Constellation Review

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(More customer reviews)"Constellation," which begins in 1940's Alabama, tells the tale of a secret, forbidden love between a black woman named Carmel and a white soldier named Bear, whose romance is cut short when he is shipped overseas to fight in the war. Flash forward fifty years to the funeral of Carmel - who never married after breaking up with Bear - which serves as the pretext for all the principal people in her life to gather together to air out their grievances and to thrash out the personal relationship problems that have haunted them all their lives. The participants include her emotionally distant brother and his two ex-wives; her two adult nieces and their respective men folk; and Bear himself, who, despite the fact that the two of them were kept apart all their lives by the restrictions of a racist society, has decided to pay not only for the services, but to put all these people up in one of the swankier hotels in Huntsville, Alabama.
Though there are a goodly number of insightful, touching moments in "Constellation," the movie probably would have been more effective had the screenplay (by director Jordan Walker-Pearlman) not tried to cram so many different characters into such a relatively short space of time (the movie runs barely over an hour and a half). Yes, I understand that the theme of the movie is all about how we form "constellations" with the people who are most important to us in life, but speaking strictly in narrative terms, much too often, the genuinely compelling travails of one character are shunted aside to make room for the far less interesting problems of another. Moreover, the romantic relationship between Carmel and Bear, which is supposed to function as the emotional cornerstone of the movie, is never made all that convincing. We are TOLD that these two people are in love with each other, but we aren't made to FEEL it. In addition, Aunt Carmel is portrayed as such a wise and ethereal earth-mother presence even after death that she is essentially robbed of her own individuality and humanity as a character.
Still, there is much that is good in the movie, starting with the performances of Billy Dee Williams, as a man incapable of making emotional connections with the people in his life, and Rae Dawn Chong, as the daughter who has the most trouble dealing with this reality. They are ably abetted by Lesley Ann Warren, Zoe Saldana, Melissa De Souza, and Hill Harper. The movie also boasts a flavorful soundtrack, filled with an eclectic mixture of musical styles, ranging from classical to hip hop to spiritual. The Huntsville setting also provides a refreshing change for audiences weary of seeing New York, Los Angeles and Chicago constantly being recycled in film after film, as if they were the only urban centers moviemakers had to choose from.
The movie does lay its message on a bit thickly towards the end, employing heavy-handed speech-making and rather obvious symbolism to get its points across. It really doesn't need to go to all that effort, since the viewers could probably figure the themes out on their own given half a chance.
Yet, although "Constellation" is a decidedly mixed bag as far as family and social dramas go, it has enough elements of quality to make it worth checking out.

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Item Name: Constellation; Studio:20th Century Fox

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Slavery and the Making of America Review

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(More customer reviews)I have watched and re-watched this series on PBS, and with each episode I always go away having learned something. The researchers and writers were thorough, the re-enactments are well-played*, and the tempo of each segment is appropriate. Morgan Freeman is the perfect choice for a narrator (even better than Whoopie Goldberg in Unchained Memories); he speaks like a wise, maturing uncle versed in the intricacies of a long, unpleasant family history.
My favorite segments are those on David Walker's call to resistance; a certain Miss Freeman, who successfully sued for her freedom; and Col. Tye's band of 18th century guerilla warriors.
*Such re-enactments, when accurately presented, are essential to helping viewers understand the realities of the era, as there are so few photographs and no moving pictures in existence from this lengthy period in American history. (As the narrator says, "America was a slave-holding society longer than it has been a 'free' society.")

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SLAVERY AND THE MAKING OF AMERICA is a landmark, four-part series that examines the history of slavery in the United States and the integral role it played in shaping the new country's development.
Breaking with conventional documentary production approaches, the series producers, PBS's Thirteen/WNET New York, have used dramatic re-enactments to take viewers back in time and deep into the slave experience. Much of the story is presented from a unique vantage point - through the eyes of the enslaved.
As factually represented in this series, American slavery evolved from a loosely defined labor system which provided some protection under the law, into the tightly regulated enslavement without recourse, based solely on race.
Underscoring how slavery impacted the growth of this country's Southern and Northern states; the series examines issues still relevant today. The variety of cultures from which the slaves originated provided the budding states with a multitude of skills that had a dramatic effect on the diverse communities. From joining the British in the Revolutionary War, to fleeing to Canada, to joining rebel communities in the U.S., the slaves sought freedom in many ways, ultimately having a far-reaching effect on the new hemisphere they were forced to inhabit.
Acclaimed actor Morgan Freeman narrates the series, which features a score by Michael Whalen.
Programs in this series:Program 1: The Downward SpiralProgram 2: Liberty in the AirProgram 3: Seeds of DestructionProgram 4: The Challenge of Freedom
Features:English Subtitles for the Hearing Impaired,Spanish Subtitles

