a fascinating project.

KW: Environmental activist Grace Sinden asks: Is the prejudice we see in Belle at all relatable in today’s more enlightened times?

GMR: Yeah, I think Belle is incredibly relatable, not only insofar as the issue of race, which is probably, on the surface, the most obvious one, but also in terms of the ambiguity and nuances of racism. After all, Belle’s position was ambiguous. She was the daughter of a slave, but her father was in the aristocracy. I think that affords us the opportunity to explore those gray areas, the little slip-ups and subtle comments that are made in society. To me, that’s very contemporary, as is the issue of identity. I think, irrespective of your race, everybody has moments in life where they don’t fit in, or where they try to puzzle through who they really are or to find the courage of their convictions. I think this story really is about finding the courage to be your true self. And I think that is an eternal, universal theme, and a very inspiring one. So, yes, Grace, there’s a lot of contemporary stuff in the film, despite its being set in the 18th Century.   

KW: Grace has a follow-up: What research did you do in preparation for this role? Did you study 18th Century history to become more familiar with the culture of the period in which Belle is set, or did the screenplay supply sufficient background information? 

GMR: For me, the script was definitely the starting point, because, although it was inspired by a true story and historical fact, the way I often connect with a character is on a human emotional level, and this script had those subtleties and nuances to it. Because I had grown up with Jane Austen novels and period dramas, I was very familiar with that period and that world already. On a personal level, I took some piano lessons and I listened to music of the period, like Handel, which helped me appreciate the elegance and sumptuousness of that style. And the cast also took some etiquette classes with Amma [director Amma Asante] to help us understand the bows, the curtseys and the manners of the time, which was really fascinating. I also spoke with Amma about Dido’s trajectory, her growing from this naïve, quiet and quite accepting girl into a strong woman with political and romantic awakenings. For me, working with Amma was very rewarding, because she had done a tremendous amount of research. There were a lot of documents which she had sourced which provided context for the story. So, like I said, the script was the starting point, and we leapt off from there into the characters’ relationships.   

KW: What message do you think people will take away from Belle?

GMR: I really hope people will be inspired by the history of it, and the fact that it’s a true story. The message, for me, at its core, really, is “Be who you are!” Don’t worry about society’s conditioning and the labels that are put on you by external forces. Hold onto your true self. The journey that Dido goes on is about learning to be comfortable in her own skin. I think that’s an inspiring message that we always need to be reminded of in today’s image-obsessed world.  

KW: Harriet Pakula-Teweles asks: Given your being biracial, was this an especially emotionally-demanding role?

GMR: Well, it’s an emotional story and I try to put myself into whatever character I play. Obviously, this film is about race and identity, and I am biracial everyday. [Laughs] Yes, Harriet, it was fun to explore those themes, especially the identity theme which is very contemporary. And yeah, it was an emotional experience, because it’s essentially an emotional journey that Dido goes on, from her moments of self-harming, despair and frustration. And that starting point really gave us somewhere to go in terms of her becoming comfortable in her own skin and developing the confidence to stand up for herself. So, yes, it was a very, very emotional experience. But that’s what I respond to in any role, the human condition and the human connection.

KW: Editor/Legist Patricia Turnier asks: Did you feel any pressure to do justice to Belle?

GMR: Absolutely! Because I had never played a real person before and since this was an incredibly refreshing tale to me. Even though there wasn’t much evidence about Dido, factually, I felt this was a terrific opportunity to shed light on a period of history that has somewhat been overlooked and certainly has never been seen from this perspective before. A woman of color… in the lead… of a period drama… [Laughs] And she’s not a slave… she’s not being brutalized… She’s being brought up as an heiress in a genteel society, at least one that’s seemingly genteel on the surface. To me, that that was just such an inspiring new perspective. And because it was based on historical fact, I did feel a responsibility to make Dido as much of a living, breathing human being as possible, first and foremost.

