Based upon the true story of British Intelligence whistle-blower Katharine Gun (played by Keira Knightley) immediately before the planned 2003 Iraq invasion, Official Secrets exposes a joint US-UK illegal extortion plan [under President George W. Bush and Prime Minister Tony Blair). Both governments colluded against members of the UN Security Council in order to obtain their votes for invasion. Gun, a minor functionary and translator of highly confidential documents, leaks a top secret NSA memo that proposes blackmailing smaller, less powerful Security Council members. Official Secrets is a case study of the heroic whistle-blower who is willing to stand up for her values, regardless of the consequences. In the case of Katherine Gun, she naively did not expect the closing of ranks and the harm to her personal life. Nevertheless she was a heroine who deserves to be recognized for her truth-telling, at great emotional and physical cost.
Also at great personal and professional risk, journalist Martin Bright (Ralph Fiennes) publishes the leaked document in The Observer. The story made headlines around the world. Members of the Security Council were outraged and any chance of a UN resolution in favor of war collapsed. But within days, Bush declared he no longer needed UN backing. The US invaded anyway, with Colin Powell presenting his views supporting the invasion and weapons of mass destruction.
The Official Secrets Act is then invoked, with treason and sedition charges brought against both Katherine Gun and Martin Bright. Their legal battles expose the highest levels of government in both London and Washington. Katherine is put on trial in 2003.
The soul of the film is the ethical question of whether state employees act for the people or for the government, echoing Watergate. At its core, Official Secrets is a portrait of a courageous individual who believes an illegal war is about to be declared. Her moral compass does not allow her to remain silent. With impeccable timing, Official Secrets demonstrates how coverups can impact the course of history.
Note: When Secretary of State Colin Powell learned that the information he was given for his presentation to the United Nations was false, he resigned.
This mini-series was inspired by a biography written by Madam CJ Walker’s great-great-granddaughter, A’Lelia Bundles (“On Her Own Ground: The Life and Times of Madam C.J. Walker”). This Netflix four-episode mini-series highlights the extraordinary, –almost unbelievable– life of Sarah Breedlove (1867 –1919), an African American entrepreneur, philanthropist, and political and social activist. Sara Breedlove–soon to prefer the brand name Madam CJ Walker– is the first female self-made millionaire in America (regardless of ethnicity) in the Guinness Book of World Records.
Self-Madeis a little-known and highly unlikely story of the black hair care pioneer during turn-of-the-century America, who created thousands of jobs and became a neighbor of John Rockefeller in upstate New York.
Academy Award winner Octavia Spencer plays Madam CJ Walker, during the worst of the Jim Crow era. No bank loans, no white retail store support, and competition and sexism among the Black male business community presented almost insurmountable obstacles to Madam CJ Walker’s dreams and ambitions. Walker’s story is one of extraordinary grit, cunning and marketing ingenuity, and absolute determination against post-slavery racial and gender oppression.
Self-Made opens at the beginning of the 20th Century, sandwiched twenty years after the Civil War and a half-century before the Civil Rights movement. An indigent African American laundry woman widowed by her first husband, who left her a single mother of a two-year old daughter Lelia, and abused by her second husband, Sarah Breedlove yearns for a path out of her desperate circumstances.
During the early 1900s most homes lacked plumbing and electricity. Environmental pollution, lice, and bacteria also threatened one’s health. Bathing was a luxury and women were going bald. As the laundry woman for a beauty-products business woman, Addie Malone (the luminous Carmen Ejogo of “Your Honor”), Sarah is rejected when she proposes being Addie’s business partner. The reason? Her appearance:
“Even in your Sunday best you still look like you just stepped off the plantation,” Addie –brutal and arrogant—insultingly dismisses her.
The complicated relationship between Black hair and white ideals of beauty soon become a central theme of Self-Made. Addie represents a lighter skinned, long-hair type which some Black women wanted to emulate. Sarah– soon to label her products Madam CJ Walker–understood that hair was not a benign topic for Black women but a potent measure of a Black woman’s worth. And she wanted to create another ideal of beauty that appreciated and acknowledged Black women on their own terms, not ones imputed on them. At first, she gratefully receives validation from her husband, CJ Walker (Blair Underwood), for his admiration of her physical appearance.