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The Great Debaters (2007) Review

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(More customer reviews)`The Great Debaters' offers what great movie viewing is all about. Based on a true story, the film takes us to Wiley, an African-American Methodist college in Texas during the Depression in 1935. Inspiring, harrowing, and uplifting, the film gives proper transcendence especially during a time and place that didn't offer many breaks.
We are first introduced to Professor Polson (Denzel Washington), a tenacious idealist and poet. As professor at Wiley and debate coach, he hardly yields on any of his principles. Inspired by the man who is named for the heinous lynching, Polson tells his debate recruits that it was in Lynch's best interests to keep Black people, "Physically strong, but psychologically weak." It is with this explanation that we understand his zealous approach to his debate team, and why he makes their training so rigorous.
Entering the field are forty-five tryouts, of which, only four will be selected: two representatives and two alternates. Of the three who make it, we get to know Henry Lowe (Nate Parker) a charismatic and bright figurehead who is easily distracted by beautiful women and hard liquor. Joining him are Samantha Booke (Jurnee Smollett), the first young woman to join the debate team, and James Farmer, Jr. (Denzel Whitaker) forever young at age 14, but an ever resourceful scholar and son of a minister, James Farmer, Sr. (Forrest Whitaker). [No real life relations.] As he notices a romance start to blossom between his teammates, his resentment grows. As the one who researches many of the arguments Henry and Samantha provide on the podium, he is put on the sidelines both in terms of the limelight and the love light.
As you might guess, Wiley enjoys a certain amount of success, and the price of success is opposition. Polson spends a great deal of his time and rhetorical talent organizing a sharecroppers' union, much to the chagrin of Sheriff Dozier (John Heard) who won't have unrest in his sleepy Texas town. In one scene the Farmer family is making a trek by car on a rural country road as they pass a poor white farm. The children who seem so mischievous run alongside the car as they pass along, unaccustomed to seeing a "Negro" with an automobile. Perhaps distracted by the nearby children, he runs over a pig, and in a quietly intense exchange between Farmer, Sr. and the owner, is extorted of a month's paycheck. This reminded me of a similar scene in the 1980's movie, `Centennial,' and showed the contrast between a good film with a similar theme and a great one.
In another part, the debate team makes their way by night to their debate destination when they come across a truly horrible sight. What they see through the windshield reveals a mob of white men who don't like having their heinous deeds brought to light. Shaken, they each try to come to cope with their discovery as they often lose focus and courage in the face of Polson's opposition and the violence laid before them.
Always kept in check by their unyielding leader, the debate team holds out for all possible opportunity. Audacious but unflinching, Polson invites Harvard to a debate match. One of the master strokes of the movie is how the debates and their topics match the action that goes on all around them. Show and tell is mixed expertly for a meaningful movie experience.
`The Great Debaters' is a top-echelon movie experience. Although it is reminiscent of movies like Mississippi Burning, To Kill a Mockingbird (Collector's Edition), and Akeelah and the Bee it captures a fulfilling true life story in a way that doesn't feel like rehash or contain a wasted scene. (Directed by Denzel Washington and screenplay by Robert Eisele)

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Two-time Academy Award® winner Denzel Washington (American Gangster) directs and stars with Academy Award® winner Forest Whitaker (Last King of Scotland) in this important and deeply inspiring page from the not-so-distant past (Richard Roeper, At the Movies with Ebert and Roeper). Inspired by a true story, Washington shines as a brilliant but politically radical debate team coach who uses the power of words to transform a group of underdog African American college students into an historical powerhouse that took on the Harvard elite. DVD Special Features: Deleted Scenes The Great Debaters: An Historical Perspective. That's What My Baby Likes; Music Video.My Soul Is A Witness; Music Video Theatrical Trailer Sneak Peeks: Grace is Gone, Cassandra's Dream, I'm Not There, Hunting Party

