Academy Award-winning filmmaker Spike Lee will be honored with the lifetime achievement award for his contributions to motion picture direction from the Directors Guild of America (DGA), according to Variety.com. The award is the organization’s top hono\.
“Icon. Trailblazer. Visionary. Spike Lee has changed the face of cinema, and there is no single word that encapsulates his significance to the craft of directing,” said Lesli Linka Glatter, president of the DGA. “From his groundbreaking Do the Right Thing, BlacKkKlansman and everything in between — to his signature ‘double dolly’ shot, Spike is an innovator on so many levels. His bold and passionate storytelling over the past three decades has masterfully entertained, as it held a stark mirror to our society and culture.”
New York University film school alum Lee began his motion picture directing career by helming the independently produced She’s Gotta Have It, released in 1986, which in 2017 was adapted into a series for Netflix and in n 2019, was selected for preservation in the United States National Film Registry by the Library of Congress.
Some of Lee’s other notable films are School Daze, Mo Better Blues, Malcolm X, Jungle Fever, He Got Game, Clockers, Inside Man, Girl 6, Get on The Busand his most recent release, Da 5 Bloods on Netflix.
Lee has also directed several award-winning documentaries, including 1997’s 4 Little Girlsabout the Alabama church bombings in 1963, and 2006’s When the Levees Broke, about Hurricane Katrina and the injustices and devastation it wrought on New Orleans and its Black and low-income communities.
Only 35 directors have been honored with the DGA lifetime achievement award since it started in 1953 (Cecil B. DeMille was the first recipient).
Lee is the first Black director to receive the award which will be given at the DGA’s 74th annual awards ceremony on March 12.
Sidney Poitier, whose portrayal of self-possessed, unapologetic and dignified characters in films such as To Sir With Love, In the Heat of the Night and Guess Who’s Coming to Dinner established him as Hollywood’s first Black box-office star and Academy Award winner for Best Actor (for Lilies in the Field), has died at 94.
Though born in Miami, FL ,Poitier grew up primarily in the Bahamas. As an adolescent he returned to the U.S., eventually making his way to New York, washing dishes as he struggled to become an actor. He soon landed theatre roles but broke through as an emerging talent primarily in film.
Breakout movie dramas like No Way Out, Blackboard Jungle and The Defiant Ones set the stage for Poitier’s superstardom. In 1959, Poitier returned to New York theater to star in the Broadway production of Lorraine Hansberry‘s A Raisin in the Sun and its 1961 film adaptation.
Movies especially beloved starring Poitier were the ones he also directed, such as the action comedies Uptown Saturday Night, Let’s Do It Again, and A Piece of the Action. Poitier also scored a massive hit as director of the classic Richard Pryor 1980 comedy Stir Crazy.
To see Poitier’s extensive filmography, click here. And to see one of the most iconic film moments ever delivered by Poitier, check out the clip from In The Heat of the Night below:
A Year of Good Black News, written by yours truly, is filled with facts, history, bios, quotes, jokes and trivia in easy-to-read entries delivered on the daily.
The calendar’s official drop date is Tuesday, October 12, and if you pre-order at Workman.com using the code: GOODBLACKNEWS from now until December 31, you will receive 20% off.
A Year of Good Black Newsoffers fun Black facts about inventors, entrepreneurs, musicians, comedians, historians, educators, athletes and entertainers, as well as info shared in fun fact categories like “Lemme Break It Down: Black Lexicon,” “We Got Game: Black Trivia,” “Get The Knowledge: Black Museums and Landmarks” and “You Know We Did That, Right?: Black Inventors.”
Here’s a sneak peek inside:
Although I’m biased because I wrote it, the A Year of Good Black News Page-A-Day 2022 calendar is an awesome way to get inspired every day by the good things Black people do (and have done) for centuries, but haven’t always been widely known or shared.
Well, no more! If this site is for you, this calendar is, too!
It’s also a great gift for family members, friends, teachers, kids and loved ones. Did I mention if you use the code: GOODBLACKNEWS at Workman.com, you get 20% off?
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Well, Aretha stans, the movie moment we’ve long been waiting for is finally –FINALLY– here. Today, just three days shy of the third anniversary of her passing, the MGM feature film about the one and only Queen of Soul, Respect, hits theaters nationwide.
As Editor-in-Chief of Good Black News (and not-so-undercover Aretha Franklin freak), I was able to attend a press screening of the movie a few weeks ago, as well as interview its writer Tracey Scott Wilson (The Americans) and original score composer Kris Bowers (The United States vs. Billie Holiday, Space Jam: A New Legacy, King Richard).
