The Bridge
DVD Review by Kam Williams
If you wanted to end it all, where would you want to do it? For some reason, more people choose the Golden Gate Bridge than any other locale.
And after watching The Bridge one can easily understand the allure of that irresistible icon as a launching pad into San Francisco Bay.
Directed by Eric Steel, this fascinating film transfixes you from start to finish, focusing on 24 individuals who chose to end their lives there in 2004. Remarkably, Kevin Hines somehow survived the plunge, after being saved by a seal that kept him afloat, and ferried him towards shore till help arrived. The others weren’t so lucky, but that doesn’t make their back stories any less compelling.
What these unfortunate souls seem to have in common is a bottoming-out whether due to depression, unemployment, relationship woes, or all of the above. Shifting back and forth between shots of the majestic, rust-colored structure and wistful reminiscences by friends and family who invariably had hints as to what was coming, director Steel cleverly creates an eerie, kinetic experience for the viewer by capturing plenty of pedestrians on camera, whether they’re strolling across the expansion, leaning over the catwalk, or peering into the void from the fog-ensconced bridge.
You never know which one’s about to leap to his or her death, so you have to keep your eyes glued to the screen, guessing who’s next. Two dozen souls, linked by suicide as a seductive and very visible alternative to unrelenting torment and suffering.
Excellent (4 stars)
Rated R for profanity and for disturbing footage of actual suicides.
Running time: 94 minutes
Distributor: Kino Lorber / Alive Mind Cinema
DVD Extras: “Making of” documentary; and the theatrical trailer.
To see a trailer of The Bridge, visit: https://www.youtube.com/watch?v=ZJWJ-GWuews
To order The Bridge on DVD, visit:
http://www.amazon.com/exec/obidos/ASIN/B00RWKN9W2/ref%3dnosim/thslfofire-20
Focus
Film Review by Kam Williams
Jess Barrett (Margot Robbie) is an aspiring con artist who picked the worst guy to steal a wallet from when she settled on Nicky Spurgeon (Will Smith). She had no reason to suspect that he was a third generation flimflam man descended from a grandfather who ran a crooked poker game in Harlem back in the day.
Nicky was more curious than infatuated when he accepted the seductive stranger’s invite up to her hotel room after sharing drinks at a bar in midtown Manhattan. So, he was ready when an accomplice (Griff Furst) posing as her berserk husband burst in brandishing a fake gun.
Rather than hand over his wallet, Nicky calmly laughs and schools the two in the flaws of their little shakedown, such as not waiting until he was naked to try to rob him. Jess is so impressed that she not only confesses, but begs him to take her on as a protégé, giving him a hard luck story about having been a dyslexic foster kid.
Nicky agrees to show her the ropes, and even invites her to join his team of hustlers about to descend on New Orleans where they plan to pickpocket plenty of unsuspecting tourists. They’re also set to hatch an elaborate plan to fleece a wealthy compulsive gambler (BD Wong) of over a million dollars.
Though Jess proves to be a fast learner and the plot is executed without a hitch, Nicky is reluctant to include her in his next operation after they become romantically involved. Instead, he moves on alone to Argentina, where he hopes to bilk a racing car mogul (Rodrigo Santoro) of a small fortune.
The plot thickens when Jess is already draped on the arm of the playboy billionaire by the time Nicky arrives in Buenos Aires. Is she in love with the handsome Garriga or simply staging her own swindle? Will she expose Nicky as a fraud or might she be willing to join forces with her former mentor?
Co-directed by Glenn Ficarra and John Requa (Crazy, Stupid, Love), Focus is an overplotted, cat-and-mouse caper which ostensibly takes its clues from the cleverly-concealed classic House of Games (1987). But where that multi-layered mystery was perfectly plausible, this frustrating homage unnecessarily ventures from the sublime to the ridiculous, thereby sabotaging any chance that its promising premise might be played out in serious fashion.
Nevertheless, co-stars Will Smith and Margot Robbie generate enough chemistry to steam up the screen and make the farfetched romantic romp just worth the watch, provided eye candy alone can do for you in lieu of credulity.
Good (2 stars)
Rated R for profanity, sexuality and brief violence
Running time: 104 minutes
Distributor: Warner Brothers Pictures
To see a trailer for Focus, visit: https://www.youtube.com/watch?v=6vY9UPiI4eQ
Black Male Frames
African-Americans in a Century of Hollywood Cinema, 1903-2003
by Roland Leander Williams, Jr.
