January 30, 2011 by Post Team
Dream Girls, Hollywood is generally impervious to embarrassment, but maybe one of those moments when the signal that the industry should engage in a little introspection on the image he projected to the outside world. At the time of the Oscar, the projector is on show business, which in a country increasingly proving to be a multicultural company that is as white on the outside as it is inside.
Latino and black actors can get parts as soldiers in an action movie or comic sidekicks in a comedy, but when it comes to the nature of dramatic roles that attract Oscar attention, they need a helping Luckily, as one Mo’Nique got to have a black filmmaker making the right choice of casting. Or that of Jennifer Hudson won with her role in “Dreamgirls” imposed on the scene. Or that Morgan Freeman won, landing an Oscar nomination last year by Nelson Mandela in “Invictus,” because he has a long experience of working with Clint Eastwood.
What does this have to do with the Oscars? Films that end up being nominated for Oscars are usually works of love and are rarely the kind of action hero easily accessible or widely comic characters that respond to a studio on the sensitivity of baseline. If you do not have a person of color in the room where the decision goes, fervently arguing why a film should be introduced into the world, it is extremely difficult for a project revolving around characters Afro- U.S. to emerge with a green light or any substantial financial support.
For a change of pace, in Dreamgirls, Bill Condon’s novel in 2006-a-key musical starring Jamie Foxx, Beyoncé Knowles and Oscar winner Jennifer Hudson, shown tonight in all its glory of three hours. (ABC, 8 ET / PT.
There are moments of genuine emotional majesty in Jeremiah Johnson, a relatively little-known 1972 American western directed by relative unknown and Sydney Pollack and starring a young Robert Redford.
Redford plays the title character, a veteran tired of the war 1846-’48 Mexican-American who seeks refuge and solace in becoming a recluse in the Rocky Mountains remain as a trapper and guide for the occasional rental in the snow in the mountains smothered password.
First, Jeremiah Johnson today may seem old and worn: He played in theaters at a time when the West had a difficult time. Classic westerns of John Ford and John Wayne were a distant memory, replaced by the more cynical, stylish westerns of Sergio Leone and Clint Eastwood.
Jeremiah Johnson was written by John Milius and Edward Anhalt by Raymond Thorp and Robert Bunker historical biography Crow Killer: The Saga of Liver-Eating Johnson, the 1840 real-life mountain man “Liver Eating Johnson.”
The story is both traditional – the theme is good, old American independence in the face of physical suffering and danger – and forward-thinking: Jeremiah Johnson was one of the first of a new wave of movie Westerns to represent In crude terms and painfully realistic, tension between the difficult early settlers of the western United States and the Crow and indigenous tribes of the Blackfoot in the region.
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