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Complexity and Evolution: Toward a New Synthesis for Economics
David S. Wilson and Alan Kirman
Book
Two widely heralded yet contested approaches to economics have emerged in recent years: one...
BankofMarquis (1832 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Feb 12, 2021
Give Chadwick the Oscar
Pulitzer Prize winning Playwright August Wilson wrote 10 plays that he labeled his “Century Cycle” - one placed in each decade of the 20th century that depicts the Negro experience in America. Denzel Washington has pledged to produce a film for each one of these plays.
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
A Nautical Story Writer: The Life and Works of Matthew Henry Barker, the Old Sailor
Book
The fictional nautical story was extremely popular in the period stretching from the mid 1820s to...
Mark Jaye (65 KP) rated The Conjuring (2013) in Movies
May 13, 2019
The Conjuring Review
Contains spoilers, click to show
Originally wrote in 2013:
As an avid fan of horror I look for a few little things which if aren't apparent within the first minute decide on whether I'm going to bother with the rest of the film. Usually the company releasing the movie is a good starting point, reputable/recognised director or producer, recognisable actor/s, good production values - that sort of thing. I've seen some hum-dingers over the years - those films where Johnny Nobody has gathered several of his buddies together with a cheap camcorder or two and filmed some alleged zombie epic in the woods at the back of their school.
**The Conjuring is not one of those**
I like to think I have a strong disposition when it comes to scares - usually it takes a lot to make me squint. Examples that come to mind are 'Sinister', 'The Grudge', the end of 'The Ring' (you know, the scary dark haired girl climbing out of the TV!). The Conjuring is one of those - I watched this in the middle of the morning and found it pretty scary in places.
James Wan certainly knows how to make a movie of this type and is great at evoking atmosphere and notching up the scares as the film develops. In a nutshell, this is the alleged real life story of the Perron family who in 1971 moved into a new farmhouse. It isn't long before the usual shenanigans begin - pictures pulled off walls, doors knocking in the dead of night, the children befriending mysterious 'imaginary' kids (who we all know watching are going to show up at some point). The film sticks to the tried and tested story - gradual possession of one of the adults (Lily Taylor), gradually increasing appearances by ghostly figures, calling in the ghostbusters, gathering the proof, then the exorcism. It may be join the dots territory but it works.
Patrick Wilson shines and seems to be making his mark in films of this nature (Insidious and Insidious Chapter 2) - he portrays real life paranormal investigator Ed Warren who with his wife Lorraine (played just as well by Vera Farmiga) become immersed in the life of the Perron's making themselves targets of the supernatural force at work in the process.
The demonic spirit at work is that of a witch who was married to the guy who built the house back in the 1800's who cursed the land before committing suicide after murdering their child whilst a few days old. There is one particularly pant browning scene where the witch makes her first appearance atop a bedroom wardrobe....and I'll leave it there!
Quality. Best horror I've seen since Sinister.
As an avid fan of horror I look for a few little things which if aren't apparent within the first minute decide on whether I'm going to bother with the rest of the film. Usually the company releasing the movie is a good starting point, reputable/recognised director or producer, recognisable actor/s, good production values - that sort of thing. I've seen some hum-dingers over the years - those films where Johnny Nobody has gathered several of his buddies together with a cheap camcorder or two and filmed some alleged zombie epic in the woods at the back of their school.
**The Conjuring is not one of those**
I like to think I have a strong disposition when it comes to scares - usually it takes a lot to make me squint. Examples that come to mind are 'Sinister', 'The Grudge', the end of 'The Ring' (you know, the scary dark haired girl climbing out of the TV!). The Conjuring is one of those - I watched this in the middle of the morning and found it pretty scary in places.
James Wan certainly knows how to make a movie of this type and is great at evoking atmosphere and notching up the scares as the film develops. In a nutshell, this is the alleged real life story of the Perron family who in 1971 moved into a new farmhouse. It isn't long before the usual shenanigans begin - pictures pulled off walls, doors knocking in the dead of night, the children befriending mysterious 'imaginary' kids (who we all know watching are going to show up at some point). The film sticks to the tried and tested story - gradual possession of one of the adults (Lily Taylor), gradually increasing appearances by ghostly figures, calling in the ghostbusters, gathering the proof, then the exorcism. It may be join the dots territory but it works.
Patrick Wilson shines and seems to be making his mark in films of this nature (Insidious and Insidious Chapter 2) - he portrays real life paranormal investigator Ed Warren who with his wife Lorraine (played just as well by Vera Farmiga) become immersed in the life of the Perron's making themselves targets of the supernatural force at work in the process.
The demonic spirit at work is that of a witch who was married to the guy who built the house back in the 1800's who cursed the land before committing suicide after murdering their child whilst a few days old. There is one particularly pant browning scene where the witch makes her first appearance atop a bedroom wardrobe....and I'll leave it there!
Quality. Best horror I've seen since Sinister.
Jeremy Hutchinson's Case Histories: From Lady Chatterley's Lover to Howard Marks
Book
Read an extract here THE SUNDAY TIMES BESTSELLER 'Thomas Grant has brought together...