KW: Lisa Loving asks: Do you see Belle as part of an emerging trend of historical films revisiting the Trans-Atlantic Slave Trade from a fresh perspective?

GMR: I hope so. I think that what makes Belle unique and different from recent films about the slave experience in the United States is that this one is about the British perspective. And not just the British perspective, but also a female perspective. I think there are so many more stories to be told surrounding this period of history and the legacy of the slave trade. It feels wonderful to be a part of a canon of films exploring this issue. I only hope that it opens the doorway for more stories to be told like this, so that we can celebrate our heritage and history.

KW: Attorney Bernadette Beekman asks: Do you recall your initial reaction years ago when you first saw the postcard of the painting which inspired the script?

GMR: Yes! When I saw the postcard, I was intrigued by Dido, because she had such a light in her eyes, and such a mischievous, almost vivacious gaze. My reaction was, “Wow! This girl really looks like she’s got a personality,” unlike other persons of color in period portraits who were usually depicted in those days as an ornament or to signify the status of their white counterpart. They’d be positioned almost like a pet in the painting. By contrast, Dido seemed to have so much life about her. That was what attracted me to her as a person to play. But it was only after shooting the film that myself and Sarah Gadon, who plays [Dido’s cousin] Elizabeth [the other subject of the portrait] got to see the real painting in the flesh which was a magical experience after having spent all that time staring at the postcard and inhabiting the character. So, to see the actual painting was very special.

KW: Bernadette also asks: How do you define yourself as a performer, given that you’ve done stage, TV, film, and even radio?

GMR: Well, I try not to limit myself. The actors that inspire me are the comedians and the people able to shape-shift into different roles and into different media. That ensures your longevity as an artist and prevents you from getting bored with yourself and, hopefully, prevents people from getting bored with you. [LOL] So, for me, it’s about variety and working with inspiring, creative people. I try not to define myself. Other people are going to do that for you anyway. [Laughs some more] I like being free to take on any project that inspires me and to trust that the work will speak for itself.  

KW: Lastly, Bernadette would like to know whether you ever worked with a female director before Amma Asante.

GMR: Amma Asante is a unique person in several regards, independent of being male or female. I think I might have worked with a couple of female directors in television, but never before with one on film. Amma is incredibly talented, incredibly articulate, and had such a crystal clear vision from the outset of this world we were creating. She was very inspiring! She has a lot of heart, and was very detailed in her directions and notes. I loved working with her and, being a woman, she obviously put a lot of herself into this interpretation. And Belle not only had a female director, but a female scriptwriter and even a female composer. I believe having a female point-of-view was wonderful for such a female-centric story being told in a voice that hadn’t been heard before. So, I am hopeful that this will open the door for more female-driven films. 

KW: Larry Greenberg asks: What kind of direction did Amma Asante give you about Dido Belle's relationship with Lady Elizabeth Murray?

GMR: This is something that Amma was very passionate about. Even though they were only cousins biologically, they were nevertheless very much a sisterhood. I know that Amma herself has a sister she’s very close to, and the intensity of sisterhood was something she very much wanted to explore in the film, not only because the starting point was the painting where they are depicted in such an intimate way with a feeling of affection, but also because of a desire to create a Jane Austen “Sense and Sensibility” dynamic in exploring the depth of that bond. Consider the scene where they have a fierce argument and are saying the most horrible things to each other. I think you can only really explore in that fashion with intimate family. So, yes, Amma was constantly nurturing us to create a sisterhood bond, and Sarah Gadon is such a fun and lovely actress to work with that it was pretty easy to achieve. And we’re the best of friends now.    

KW: Sweet! I’m glad I mentioned Jane Austen in my review. I must have picked up on what Amma was going for.

GMR: Absolutely! That world of Jane Austen was definitely an inspiration to Amma and to myself as well.

KW: Thanks again for the time, Gugu, and best of luck with Belle.

GMR: Thank you very much, Kam. Bye!

To see a trailer for Belle, visit