Her daughter, Lelia (Tiffany Haddish), is both a source of disappointment and later of joy as she recognizes the sacrifices her mother has made for her family and for her business. While other products for Black hair (largely manufactured by white businesses) were on the market, Walker’s products emphasized health and natural ingredients, not the lye and harmful chemicals often found in Black hair products. She sold her homemade products directly to Black women, using a personal approach that won her loyal customers. She went on to employ a fleet of saleswomen to sell her products whom she called “beauty culturalists.” [This method of “direct sales” was later copied–most notably by Fuller Brush and Avon.]
Walker proved to be a marketing magician, promoting a better lifestyle for Black women, bolstering them with pride for advancement and higher pay: “Wonderful hair leads to wonderful opportunities.”
In one scene, Madam CJ Walker pleads with a rather officious Booker T. Washington to help her secure a business loan from wealthy Black businessmen in the community, but he admonishes her that Black women should know their place. Undeterred, Sarah appeals to Washington’s wife and taps into a whole community of wealthy, highly educated, but disgruntled women. In sharp contrast, W.E.B. DuBois warmly welcomes her business acumen.
The performances knock it out of the park. Octavia Spencer is made for this role: smart and contained, a no-nonsense entrepreneur who won’t take “No” for an answer.
The major flaw in Self-Made–and not to be ignored–is the somewhat cringeworthy cinematic device of fantasy sequences with dancers or boxers to indicate the mean-spirited and unrelenting rivalry between Walker and Addie. Such visual clutter is a distraction from an otherwise forceful script. The soundtrack is also, at times, jarring and out of tone or theme with the scenes.
A highly inspirational mini-series of almost miraculous feats by Madam CJ Walker. Should be on everyone’s watch list!
Availability: Netflix streaming
Note: Lelia Walker, who succeeded as president of her mother’s company, was dubbed “The Joy Goddess of Harlem’s 1920s” by Langston Hughes because of the crucial role she played in creating a
Manhattan salon, The Dark Tower. This salon contributed to the arts scene of one of the most fertile periods in American literature and the arts, especially forging a safehaven for gay artists during the Harlem Renaissance.
Note: The self-made millionaire used her fortune to fund scholarships for women at the Tuskegee Institute and donated significant funds to orphanages, the NAACP, the Black YMCA and other charities.
Trying to put more excitement into their marriage, Nadja and David, a young doctor and engineer, decide to go on a camping trip in a remote forest in Sweden, fantasizing that it will be romantic, gazing at the Northern Lights with their adorable dog. The impending “excitement” is not exactly what they bargained for, however. Stalked by an unseen enemy, they become the targets of a hellish nightmare. Red Dot is an intense psychological thriller.
In a reversal of gender roles, frequently seen in Nordic Noir, Nadja is not in need of saving. A very competent and efficient physician, she is the one usually fixing and encouraging her partner, an engineer who thinks he has all the answers, not to give up as they are hunted down.
But the real reason behind their status as prey emerges from a dark secret from their past they thought they had left behind. With very little foreshadowing, the viewer is left a little short-changed, despite the heavy impact of multiple plot twists and the inescapable message that there are consequences for your actions, even if it takes years to come to fruition.
Red Dot delivers. There are thrills you expect and those you don’t. A mixture of poor choices and mistakes on the part of the couple makes for a disturbing story about moral ambiguity and recklessness, a lack of empathy and community, a smug sense of entitlement, and callous anonymity. How swiftly and soundlessly life can deliver unwanted realities.
This Nordic Noir thriller could be compared with the Liam Neeson’s star turn in ‘The Grey”, and Timothy Olyphant in “A Perfect Getaway”, and the British thriller “Calibre” (reviewed August 5, 2018). Highly watchable and heart-pounding!
In this little sleeper of a movie, Eddie Palmer (Justin Timberlake) is released from prison after serving twelve years for attempted murder in a robbery gone wrong. With nowhere to live but at his beloved grandmother’s (June Squibb of Nebraska), Palmer soon is forced to reexamine his life and, in the process of learning to accept his past, finds ways of expressing his feelings. A bullied young non-binary child, Sam (Ryder Allen), lives with his drug addicted mother, Shelly (Juno Temple), in a trailer on the grandmother’s property. Soon they enter Palmer’s life in a major, life-transforming way.