Directed by Tony Award nominee Liesl Tommy from a screenplay by Emmy Award nominee Wilson and starring Academy Award-winning vocal powerhouse Jennifer Hudson (who also executive produced), Respect is a treasure not only because it is a film about a Black woman made by Black women, but also because it satisfies on every level — visually, musically, and dramatically.
“Liesl wanted this to be a movie about and for and with and celebrating Black women because that’s what Aretha did her entire life,” writer Wilson said. “That was one of her missions in life, to honor Black women and put them front and center.”
The biopic covers a span of approximately 20 years in Franklin’s life, from her youthful choir solo singing in her father’s church to recording and producing Amazing Grace, a live double album of gospel music in the church of early teacher and friend Rev. James Cleveland (warmly and lovingly portrayed by Tituss Burgess).
Jennifer Hudson stars as Aretha Franklin and Forest Whitaker as her father C.L. Franklin in RESPECT (Photo credit: Quantrell D. Colbert)
Performances across the board are top notch – Hudson not only understood the assignment, she embodied it and transcended it by capturing Aretha’s quiet and graceful exterior while navigating how to express the caldron of explosive feeling and creativity within.
Forest Whitaker‘s note-perfect performance as Aretha’s formidable, flawed, savvy and controlling preacher father C.L. Franklin again proves why he is a lauded master of the craft.
As Aretha’s first husband and manager Ted White, Marlon Wayans charms with his nuanced combination of sexiness, intelligence and manipulation that make the dynamic of White and Franklin’s relationship live so well in the gray areas of both real and fatal attraction, especially when it gets violent.
Although they had limited screen time, Audra McDonald has so much gravity and grace as Aretha’s mother Barbara Franklin, she is broken spirit personified and Mary J. Blige pops off the screen as Aretha’s mentor/menace/musical motivator Dinah Washington.
Actor Jennifer Hudson and director Liesl Tommy on the set of RESPECT (Photo credit: Quantrell D. Colbert)
Tommy’s direction is as subtle as it is rich and powerful — the movie doesn’t feel like a movie if you know what I mean — but like an inside look into a lived experience. Franklin remains a mystery in many ways, which I found to be an insightful nod to Aretha’s own choice and agency to fiercely protect and guard her interior life.
Tommy and Wilson take what is known about the relationships and traumas in Franklin’s life and, like Franklin, let their fullest expression explode like dynamite through the music.
The way the music is presented within the storytelling (not to mention Hudson’s astounding vocals), from the expected highs like “Respect” or the emotional, fractured rehearsal of “Precious Memories,” is ambrosia for the ears, heart and soul.
The creation of “Ain’t No Way” in the movie plays as a grand glimpse into Aretha’s musicality and artistry as well as her connection with her sisters Erma and Carolyn (younger sister Carolyn Franklin wrote the song and is teaching it to Aretha in the scene) and this pivotal moment is a stand out.
According to Wilson, not only is that song a favorite of director Tommy, it also pays homage to rarely seen ABC news documentary footage of the same:
“It’s just them in rehearsal, and it’s Carolyn teaching her the song that she wrote. I must have watched that video like 100 times. Just seeing the dynamic between them — Ted White is standing there, the Muscle Shoals guys are standing there — and she’s just teaching her this song,” Wilson said.
“And Carolyn could read music and Aretha couldn’t, so she’s speaking to her not only in a way musically that Aretha can understand but she’s also speaking to her as a sister. And just seeing that I knew it had to be in the movie because it so encapsulates their relationship so well, it captures Carolyn’s brilliance, it captures their sisterly camaraderie and love, and also the dynamic of Ted who’s there who is clearly becoming just an appendage and not the main attraction anymore.”
“Liesl had in mind that the score was going to handle a lot of her trauma in the story and that was going to be the focal point of the score. And the other thing that I started to feel was revealing itself in the story… is how much she’s finding her way back to God and her faith and church and also in a lot of ways this pure connection she had with her mother.”
The score itself, Bowers said, was loosely inspired by the sound of the church, which, as Aretha’s life and career highs and lows unfold, is calling her back to it.
“A lot of the textures are organ sounds… and I just kind of stretched them out and did different things to them to create more of a texture and layers on top of the score.”
“The theme itself not only was meant to feel somewhat like a hymn but her trauma theme is actually her mother’s theme in reverse. A lot of [the score] is trying to find ways to create some sort of throughline to that so it can continue to pull her toward that calling of God and her faith.”