Book Review by Kam Williams
Syracuse University Press
Hardcover, $34.95
218 pages, Illustrated
ISBN: 978-0-8156-3382-2
“Black Male Frames charts the development and shifting popularity of two stereotypes of black male masculinity in popular American film: the shaman and the scoundrel… [The book] identifies the origins of these roles in an America where black men were forced either to defer or to defy their white masters.
These figures recur in the stories America tells about its black men, from the fictional Jim Crow… to W.E.B. Du Bois. [The author] argues that these two extremes persist today in modern Hollywood, where actors… must cope with and work around such limited options… These men are rewarded for their portrayal of the stereotypes most needed to put America’s ongoing racial anxieties at ease.”
-- Excerpted from the Bookjacket
In the antebellum era, when minstrel shows took the U.S. by storm as the country’s first popular form of entertainment, African-American males were portrayed by white men in blackface as being either servile or surly. Those polar opposite stereotypes, which served a critical function during slavery, remained the only type of roles available to actual black actors from the dawn of the film industry all the way into the 21st Century.
That is the contention of Roland Leander Williams, Jr. who teaches English at Temple University. In his groundbreaking book, Black Male Frames: African-Americans in a Century of Hollywood Cinema, 1903-2003, Professor Williams sets out to show how black male movie characters have basically been either submissive or subversive to suit the fluctuating needs of the dominant culture.
He sets about proving his thesis by closely examining the careers of five African-American acting icons, starting with Sam Lucas (1839-1916), the first black film star. He was not only the first black to play Uncle Tom onscreen, but he was also the first to portray the deferential character onstage.
Unfolding chronologically, the opus’ entry about Lucas is followed by a chapter devoted to Paul Robeson (1898-1976) entitled “Renaissance Man.” There, we learn that, in sharp contrast to Lucas, Robeson became typecast in a way which strengthened the “impression of blacks as primitives” gaining popularity in the late Twenties.
That image was reversed a generation later, as personified by Sidney Poitier in his Oscar-winning performance in Lilies of the Field. Then, in response to the Black Power Movement came the return of the relatively-assertive rebel as played by Denzel Washington, who won his first Academy Award for Glory in 1990. Meanwhile, waiting in the wings was Morgan Freeman, who languished in the shadows “until the age of multiculturalism arrived, when he took a role (in Driving Miss Daisy) that once again raised the ghost of Uncle Tom.”
As far as the future, the author concludes that only time will tell whether Hollywood will finally stop marginalizing black males as either servants or malcontents and welcome them into the movie mainstream by casting them in a full range of roles without regard to skin color. If not, Professor Williams expresses a sincere concern that history might simply continue to repeat itself.
Oscar Recap 2015
by KamWilliams
Birdman Soars over the Competition!
Evening Marked by a Profusion of Political Acceptance Speeches
Birdman won Best Picture at the 87th annual Academy Awards on a night periodically punctuated by politically-conscious acceptance speeches. That film and The Grand Budapest Hotel tied for the most wins, 4, followed by Whiplash with 3, and Boyhood with 2.
There weren’t any upsets in terms of the major categories, with Julianne Moore (Still Alice) and Eddie Redmayne (The Theory of Everything) prevailing in the lead acting categories, as expected, as well as J.K. Simmons (Whiplash) and Patricia Arquette (Boyhood) in supporting roles.
The evening was emceed by Neil Patrick Harris, who went out of his way to draw attention to the diversity among the celebrities in attendance, but only after joking that “Tonight we honor Hollywood’s best and whitest, I mean brightest.” This was obviously in response to complaints about Selma being snubbed and all the acting nominees being white. Ostensibly to make amends, Neil awkwardly enlisted the assistance of Oprah Winfrey, David Oyelowo and Octavia Spencer to perform as his straight men, even returning to Octavia again and again as the butt of a running joke which unfortunately fell flat every time.
The Academy took a posthumous potshot at the late Joan Rivers, getting the last laugh by leaving her out of the “In Memoriam” montage featuring photos of recently-deceased showbiz legends. The veteran comedienne might not have had much of a career as an actress, but she certainly established herself later in life on the red carpet where she would flourish as a sharp-tongued, fashion critic.
