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REVIEW: “Respect” Offers Moving Insight and Homage to Aretha Franklin’s Faith, Artistry and Legacy

REVIEW: “Respect” Offers Moving Insight and Homage to Aretha Franklin’s Faith, Artistry and Legacy

By goodblacknews on August 13, 2021

by Lori Lakin Hutcherson (@lakinhutcherson)

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.”

Underpinning the emotional storytelling of Aretha’s narrative is the impactful and moving score, which composer Bowers, who was befriended by Aretha in 2011 when he won the prestigious Thelonious Monk Jazz Competition, crafted with thoughtful intention and care:

“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.”

_________________________________________________________________

FROM METRO GOLDWYN MAYER PICTURES, IN ASSOCIATION WITH BRON CREATIVE AND ONE COMMUNITY

RESPECT, in theaters nationwide August 13, rated PG-13

DIRECTOR: Liesl Tommy

SCREENPLAY BY: Tracey Scott Wilson

STORY BY: Callie Khouri and Tracey Scott Wilson

CAST: Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, Kimberly Scott, Saycon Sengbloh, Hailey Kilgore, Heather Headley, Skye Dakota Turner, Tate Donovan and Mary J. Blige

PRODUCERS: Harvey Mason Jr., Scott Bernstein, p.g.a., Jonathan Glickman, Stacey Sher

EXECUTIVE PRODUCERS: Jennifer Hudson, Liesl Tommy, Sue Baden-Powell, Aaron L. Gilbert, Jason Cloth

Chadwick Boseman and Ryan Coogler on How ‘Black Panther’ Makes History | Variety

By goodblacknews on February 5, 2018
Black Panther Variety Cover
CREDIT: ART STREIBER FOR VARIETY

by Ramin Satoodeh via Variety.com
Chadwick Boseman struggled to catch his breath after he was cast as Black Panther. When he first tried on his spandex suit for 2016’s “Captain America: Civil War,” it felt too restricting. “It was suffocating,” recalls Boseman. “Literally, it closed off every possibility of air getting to you. I was in it, put the mask on. I said, ‘Hey, you got to get me out of this!’” By the time he headlined his own movie, as the first black Marvel superhero with his name on the poster, Boseman was more comfortable in his re-engineered costume. “I think it begins to feel like skin after a while,” says the 41-year-old actor. “But it takes time to get to that place.”
The same can be said for Disney’s long-awaited tentpole “Black Panther,” which opens in theaters on Feb. 16. For decades, actors, directors, producers and fans have wondered why Hollywood was so slow to bring black superheroes to the big screen. It’s not that there weren’t attempts along the way. In the ’90s, Warner Bros. had originally tapped Marlon Wayans to portray Robin in a “Batman” movie, before Chris O’Donnell landed the sidekick role. Wesley Snipes starred in the vampire superhero franchise “Blade,” which spawned two sequels. In 2004, Halle Berry headlined “Catwoman,” which was ridiculed by critics and tanked at the box office. And 12 years later, Will Smith, the co-star of the juggernaut “Men in Black,” popped up in “Suicide Squad” as the under-seen assassin Deadshot.
“Black Panther,” directed by Ryan Coogler, is a movie that doubles as a movement, or at least a moment that feels groundbreaking in the same way that last year’s runaway hit “Wonder Woman” inspired millions of women. “Panther” marks the first time that a major studio has greenlit a black superhero movie with an African-American director and a primarily black cast, including Forest Whitaker, Angela Bassett, Michael B. Jordan, Lupita Nyong’o, Danai Gurira and Letitia Wright as Shuri, the princess of the fictional African country Wakanda.
The reality of this milestone isn’t lost on Coogler, the 31-year-old director of the Sundance darling “Fruitvale Station” and the “Rocky” sequel “Creed.” “I think progress comes in ebbs and flows,” Coogler says. “I hope things continue to open up. As more content gets made, more opportunities like ours can come about for folks. But you’ve got to put your foot on the gas when it comes to that or things can go back to where they were.”
“Black Panther” chronicles an origin story for a Marvel character who first made his debut in the comic books in 1966. On the big screen, he’s a warrior named T’Challa, who returns home to an Afro-futuristic country to inherit the throne as king. The release of the movie coincides with a crossroads in America. Racial tensions are heightened as a result of a president who continually makes reprehensible remarks about immigrants from nonwhite countries. “Black Panther” also arrives on the heels of #OscarsSoWhite, the two consecutive years (2015 and 2016) that the Motion Picture Academy failed to nominate any actors of color for awards.
Anticipation for the release of “Black Panther” is much higher than for the last outings from Batman and Thor. In May 2016, the hashtag #BlackPantherSoLIT started trending on Twitter as casting details around the movie emerged. “Panther” is poised to break box office records for February, a typically quieter time as audiences catch up on romantic comedies around Valentine’s Day. Marvel’s latest crown jewel is tracking to gross an estimated $150 million on its opening weekend. Strong business for “Black Panther,” which cost nearly $200 million to produce and roughly $150 million more to market, would send a clear message to the movie industry that certain communities are still widely underserved. While domestic ticket sales plummeted last year, the number of frequent African-American moviegoers nearly doubled to 5.6 million in 2016, according to a survey by the Motion Picture Assn. of America.
Some are paying attention. “Representation matters,” says Alan Horn, chairman of Walt Disney Studios, which owns Marvel. “It’s a powerful and important thing for people to know they are seen and to see themselves reflected in our films and the stories we tell.” Horn believes that “Black Panther” is part of a wave of change. “In terms of gender diversity, we’ve done very well,” he says, pointing to his studio’s own roster that includes “Beauty and the Beast,” “Coco” and the upcoming live-action “Mulan.” “When it comes to diversity reflecting color and ethnicity, I’d say yes, you will see more.”