Palmer is a macho character, the badass who reflexively expressed himself with his fists in his pre-prison past. Yet, Sam–who is bullied repeatedly for his love of princesses, tiaras, and dolls–sits down with Palmer and expresses his joy at being who he is. Both Sam and Palmer are allowed to be painfully vulnerable in these scenes. Full, absolute, acceptance is the overriding theme and heart of r. There’s no denying who you are and no reason to try to change.
Palmer is a poignant, unexpected winner. It is very difficult to develop the character of a little boy who just doesn’t happen to conform to normative male traits. Sam has personal dreams that don’t meet others’ expectations and he wants to be fine with that. The quiet, understated performance by Justin Timberlake as the tight-lipped small-town miscreant– who no one wants to give a second chance to–is his finest yet. And the angel-faced Ryder Allen is cast so perfectly that this viewer forgot, at times, that he was acting. Check this one out!
Note: Compare Palmer to Peanut Butter Falcon starring Shia LaBoeuf, on a similar theme. Both are good films but I would choose Palmer if you have only time or interest in watching one portrayal of a millennial lost soul and his friendship with a young boy.
This highly original biopic of a little-known woman scientist highlights the obscurity in which women of renown nevertheless hid in plain sight. Ammonite, set in the coastal village of Lyme Regis, in 1840s England, chronicles the intense relationship between the acclaimed but overlooked fossil hunter and paleontologist Mary Anning (Kate Winslet) and a young affluent woman, Charlotte Murchison (Saoirse Ronan). Their friendship transforms both of their lives.
Charlotte Murchison visits Mary Anning’s fossil shop with her dilettante husband, Roderick (James McArdle), who wishes to observe Mary discovering the fossils that have made her well-known at the British Museum yet paradoxically unknown. Charlotte is supposed to convalesce by the sea while her husband seeks Mary’s know-how and ostensibly hopes to elevate his reputation without attribution to Mary’s tutelage.
Living a solitary and deeply lonely existence with her mother Molly (Gemma Jones), who plays with nine ceramic figurines symbolizing the deceased children, Mary is not interested at all in Roderick’s offer to pay generously for a “tour” of her fossil sites. Reluctantly, at her mother’s urging, she obliges his request.
Mary silently and coldly witnesses how Roderick treats his wife more roughly than he would the delicate care required for revealing the beauty of a fossil. As a talented paleontologist who discovers what lies beneath the surface, Mary has little use for either of them.
Disenchanted with his beautiful young wife “who used to shine and dazzle”, Roderick abandons her while he continues his explorations abroad. In the interim, we see Anning slowly uncover the intrinsic beauty of Charlotte.
The grey of Ammonite’s cinematography, underscoring the depressing and cold isolation of both Mary and Charlotte, is sharply contrasted to the color in the scenes of their friendship and intimacy. Both actors’ faces convey the inner conflict and almost unbearable loneliness in one exquisitely graceful scene after the next. Nothing is forced or manufactured and both Winslet and Ronan are evenly matched, seasoned performers whose intelligent decisions never misfire. Both characters, at times, seem to be screaming for help from the bottom of a well. Viewers first see the two women detached and wounded, their icy cold veneers slowly warming and cracking, revealing buried vulnerability needing to be excavated.
There’s so much grace and nuance in these two actors’ performance with remarkably little dialogue and no narration. Individual, wordless moments that express both an understated delight and the devastating knowledge that it may not last are superimposed upon an extraordinarily palpable chemistry between Ronan and Winslet.
Highly recommended, especially for fans of historical drama, biopics, and women’s history.
Behind Her Eyes, based on Sarah Pinborough’s best-selling novel of the same name, tells the story of Adele and her husband David, a renowned psychiatrist specializing in drug addiction. The couple live an ostensibly perfect life in an exclusive London suburb.
The beautiful Adele Ferguson (Eve Hewson) was recently a patient in a mental institution where her husband was the presiding psychiatrist. Upon release she marries the handsome doctor. While a patient, Adele becomes best friends with a gay working-class Glasgow junkie, Rob (Robert Aramayo) who seems to be energized in her presence and she in his. Together they play a dangerous series of mind games whose consequences are only hinted at throughout most episodes.