From the very first acceptance speech by J.K. Simmons who suggested people pick up the phone and call their parents and tell them you love them, it seemed that every winner had a political agenda, with causes ranging from suicide prevention (Graham Moore) to equal pay for women (Arquette) to immigration reform (Alejandro González Iñárritu) to Lou Gehrig’s disease (Redmayne) to Alzheimer’s (Moore) to privacy (Citizenfour director Laura Poitras) to the African-American incarceration rate (John Legend).
A galvanizing moment arrived during rapper/actor’s Common’s heartfelt remarks delivered while accepting the award for Best Song, “Glory,” with John Legend. Common eloquently put a universal spin on the legacy of the historic Selma march, stating:
“I’d like to thank God that lives in us all. Recently, John and I got to go to Selma and perform ‘Glory’ on the same bridge that Dr. King and the people of the civil rights movement marched on 50 years ago. This bridge was once a landmark of a divided nation, but now is a symbol for change. The spirit of this bridge transcends race, gender, religion, sexual orientation, and social status. The spirit of this bridge connects the kid from the South side of Chicago, dreaming of a better life to those in France standing up for their freedom of expression to the people in Hong Kong protesting for democracy. This bridge was built on hope, welded with compassion, and elevated by love for all human beings.”
To hear Common & John Legend’s acceptance speech, visit: https://www.youtube.com/watch?v=ua1JEW1fhsk
PS: As far this critic’s Oscar predictions, I got 18 of 21 correct, including all the major categories. Not quite the perfect score of a year ago, but pretty impressive nevertheless, if I must say so myself.
Complete List of Oscar Winners
Picture: Birdman
Director: Alejandro González Iñárritu (Birdman)
Actor: Eddie Redmayne (The Theory of Everything)
Actress: Julianne Moore (Still Alice)
Supporting Actor: J.K. Simmons (Whiplash)
Supporting Actress: Patricia Arquette (Boyhood)
Adapted Screenplay: The Imitation Game (Graham Moore)
Original Screenplay: Alejandro G. Iñárritu, Nicolás Giacobone, Alexander
Dinelaris, Jr. and Armando Bo (Birdman)
Foreign Language Feature: Ida
Animated Feature: Big Hero 6
Documentary Feature: Citizenfour
Original Score: The Grand Budapest Hotel
Original Song: “Glory” (Selma)
Costume Design: The Grand Budapest Hotel
Makeup and Hairstyling: The Grand Budapest Hotel
Sound Mixing: Whiplash
Sound Editing: American Sniper
Film Editing: Whiplash
Visual Effects: Interstellar
Production Design: The Grand Budapest Hotel
Cinematography: Birdman
Live Action Short Film: The Phone Call — Matt Kirkby and James Lucas
Animated Short Film: Feast
Documentary Short Film: Crisis Hotline: Veterans Press 1
Jake Tapper
“The Lead” Interview
with Kam Willi
Jake on Tap!
In his capacity as CNN’s chief Washington correspondent, Jake Tapper hosts “The Lead.” The one-hour weekday program examines and advances stories from around the globe that reflect his curiosities and interests, ranging from politics to money, and from sports to pop culture.
Jake has been a widely-respected reporter in the nation’s capital for more than 14 years, and his most recent book, “The Outpost: An Untold Story of American Valor,” debuted in the Top Ten on The New York Times’ best-seller list. Prior to CNN, he was employed by ABC News, where he had served as senior White House correspondent since the 2008 presidential election.
In that role, Jake contributed regularly to Good Morning America, Nightline and World News Tonight, in addition to serving as substitute host of This Week. He also had a blog, Political Punch, on ABCNews.com. In terms of accolades, he has earned the coveted Merriman Smith Award for presidential coverage from the White House Correspondents’ Association an unprecedented three consecutive times. And he played a key role in ABC’s Emmy Award-winning coverage of the 2009 inauguration of President Barack Obama, and its Murrow-Award-winning coverage of the death of Osama bin Laden.
Over the course of almost a decade at ABC News, he covered a wide range of stories, visiting remote corners of Afghanistan, covering the war in Iraq from Baghdad, and spending time in New Orleans during the aftermath of Hurricane Katrina. In 2008, he served as the lead political reporter for the coverage of the presidential election.