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A Raisin in the Sun Review

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(More customer reviews)This recent ABC production was erratic; I'd like to see if the DVD restores several of the key passages that were cut out, including the memorable speech Beneatha gives to Asagai about what inspired her to become a doctor--in fact, the vital heart-to-heart Act III conversation between these two, which ought to run about 10 minutes, gets boiled down to 5 minutes! (Compare this sequence with the one featured in the superb AMERICAN PLAYHOUSE dvd, in which Beneatha and Asagai have a heated debate about the power of one person to make a difference and the future of Africa, and you'll see that a great deal of social conscience, and relevance to our own post 9/11 world, was sacrificed).
Repeatedly, the edits that were made in what I saw in the broadcast were puzzling. The decision to have Mama visit her drunk son at The Green Hat is dubious; in the play, Hansberry characterizes Lena Younger as a Christian woman who despises liquor and the nightlife of the Southside. The decision to show the whole family visiting the dream house in Clybourne Park is a cop-out--in the play, Lena is the only one to have seen the property, which makes Walter's anger and feeling that his dream has been "butchered" palpable. The Murchison-Beneatha relationship gets short-changed as well--where's the tense 2nd date scene, in which she spurns his crude advances and sees him as a churlish, shallow fool? I also disagree with the producer's decision to have Travis remain in the room for many scenes--what made the original play great was the fact that Travis never gets to see his parents bicker, which is why he idolizes his father, who seems can do no wrong. Thus, some dramatic irony gets lost.
Then, there is the truly odd decision NOT to have Beneatha adopt a full Afro (did the producers fail to see why Hansberry chose this simple yet powerful symbol in her original production???)--this abridgement was inexcusable. Consequently, the ABC production makes Beneatha look like an "assimilationist", despite her protests. What an absolute blow to the characterization of Beneatha, especially given how talented the actress here is.
The lead actors, with one notable exception, were quite good-- I was impressed with how Ruth and Asagai were developed, and I think Bill Nunn was superb in a minor and pivotal role as the naive Bobo. It's a shame this production doesn't include the comical nosey neighbor, Mrs. Johnson, who refers matter-of-factly to a newspaper story about the violence African-Americans face for moving into the suburbs. Indeed, the imminent threat the Youngers face for making such a bold move is watered down in this ABC production.
Lastly, anyone familiar with Hansberry's play should see that Sean P-Diddy Combs really drops the ball in the crucial "Pride" speech--he looks and sounds anemic compared to the riveting performances previously given by Poitier and Glover. The catharsis of his reversal, his rejection of Lindner's buy-out, just wasn't there.
(As a side note, the broadcast ran for three hours, and yet the actual film was just a little over 2 hours--couldn't ABC done the right thing and avoided such a crude abridgement of the dialogue, especially in Act III, and the jarring commercial breaks?)
Would I show this production to my high school students? Yes, but only in bits and pieces given the fact that the production deviates significantly from the original play. Students I've spoken to have expressed mixed reviews about this latest rpoduction.
Teachers, do the right thing and go with the AMERICAN PLAYHOUSE production instead, which is theatre at its finest and true to the spirit and intent of Hansberry's play.

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Based on the play that inspired a generation, A Raisin in the Sun tells the story of a family living and struggling on Chicago's South Side in the 1950s. A fiercely moving portrait of people whose hopes and dreams are constantly deferred, A Raisin in the Sun was the first play written by an African American woman to be produced on Broadway. The classic, still-relevant story now will be showcased in this totally new television movie adaptation. Sean Combs reprises the role which brought him critical acclaim in the highly anticipated, special three-hour television movie adaptation of the award-winning Broadway revival. Joining him is the cast of the award-winning production, including Emmy and Tony Award winner Phylicia Rashad, four-time Tony Award winner Audra McDonald, Tony Award nominee Sanaa Lathan, plus ER star John Stamos.

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