Enter Louise Barnsley (the excellent Simona Brown), a beautiful young Black single mom living with her seven-year-old son, Adam (an adorable Tyler Howitt who reminds this viewer of the little boy in “Jerry Maguire”). On a rare night out, Louise meets a charming stranger who turns out to be David (Tom Bateman), the new psychiatrist hired at the upscale mental-health clinic where Louise is a part-time secretary.
Accidentally, Louise literally bumps into Adele and becomes friends. What follows is a nurturing Adele, skilled in the art of lucid dreaming, teaching Louise how to take control of her night terrors.
And so the menage-a-trois begins–with a husband and wife both drawn to Louise and she to them. The suspense and psychology of having conflicted feelings towards someone because of a sexual relationship with her partner is difficult to navigate and empathize under any circumstances, but Behind Her Eyes manages to pull in the viewer’s investment in understanding, especially Louise and Adele. …until it doesn’t.
In the fifth episode, Behind Her Eyes inexplicably swerves into sci-fi and fantasy, with dreamland sequences of bright-blue skies, ponds, floating Tinker-bell fairies, and gingerbread houses and tea parties. Are we falling down a rabbit hole here? Why waste a psychological thriller with so much possibility?
There are many fans of this limited series. Sadly, I’m not one of them. Nevertheless, it did have real potential.
In this Netflix original movie,I Care a Lot, the highly successful court-appointed guardian, Marla Grayson (the astonishing Rosamund Pike of “Gone Girl” fame), masterminds a scheme to being appointed guardian of wealthy elderly patients by the state court. Marla is charged with caring for the elderly who are identified by doctors as incompetent to manage their own health needs, daily living and assets.
Marla and her partner Fran (Eiza González) run a highly profitable hustle –a guardianship grift of elderly “wards of the state”. To the judge who appoints her to be caregiver, she appears as highly professional, extraordinarily articulate, and convincing in asserting her qualifications. On first appearance, the onlooker sees a measured, seemingly trustworthy advocate for eldercare. But underneath that veneer and polish, Marla is abusing a legal system by targeting wealthy seniors that actually aren’t incompetent, throwing them in care facilities and assuming absolute control of their assets. She understands this system better than most: how she can manipulate (and sometimes) bribe doctors and the courts to her advantage, essentially kidnapping the elderly, robbing them of their assets, and separating them forever from their families. She’s not a caregiver, not a caretaker. She’s neither. Marla’s an irresolute taker.
And then the “cherry”–Jennifer Peterson (Dianne Wiest in an unforgettable performance) is introduced to them by an unscrupulous physician. A “cherry” is a very wealthy old person with no family or friends to look out for them, ready for the picking. But, unexpected trouble arises when Jennifer Peterson is not who she seems. A very difficult “cherry” indeed. The predatory guardians, Marla and Fran, soon become the prey.
Unfortunately for Marla, Jennifer has an undisclosed and mysterious relationship with a powerful mobster (the delightfully malevolent Peter Dinklage from “Game of Thrones”) who will go to great lengths to protect Jennifer. He releases her from Marla’s clutches.
It’s a stomach-churning ride with a lot of venom and dismay that people assigned to be guardians for the most vulnerable may get away with highly irregular, if not criminal behavior. Resources are stretched allowing the court-appointed caregivers to conceal bad acts because they are trusted.
They come in and steal under false pretenses and strip the victim of all credibility. And Rosamund Pike’s and Peter Dinklage’s twitchy, angry staggering performances menace one another in a vicious death spiral. Until the very end of I Care a Lot the viewer is treated to unexpected twists and turns, in one traumatic scene after another.
What is most unsettling about I Care a Lot , however, is the picture it presents of eldercare: Just park them, rob them, and then move on to the next one. What seems like a con game — a gangster’s operation–is taking advantage of loopholes in the law. Watching Marla game the system to her own ends is far from comforting. The viewer has to ask: Is this amoral predator behavior really widespread? Is the eldercare/guardianship system susceptible to people like Marla and Fran to manipulate? Do some guardians stretch the rules as far as they possibly can?
Make sure your parents and grandparents are protected at all costs! I Care a Lot is a cautionary tale for all of us!
Availability: On Netflix streaming and Golden Globe-nominated for a best film.
Guest Blogger: Mahshid Zamani Bozorgnia, film critic
[Edited by Diana Y. Paul]
Soul, an animated and complex film from Pixar directed and created by Pete Dokter (who also created “Toy Story”, “Inside Out” and “Monsters Inc”), refers to the jazz music genre and tackles the theme of what is the spirit or soul, the distinction between passion and obsession, and what constitutes the “spark” of happiness.
There is something compulsively watchable and comforting about Pixar movies with their photo-realistic imaginary worlds. But there is much more. There are built-in philosophical questions of life and death and self-identity embedded in the story, which appeal to adults with the openness of a child.
The main character, Joe Gardner–an African American middle school music teacher (who, like his father, is passionate about jazz music)–deals with the choice of wanting to make a living or following his passion. But this decision-making entails an existential life crisis.
(One finds traces of the transcendental philosopher, Ralph Waldo Emerson, with some of his actual words adopted into the film’s dialogue.)
Joe, an ambitious pianist aspiring to accompany one of the great saxophonists, Dorothea Williams, feels that his life has been, at best, ordinary, and more likely an epic failure. In order to understand Emerson’s view that “there is no object so foul that intense light will not make it beautiful,” Joe has to rebuild himself. And what can be a better metaphor for being reborn than actually dying and coming back?
In Soul, the Great Beyond and the Great Before, –the interstitial space between life and death– are the universe’s recycling of nature and soul. Joe is not ready for the rare moment of “transcendence,” or “Great Before,” Yet, when he realizes that he either has to mentor a baby soul (called “22”) to be given “a new and unique personality” or go to the Great Beyond, he decides to stay and take the training in the “You Seminar”. During the presentation, the seminar instructor, Jerry, explains that souls are missing “the spark” and that they can only enter a body if they find that spark. Joe believes his spark is jazz and that his life can inspire other souls. Matched with recalcitrant soul number 22, who has never found her spark and has no desire to go to earth, Joe is determined that she is his ticket to rebirth.
Together, they enter the “the zone” that 22 defines as “the place between space and physical.” Baby soul 22 takes Joe to Moonwind, who tells them that he himself was once a lost soul: “There is not much difference between souls in the zone and lost souls: joy can turn into obsessions and some people cannot let go of their anxiety and obsessions, leaving them lost and disconnected from life.” However, Joe does not yet understand what Moonwind is saying.
Soon 22 sees the spark in every element in New York City, where they both temporarily land. From the smell of pizza to small seed pods, 22 is ready to get life on Earth, believing that she has found her spark, but Joe remains unconvinced. After a sensational performance with Dorothea Williams, she recalls a story of a fish who was in the ocean and yet dreamed of getting to the ocean. This wonderful analogy is a turning point for Joe.
And if we believe that Emerson’s theories were mostly about the idea of America–“that its existence matters, not its past nor its future”–what better place for Joe to become a transparent eyeball and define for himself what success is than on the streets of New York City?
Note: Certainly an important curriculum topic for college freshman. A very mature theme about what makes life worth living—may need to proceed with caution for some youth. Young children may not be that interested, especially in the beginning of Soul.
Unconditional love–are there limits? In Your Honor, a ShowTime mini-series, a highly respected recently widowed New Orleans judge, Michael Desiato (Bryan Cranston of “Breaking Bad”) is known for his fair and impartial sentencing of young criminals. But the judge gets personal to protect his teenage son, Adam (newcomer Hunter Doohan) from the consequences of his reckless actions. At first, the judge advises his son to turn himself in to the police, and explain how he panicked after hitting another teen. But then he discovers that the boy his son ran over was the son of a notorious mafia don, Jimmy Baxter (Michael Stuhlbarg of “Call Me By My Name” and “The Shape of Water”). The judge knows that the mafia will wreak vengeance. Time after time the judge tries to use some moral principle to justify bad acts, and it all goes horribly wrong.
Adam is a total screw up, a clueless teenager who can’t think straight and is painfully annoying, causing the viewer to lose patience. Who doesn’t know a teenager who acts that way–reckless driving, too much alcohol or drugs, and unintended consequences for bad judgment?
There’s a certain tone reminiscent of “Breaking Bad” because the viewer is put in the position of sympathizing with a scofflaw, albeit with a higher motive to protect as only a parent can. When it comes to your family, what would you do to save them? Where would you draw the line? And what effect would that have upon your moral code, your relationships with others and your honor?
Kudos to the director for crafting an ending that was totally unexpected. What would I do in similar circumstances? Judge me not until you’re there.
Promising Young Woman, written and directed by Emerald Fennell, is a revenge thriller on a brutal topic–Don’t let the title mislead you. Cassie (Carey Mulligan), a 30-year old former medical student, is now a barista living with her parents In the opening scene we see a very inebriated Cassie barhopping and wandering the city streets at night.
The viewer doesn’t know why this bright and attractive woman is engaged in such risky, dangerous behavior. To say much more about the film’s artistic and courageous story would ruin it. But this is an extraordinary directorial debut that explores sexual aggression, objectification of women, and the denial of women’s voices.
Promising Young Woman not only portrays male antagonists, but also “non-believers” who are women and enablers to the trauma. This will inevitably be a controversial film because it depicts people hiding behind their smiles, popularity, and success without the underbelly of their criminal behavior being exposed or punished.
There is no redemption in Promising Young Woman and none can be expected. The bold ending was a surprise but satisfying in a way, and changes the entire tenor of the film and the perception of Cassie.
Carey Mulligan gives an Academy Award-worthy performance unlike any in her previous (mostly historical) films. She has to pivot from a fiery vessel of rage to a vulnerable young person hoping for change. Caught in a web of pain, rage, and broken dreams, Carey Mulligan’s character cannot imagine an alternative web of healing and mercy.
The supporting cast also is very strong: Bo Burnham as Ryan Cooper, a pediatric surgeon and love interest for Cassie, Alfred Molina as a conscience-struck lawyer filled with regrets, and Allison Brie as a medical school classmate.
Promising Young Woman is one of the darkest, most painful films I have seen in a very long time. It may stay with you for days after viewing, clotting your thoughts and feelings on this brutal subject.
The movie delivers its sucker punch when you least expect it. Not for everyone but for those who are intrigued by the relentless depth into human crimes and misdemeanors, don’t miss it!
Note: This film has echoes of “13 Reasons Why”, “Lila and Eve”, the classic “Goodbye Mr. Goodbar”, and “Killing Eve”.
This 2020 Italian drama stars Sophia Loren in an adaptation of the Romain Gary novel, The Life Before Us. Directed by Sophia Loren’s son, Edoardo Ponti, The Life Ahead is the third film based on Gary’s novel.
The Life Ahead has two main characters: Madame Rosa, an octogenarian ex-prostitute and former Holocaust survivor, and a 12-year old Somalian child. To support herself Madame Rosa cares for the children of local sex workers in her apartment. Consequently, Rosa is the glue in her neighborhood and the lifeline for women desperate to maintain a sense of motherhood as they prostitute themselves.
Near the end of Madame Rosa’s life, 12-year old Momo (a vivid performance by Ibrahima Gueye), abruptly is thrust upon her. A local doctor who has been trying to find a foster home for Momo pleads with Rosa to accept the Somalian child into her informal daycare center.
A Muslim boy from Senegal, Momo has no memory of Senegal, except for the trauma of watching his father kill his mother when she refused to prostitute herself. Abandoned by the father, now Momo is a tough, angry, and lonely street kid who makes money selling drugs. Madame Rosa suspects the boy is engaging in criminal acts and endangering his future. She wheedles a local store-owner (Babak Karimi, from “The Salesman” and “A Separation”) into giving Momo a job a couple days a week in his carpet store.
Very slowly Momo starts to open his heart, first towards another little boy he shares a room with at Madame Rosa’s. Then with the carpet store owner who shows him how to repair valuable rugs, and finally with the small community of women who wish to protect Madame Rosa as she starts to decline. Most of all, however, it is the Momo-Madame Rosa friendship which becomes fierce and protective. When Rosa most needs support to fulfill her dream, she tells Momo: “You’re a little shit but I know you keep your word.”
Momo very gradually learns to understand and appreciate Madame Rosa, taking in all she gives him . Through their pain and fear and need, they still see beauty: in the boy’s drawings and in the old woman’s memories of her childhood. Momo draws lions when his memories become unbearable. When Madame Rosa’s trauma is too much, she retreats into the building’s basement to listen to her music. Almost incredibly, both characters are still capable of acts of great generosity. Both the very young and the very old are exceptional as they forge their friendship, despite their scars and unhealed wounds.
Sophia Loren’s Madame Rosa is alternately imperious and vulnerable, warm and cranky, strong and fragile. It is a heroic role for her. She foregoes cosmetically softening that once glamorous and beautiful face for one that is almost unrecognizable. But it is a masterful decision for her to make. Loren’s exterior has been toughened for this role. In those moments when she is trying to protect her traumatized soul, Loren seems truly broken and unreachable. Except for the boy. Theirs is an unlikely friendship, to say the least. Momo has never heard of Auschwitz—he thinks she is saying “house witch”.
A small but surprising film, quirky with only a bit of a saggy middle and an unnecessarily weak ending. Charming and endearing performances make a sometimes ordinary story quite masterful. Highly recommend.
Availability: Netflix streaming; released on November 6, 2020.
Toni Morrison (1931-2019), the 1993 Nobel Prize winner in Literature, was a complex artist who did not hold back from confronting the worst of human history. The documentary, Toni Morrison: Pieces I Am, is a historical panorama of a slice of history dating from the 1930’s until the conclusion of the film in 2019. Morrison emerges as a powerful, iconic, and formidable moral and intellectual force. The film gives us a retrospective of her groundbreaking novels which challenged the literary status quo, rewarding the reader with imagining black lives on their own terms, devoid of the “white male gaze”.
Toni Morrison, born in Lorain, Ohio, a steel-town she remembers as being integrated, recalls experiencing segregation in the 1950’s only after she arrived in Washington, DC to attend Howard University. She published much later than most writers, but her college experience textured her writings. She wrote from the vantage point of wounded women who had the strength and will to find often unexpected and hard-won redemption and triumph, not victimhood. But her novels speak to people globally, to their traumas and their joys, in a language which is pure inspiration. Places and people– previously invisible or unnoticed– become powerful voices.
The documentary deftly reveals that Toni Morrison’s work is the essence of beautiful storytelling. Despite the fact that her novels are about private pain as well as collective trauma, both raw and searing, tender and compassionate, Toni Morrison is an electrifying and positive personality. Perhaps startling, — given the dark and sobering themes of her novels,– the viewer sees an ebullient, charismatic and theatrical mind of extraordinary talent: both buoyant and vivacious. Friends repeatedly describe her as a party-goer who loves clothes and is joyful in being herself and celebrating any occasion with friends. Many were invited to her Nobel Prize parties. But she doesn’t tolerate fools easily, either.
First and foremost, Morrison is a literary warrior reflecting the dark mirror of untold truths, things unsaid. When asked by Dick Cavett on his nightly talk show if she dislikes being praised as a Black writer, she beams and answers that she is proud of being a Black woman writer but cringes at being asked that question by white interviewers.
Blowback was inevitable in the context of her meteoric rise in popularity. The New York Times declared Morrison too talented to “remain a recorder of black provincial life” in its review of her book, Sula. The mid-1980s furor that followed resulted in a petition signed by prominent Black authors urging that Morrison be given a major literary prize. In 1993 it was in Europe that her magnificent work was first awarded the highest honor any author can receive: the Nobel Prize in Literature.
But we also see a private, delightful writer who has the heft and electrical charge of a powerhouse to be reckoned with. Her prose is intricately woven with intelligence, wit, unpredictability, toughness and fearlessness. And so is the woman–who challenged the inflection and fantasy of the American dream in every sentence she spoke publicly and in every line she wrote. Moving photographs–some of her family threaded together with 19th-century engravings and contemporary art by Kerry James Marshall, Jacob Lawrence, and Romare Bearden among others–contribute to the memorable beauty of Toni Morrison and the world she has created.
I watched this and was transfixed. The wisdom of Ms. Morrison is eternal…it touches us all.