Jake began his journalism career at the Washington City Paper before being published in The New Yorker, The New York Times Magazine, The Washington Post, The Los Angeles Times and The Weekly Standard, among others. He has drawn caricatures and illustrations for the Washington Post and the Los Angeles Times, and his comic strip, “Capitol Hell,” appeared in Roll Call from 1994 to 2003.
Jake is the author of a trio of books, including “The Outpost,” “Down and Dirty: The Plot to Steal the Presidency,” and “Body Slam: The Jesse Ventura Story.” A
Phi Beta Kappa, Magna Cum Laude graduate of Dartmouth College, Jake currently lives in Washington, DC with his wife Jennifer, their young son and daughter, and a dog and two cats.
Kam Williams: Hi Jake, thanks for the interview.
Jake Tapper: Sure, my pleasure, Kam.
KW: How did you end up in journalism, as the son of a pediatrician and a psychiatric nurse?
JT: Well, I don’t have their gifts for science and math, so going into medicine was never going to be a path for me. But we were a family of news junkies, and I was born in ’69, so awareness of my parents’ progressive politics was always very much in the forefront of our dinner table discussions, whether about Watergate, Vietnam, the Black Panthers, or Philadelphia’s Mayor, Frank Rizzo. So, from a very early age, my brother and I watched the news every night and were very aware of the political issues of the day. And ultimately, after a few false starts that included going to film school after I finished college, and serving as press secretary for a family friend running for Congress, I finally figured out what I wanted to do. Telling stories about what’s going on, and reporting the news became a very natural fit. Actually, it’s kind of surprising that it took so long to figure it out.
KW: Did you write for The Dartmouth Review while you were there? It might be the most famous college student paper in the country. But I would guess that you didn’t, since it only promotes conservative points-of-view.
JT: No, I didn’t write for the Review, but I did do a daily comic strip for the regular school newspaper, The Dartmouth, where I would comment on the events of the day in comic form. My strip would make fun of everyone: The Dartmouth Review, and liberal campus protestors, frat boys and sorority girls, the football team, and administrators and professors.
KW: You also did a cartoon strip called “Capitol Hell,” after you moved to D.C.
JT: Yeah, that was a weekly comic strip published by Roll Call.
KW: Did you write and draw the strip?
JT: Yes, I was hoping to be a cartoonist, but I succeeded in journalism first, so I just stuck with it.
KW: How do you decide what stories you’re going to cover?
JT: That’s a great question. We devote a great deal of time debating what we think is the most important issue of the day with the goal of providing as much breaking new information as possible while also providing a mix and a balance of stories, so that we’re covering business and international affairs, as well as politics and international news, and some sports and pop culture, if there’s something we think rises to the level.
KW: And how do you decide whether a story’s important enough to cover it on location?
JT: That’s one of those things where, like Supreme Court Justice Potter Stewart once said famously about obscenity: “I don’t know how to define it, but I know it when I see it.” One of the great journalistic thrills of this job has been to be able to anchor shows from Boston, Oklahoma, Paris or wherever a story is breaking and seems big enough. Sometimes, it’s really just a need to get there to talk to people who are already there on the scene.
KW: Have you ever had a fear for your own safety while covering a story in a hot spot like Ferguson or Paris where there was a palpable possibility of danger in the air?
JT: I wasn’t scared about my safety in Paris, but I will say that while I’ve reported from there, and from Israel, the West Bank, Iraq, Afghanistan and elsewhere, the place that seemed the most likely that I might be injured or worse in some sort of accident was Ferguson. That was both in the protests in August, and then much more starkly in October when there was the announcement that there would not be an indictment against Officer Wilson, which was followed by much more violent protests. That was the most hairy situation.
KW: What was the energy like in Ferguson?
JT: I think that a lot of people parachuting in, like me, were coming into a situation that had been tense for decades. It seemed to me that the idea that this was all about one incident was incorrect. People were upset about their own personal experiences, as much, if not more so, as they were about what had happened to Michael Brown.
KW: Why do you think President Obama decided not to attend the unity rally in Paris following the terrorist attacks there?
JT: I was never able to get a straight answer as to what happened, and why they made the glaring decision not to send even a high-ranking official from the administration. Why the White House didn’t remains a mystery to me. It’s likely that they thought of it was a European affair which didn’t necessitate the participation of the U.S. or, frankly, any leader from the Western Hemisphere. To me, when you’re in the last two years of an administration, and you don’t always have the best people giving the best advice at any given moment. But I honestly don’t know what happened. I’m still kind of confused by it. The White House basically said something to the effect of, “We should’ve sent somebody but we’re never going to tell you why we didn’t.”
KW: Did you really go on a date with Monica Lewinsky in 1998?
JT: Yes, about a month before she became a household name. We met at a party, and went on a very innocent date. I didn’t really think anything of it at the time. Then I went on a vacation with my dad, picked up a newspaper on our way back, and was stunned by what I was reading. And I wrote a story about for the Washington City Paper which is where I landed next. That was my first full-time job in journalism.
KW: Have you remained in touch with her or tried to interview her?
JT: We exchange email on occasion. I think she knows that I’m here, if she wanted to do an interview, but I haven’t really been pressing for it.
KW: What do you think of her recent resurfacing?
JT: The truth is, I feel sorry for her. We all do stupid things when we’re 20 or 21. It would be horrible to have for a poor decision you made at that age to haunt you for the rest of your life. But it does happen. She’s a smart and good person who made a bad mistake with somebody who should’ve known a lot better. And it makes me sad as a friend of hers that it still haunts her.
KW: Is there any question no one ever asks you, that you wish someone would?
JT: No, not really, because I think of myself as an interviewer, not as the subject, as I’d guess you think of yourself, too.
KW: The bookworm Troy Johnson question: What was the last book you read?
JT: I started Wally Lamb’s third book, “The Hour I First Believed,” but I haven’t finished that yet. http://www.amazon.com/exec/obidos/ASIN/0060988436/ref=nosim/thslfofire-20
The last book I finished was “American Sniper” by Chris Kyle, which I read before interviewing his widow, Taya, and Bradley Cooper. http://www.amazon.com/exec/obidos/ASIN/0062238868/ref=nosim/thslfofire-20
I also just finished reading the first Harry Potter book with my 7 year-old. http://www.amazon.com/exec/obidos/ASIN/059035342X/ref=nosim/thslfofire-20
KW: The Ling-Ju Yen question: What is your earliest childhood memory?
JT: That’s a question I’ve never been asked. I remember my parents dropping me off at my friend Eric Dudley’s house on their way to the hospital for my mom to have my brother. So, I was 4. And I also remember my brother being brought home. He and I are very close to this day.
KW: Was there a meaningful spiritual component to your childhood?
JT: I was brought up in a Conservative Jewish household. I went to a Hebrew school and to a Jewish sleep away camp. But I wouldn’t describe my childhood as particularly spiritual. My parents divorced when I was 7, which was almost trendy at the time. All my friends’ parents were getting divorced. I identified as a Jew, but much more so as a kid growing up in Philadelphia in the Seventies. It was an era of change.
KW: When you look in the mirror, what do you see?
JT: I see someone a lot older than I expect to see. I feel like I’m about 27, so I’m surprised to see the gray and the bags under my eyes. But, I still have my hair, so I can’t complain. Let’s just say I did okay, follicly-speaking, with the genes I was handed. People don’t necessarily think I’m 46.
KW: The Tavis Smiley question: How do you want to be remembered?
JT: You really have to stand out to be remembered in this field. I don’t think very many journalists do get remembered. In terms of this profession, I would like to be remembered as a journalist who told the truth, who confronted people in power making questionable decisions, and who tried to do some good. But the truth of the matter is I only expect to be remembered by my kids, and I hope they think of me as a good dad.
KW: Lastly, what’s in your wallet?
JT: My wallet’s a lot more exciting than its contents. I have a great wallet that everybody remarks about because it looks like one of those Aerogram letters. I got it at a toy store, and every year my wife buys me a new one because I’m one of those guys whose wallet looks like a corned beef sandwich after awhile. I’d be carrying around things like club cards for bookstores that don’t exist anymore. But right now, mine is pretty bareboned. It’s got credit cards, driver’s license, health insurance information, car information and a $50 traveler’s check that I never got around to cashing.
KW: thanks again for the time and keep up the great work, Jake. I think you have good energy and you exude a certain calmness and confidence that makes for a pleasant experience watching you.
JT: That’s really nice of you to say, Kam. Thanks.
To see Jake Tapper’s coverage of the unity rally in Paris, visit: https://www.youtube.com/watch?v=1FJME4bD6jQ