As a bonus, the film’s final moments close with the actual footage of Aretha’s unparalleled Kennedy Center Honors performance of “Natural Woman” from 2015. It’s such an outstanding narrative choice, it brought tears to the eyes of this Aretha devotee.
Although the film passes quickly through Aretha’s Columbia records output and ends well before her transition to her Clive Davis and Arista years, it’s an impressive exploration of, to paraphrase Wilson, “the woman with the greatest voice in the world finding her own voice.”
[Photo: Charlie Wiggins via For Gold and Glory on PBS]
According to deadline.com, the story of Charles “Charlie” Wiggins, the most famous African American race car driver of the 1920s and 1930s, will be told in the feature film Eraced. Producing partners on the film will include racing brands Firestone and IndyCar.
Eraced will chronicle the victories and struggles of the once-legendary-now-little-known Charlie “Speed King” Wiggins, who worked his way from shoe shine to mechanic to star racer despite the brutal inequities of segregation and Jim Crow laws.
After being barred repeatedly from whites-only racing events, Wiggins took the parallel Colored Speedway Association by storm and won the prestigious annual Gold and Glory Sweep-stakes four times between 1926 and 1935. When he suffered a career-ending injury in 1936, Wiggins had to deal with exorbitant medical bills and died almost penniless.
Wiggins will be inducted into the Automotive Hall of Fame next week in Detroit.
It’s no secret that I’m a die-hard Aretha Franklin stan. Have almost all the records, read all the books, seen all the documentaries, the concert film, watched the limited series, made several Spotify playlists (because one will never ever be enough).
So it should be no surprise the wait for the MGM feature Respect starring Academy Award winner Jennifer Hudson, delayed from release last year due to the pandemic, has been a long one for me. And from the looks of this featurette, it will have been well worth it:
This featurette excites me not only for the music and what look to be great performances from Hudson, Mary J. Blige as Dinah Washington and Forest Whitaker as Aretha’s father, Reverend C.L. Franklin, but also because of what director Liesl Tommy and screenwriter Tracey Scott Wilson say in it about their approach to the film.
How does the woman with “the voice” find her voice? Knowing that the filmmakers focused on dramatizing Aretha’s artistic journey and how she “musicalized her lived experience,” makes me feel like Respect will be The One.
It also helps greatly to know Franklin’s family supports the movie – her cousin Brenda Franklin-Corbett, who sang backing vocals for Aretha, even appears in the featurette.
Respect will be released in theaters on August 13.
And… bonus…
“Here I Am,” an original song recorded by Hudson for the film, recently became available on several streaming platforms, including Spotify. Check it out!
Producer, actor and entreprenueur Marsai Martin (Black-ish, Little) will executive produce Girls Inc.’s inaugural film festival, which will be held virtually this June 13 starting at 4pmPT/7pmET.
Amber Ruffin, creator and star of Peacock‘s The Amber Ruffin Show, takes on hosting duties for the ticketed festival that will also include appearances by Tracee Ellis Ross, Venus Williams, Hoda Kotb, and Tina Fey.
The ticketed fest will feature live and pre-taped appearances as it offers a series of short films featuring “an inspiring group of girls and young women who represent a new generation of leaders and change,” per Girls Inc. Renée Elise Goldsberry, Darnell Martin, Melinda Hsu Taylor, Busy Philipps and Amber Stevens West directed the projects.
During a VIP reception, Martin and Fey will host a panel to discuss the next generation of female producers. Later, during the program Girls Inc. will hand out a series of honors to Netflix’s Bela Bajaria, Walgreens Boots Alliance’s Rosalind Brewer, ballerina Misty Copeland, Schultz Family Foundation’s Sheri Kersch Schultz, and Moderna COVID-19 vaccine developer and Harvard T.H. Chan School of Public Health assistant professor Dr. Kizzmekia Corbett. Also booked to perform during the event is Broadway and recording star Shoshana Bean.
Girls Inc. president and CEO Stephanie J. Hull said the inaugural festival is an “exciting opportunity” for girls to share their experiences through film. “The event will feature compelling stories from a group of girls and young women who represent a new generation of leaders and changemakers. Collaborating with Marsai Martin on this endeavor is a dream come true — she leads by example and inspires girls everywhere to believe in themselves and see no limit to their potential.”
Said Martin: “It gives us a chance to spotlight the next generation of talented filmmakers. It’s also important that we give young girls an opportunity to use their voices.”
Tickets to the virtual event and more information can be found here.