Forest Whitaker To Direct Long-Stalled Richard Pryor Biopic

By goodblacknews on March 29, 2013

Forest Whitaker takes his daughters shopping at Urban Outfitters in Studio City, California on March 17, 2013
The long-gestating Richard Pryor biopic is starting over from scratch with Forest Whitaker now in charge.
Fresh from producing the Sundance Grand Jury Prize and Audience Award winner “Fruitvale,” Whitaker has taken over the nearly two-decade effort to bring the legendary comic’s life of the big screen, reports Deadline.com.
Whitaker is teaming with the late comic’s widow, Jennifer Pryor, to produce the film through his Significant Productions shingle. Whitaker will develop a new script with input from Jennifer Pryor, and Significant Productions’ Nina Yang-Bongiovi, will also produce.
The Pryor biopic has been attempted numerous times, and the most recent version had Bill Condon poised to direct Marlon Wayans in the starring role for Sony Pictures, where Adam Sandler’s Happy Madison had set the project. Condon was certainly passionate about Pryor, but everything took a back seat when he signed on to helm the final two “Twilight Saga” installments. The project languished.
The first Pryor project was a Martin Scorsese-directed drama to star Damon Wayans, this well before Pryor died in 2005. Later, there was a Showtime pic that was to star Eddie Griffin and another attempt at a feature that was to star Mike Epps with Kasi Lemmons directing.
Condon’s first flirtation had Eddie Murphy briefly interested, and then Chris Rock was briefly in the conversation.
The question now is, who will be Whitaker’s Richard Pryor?  Deadline.com’s Mike Fleming Jr. thinks he should look no further than his “Fruitvale” star, Michael B. Jordan, “who by all accounts crushed it in that film.”
Fleming writes: “Jordan, who grew up playing roles in ‘The Wire’ and ‘Friday Night Lights’ before starring in ‘Chronicle,’ certainly has the charisma and should be established enough as the lead on a modestly budgeted film after The Weinstein Company releases ‘Fruitvale’ later this year.”
article via eurweb.com

BET Tops Cable Ratings with Debut of ‘Real Husbands’ and ‘Second Generation Wayans’

By goodblacknews on January 17, 2013
'Second Generation Wayans'

‘Second Generation Wayans’

Tuesday night BET premiered two new scripted series, the Real Husbands of Hollywood starring Kevin Hart, Boris Kodjoe, Nick Cannon, Robin Thicke, Duane Martin and J.B. Smoove, and Second Generation Wayans featuring Damien Dante Wayans, Craig Wayans, and Tatyana Ali.
The two news shows beat out all the competition.
According to the Hollywood Reporter the new shows topped “all of cable and rivaling most broadcast efforts during the 10 p.m. hour.”
The Real Husbands of Hollywood, a comedic spoof of the Real Housewives franchise, pulled in 4.1 million viewers during its 10:00 p.m. premiere. When combined with its 11:00 p.m. encore, the premiere episode attracted 6.5 million total viewers.
Second Generation Wayans debuted at 10:30 p.m., pulling in 3.4 million total viewers. When combined with its 11:30 p.m. encore, the premiere episode attracted 4.7 million total viewers. In total, BET’s entire Tuesday night scripted block drew over 11 million total viewers.
According to a press release from BET, Real Husbands of Hollywood and Second Generation Wayans “are now this season’s top 2 sitcom premiere telecasts on cable (not just on BET).”
Tuesday night the Real Husbands of Hollywood hashtag #RHOH was the number one trending topic worldwide on Twitter.
article by Chris Witherspoon via thegrio.com