Many may know Lorraine Hansberry as the award-winning playwright of the now-classic 1959 Broadway play A Raisin in The Sun, adapted into a 1961 movie starring Sidney Poitier and Ruby Dee in 1961, and remade for television in 2008 starring Phylicia Rashad, Audra McDonald, Sanaa Lathan and Sean Combs.
Some may know of her family’s fight to end restrictive housing covenants in Chicago that went all the way to the U.S. Supreme Court (Hansberry v. Lee), or of her civil rights activism and advocacy for universal healthcare, women’s rights, and for the demise of colonialism and imperialism.
A few may even know of her embrace of her queer identity and desire to fight for gay rights at the end of her life.
I know all of these things because my personal connection to Lorraine Hansberry started when she became the first (and only) Black woman writer I got to read as a part of English curriculum in either middle school or high school in the 1980s.
We read Raisin In The Sun as a class in 11th grade AP English. So when my teacher Dr. Victor had his students spend our spring semester studying one author in depth of our own choosing, I chose Lorraine.
Although the COVID-19 pandemic disrupted movie releases in theaters for the majority of 2020, the UCLA report took that into consideration and tracked online and streaming movie releases as well. The data from those releases offer similar results — diversely-cast films generate more interest from audiences.
UCLA’s 2021 report states that in 2020, films with casts with at least 41% to 50% diversity took home the highest median gross at the box office, while films with casts less than 11% diversity performed the worst.
These films include the Will Smith/Martin Lawrence action comedy Bad Boys for Life, which was 2020’s top-earning film at the box office with $426.5 million; the No. 2 Tenet starring John David Washington, which grossed $362.9 million; Birds of Prey, which came in at No. 5 with $201.9 million; and Onward, which came in seventh with $141.9 million.
The UCLA report states that the new evidence from 2020 supports findings from previous reports in this series suggesting that America’s increasingly diverse audiences prefer diverse film content in the following ways:
People of color accounted for the majority of opening weekend, domestic ticket sales for six of the top 10 films released in theaters in 2020 (ranked by global box office), as well as half of the tickets for a seventh top 10 film.
Among the large number of top films released via streaming platforms in 2020 — largely due to the pandemic and theater closures — ratings for White, Black, Latinx and Asian households and viewers 18-49 were all highest for films featuring casts that were from 21 percent to 30 percent minority.
Households of color accounted for a disproportionate share of the households viewing eight of the top 10 films released via streaming platforms in 2020, ranked by total household ratings, and approached proportionate representation for the other two.
In 2020, total social media interactions for films released via streaming platforms peaked for films with casts that were from 21 percent to 30 percent minority.
In 2020, films with casts that were from 41 percent to 50 percent minority enjoyed the highest median global box office receipts, while films with casts that were less than 11 percent minority were the poorest performers.
In 2020, seven of the top 10 theatrical films for Asian and Black moviegoers, ranked by each group’s share of opening weekend box office, featured casts that were over 30 percent minority. Four of the top 10 theatrical films for Latinx moviegoers and just one of the top 10 theatrical films for White moviegoers had casts that exceeded 30 percent minority.
Seven of the top 10 streaming films ranked by the Asian share and Black share of total households had casts that were over 30 percent minority in 2020. Among the top 10 films ranked by Latinx and White household share, six had casts that exceeded the 30 percent minority threshold.
The report also notes that while gains have been made in certain areas in regards to casting, director and writer representation for people of color still has a ways to go, with percentages for both in 2020 were still over 74% white.
In 2019 when Ruth E. Carter won the Academy Award for her work on Disney/Marvel’s 2018 global box-office smash Black Panther, she made history as the first Black woman to receive the Oscar for costume design.
Carter made history again today as she became the first Black and only the second costume designer ever (Edith Head was the first) to receive a star on the Hollywood Walk of Fame.
Carter started her costume design career on films with Spike Lee including School Daze, Do The Right Thing and Malcolm X. Carter also worked on Amistad, The Five Heartbeats, What’s Love Got to Do With It, How Stella Got Her Groove Back, Lee Daniels’ The Butler, Selmaand most recently, Coming 2 America, which debuts March 5 on Prime Video.
Carter currently sits on the Academy of Arts and Sciences Board of Governors and recently started the Mildred Blount Scholarship Fund in honor of “the Black woman who did the millinery work in Gone With the Wind” who was the first African American member of the Motion Pictures Costumers Union.
You can watch a recap of Carter’s career, tributes from Oprah Winfrey,Eddie Murphy and the virtual Walk of Fame ceremony below:
