While our #MusicMonday main man and selector Marlon West takes a well-earned break from creating thoughtful and unique playlists exploring the musical diaspora, I’m stepping in to post two curations honoring the woman of the weekend, Aretha Franklin.
Respect, the MGM biopic starring Jennifer Hudson as the Queen of Soul, was released exclusively in theaters this past Friday and earned almost $9 million in its first weekend. In addition to being a satisfying film experience, Respect makes you appreciate even more how creative and intelligent Aretha was in her musical expression across all genres.
In addition to being an unparalleled singer who could turn tunes by other artists into her own signature songs, Franklin also composed, arranged and produced several of her biggest hits.
In honor of those aspects of her genius, I offer the playlists “How I Got Over”: Aretha Franklin’s Cover Songs, which includes (of course) “Respect,” by Otis Redding, “Until You Come Back To Me” by Stevie Wonder and “Spanish Harlem” originally recorded by Ben E. King:
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.”
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!
Nia DaCosta, director of the upcoming MGM/Universal Candyman remake, will helm the sequel to Captain Marvel, becoming the first black woman to direct a film in the Marvel Cinematic Universe.
According to The Hollywood Reporter, 2019’s Captain Marvel was the first Marvel movie to feature a solo female lead. The sequel will again follow Brie Larson‘s adventures as Carol Danvers, fighter pilot turned superhero, this time written by WandaVision scribe Megan McDonnell.
The Captain Marvel sequel would also mark the fourth time a female director has steered an MCU film — and the third time they’ve done it solo. The first solo female director Marvel announced was Black Widow‘s Cate Shortland in July 2018, while the first Captain Marvel film was led by the directing duo of Anna Boden and Ryan Fleck.
Captain Marvel2 is currently scheduled for release on July 8, 2022.
GBN would like to take a moment to commemorate the birth of one of the most talented musicians to ever grace planet Earth, Aretha Louise Franklin, on what would have been her 78th birthday.
Although 2020 will offer memorials to the Queen in the form of MGM‘s theatrical movie “Respect”starring Jennifer Hudson and the limited series under National Geographic Channel’s “Genius” banner starring Cynthia Erivo, it’s doubtful either will focus on an oft-overlook aspect of Franklin’s myriad talents: her songwriting.
Above you can watch Aretha performing “Think,” one of her best-known compositions in a clip from The Blues Brothers, while below you can listen to even more gems penned by Aretha in a Spotify playlist called “Rock Steady”: Songs Aretha Franklin Wrote:
According to rollingstone.com and deadline.com, Chance the Rapper is augmenting his long list of side projects by partnering with Haight Films and Tradecraft to produce a new movie musical called Hope for MGM. Hope follows a group of teenagers who turn “art into [community] action.”
Since Chance’s rise to national prominence with his music, he’s also expanded into politics, activism and philanthropy, including improving mental health services in Chicago, launching #SaveChicago with his father to combat gun violence, and funding programs for Chicago’s public schools.
Chance’s longtime musical collaborator Nico Segal — formerly known as Donnie Trumpet — is in charge of the music for the film. Segal has worked with Chance for his entire career, and helmed Surf, The Social Experiment’s 2015 album. Carlito Rodriguez, a writer for Empire and The Leftovers, will write the script.
Chance the Rapper became the first streaming-only artist to win a Grammy Award for his album Coloring Book, which became the first to chart on the Billboard 200 based solely on streaming, rising to Number 8. On the social activism front, Chance has long given back to the Chicago community he grew up in and that includes; donating $1 million to local schools; and creating Social Works, an organization aimed at empowering youth through arts, education and civic engagement within the city. The movie furthers that message of empowerment.
Chance’s longtime manager Pat Corcoran, said: “From day one, our mission at Haight Films has been to apply Haight Brand’s artist-first and Chicago-proud ideology to the film space. We are incredibly excited to be working alongside Chance, MGM and Scott Bernstein [of Tradecraft] to bring this vision to life.”
Michael B. Jordan (ROB LATOUR/VARIETY/REX/SHUTTERSTOCK)
article by Lori Lakin Hutcherson (@lakinhutcherson)
According to Variety.com, Michael B. Jordan (“Fruitvale Station”, “Creed”)is slated to star in MGM Studio’s second remake of the heist thriller “The Thomas Crown Affair.”
The reboot is in early development stages and has no producer, writer or director attached. Jordan teamed with MGM on “Creed,” which performed with a very profitable $172 million worldwide, proving Jordan’s worth as a leading man.
The original “Thomas Crown Affair,” directed by Norman Jewison, was released in 1968. Steve McQueen and Faye Dunaway starred in the film in which McQueen’s character masterminded a Boston bank robbery of $2.66 million without meeting any of the four thieves. Director John McTiernan’s 1999 remake starred Pierce Brosnan and Rene Russo. The film was a solid hit, grossing $124 million worldwide.
Jordan, obviously younger than the two former leading men, will likely bring a fresh, contemporary energy to the role, and hopefully this elevated genre vehicle will increase his staying power at the box office.
More on this project as it develops.
This is two minutes and forty three seconds of just pure sublime. It’s Ryan Coogler’s Creed, the MGM/New Line film that Warner Bros will release this fall. This isn’t just another installment of Rocky. After Coogler and Michael B. Jordan teamed on the Sundance sensation Fruitvale Station, each of these young guys had their pick of projects. Coogler used his currency on his dream to make Creed. Turns out that while he was growing up, Coogler’s father showed him the Rocky movies to instill the notion of heroes and the idea that dreams can come true with hard work.
As he became an accomplished wide receiver at Sacramento State and a budding filmmaker, Coogler’s father later came down with ALS. All of the touchstones of his life are rolled into this movie and it required him to win the trust of Sylvester Stallone, who was very protective over his first and most memorable character creation. When the movie became a reality, there was no one else he wanted to play the role of Apollo Creed’s son (it started out as grandson, but that evolved).
It is becoming a right of passage for actors to play ring heroes, and, just like Jake Gyllenhaal in Southpaw, Miles Teller in Bleed for This and Edgar Ramirez in Hands Of Stone, Jordan accepted the challenge and got himself into rocking gym shape. The film follows the late Apollo Creed’s son Adonis Johnson stepping into the boxing ring, a profession which killed his father in Rocky IV when he battled Russian fighter Drago. “Your Daddy died in the ring,” a trainer reminds the young Creed who retorts, “That got nothin’ to do with me.” Adonis turns to Rocky Balboa to train him. At this point, The Italian Stallion has completely checked out of the boxing game.
Best part in the trailer that will raise hairs, is when the young Creed meets Rocky:
“I heard about a third fight between you and Apollo behind close doors, is that true?,” asks the fighter.
“How do you know all this?” asks Rocky.
Declares Johnson: “I’m his son.” article by Anthony D’Alassandro via deadline.com
Common has committed to star in the ensemble cast of Barbershop 3, the MGM sequel that New Line will distribute. He joins Ice Cube and Cedric the Entertainer, who are reprising their roles from the first two movies, and The Best Man franchise director Malcolm D. Lee, who’s helming. Cube Vision is producing and MGM will run production. Bob Teitel and George Tillman Jr. of State Street Pictures are the lead producers. The script is by Kenya Barris and Tracy Oliver.
Common has been busy since winning the Oscar for Best Original Song in the film Selma. He is starring in the Rob Reiner-directed Being Charlie as well as the David Ayer-directed Suicide Squad and the Martin Campbell-directed Hunter Killer. article by Mike Fleming Jr. viadeadline.com
It’s been over a decade since Denzel Washington, Ethan Hawke, and director Antoine Fuqua patrolled the mean streets of Los Angeles in “Training Day,” and it looks like that team is looking to head to the Wild West for their next collaboration.
Sources say the Oscar-nominated Hawke is in final negotiations to join Washington in MGM’s “Magnificent Seven” remake with Fuqua directing.
Chris Pratt and Haley Bennett are also on board to star.
The 1960 original, itself a remake of Akira Kurosawa’s “Seven Samurai,” starred Yul Brynner and Steve McQueen. It centered on seven gunslingers who protect an oppressed Mexican village from a group of outlaws.
The script was most recently reworked by John Lee Hancock, with “True Detective” creator Nic Pizzolatto writing the previous draft.
MGM is hoping the pairing of Hawke with Washington leads to the same success the two saw on crime drama “Training Day,” which overperformed at the box office and led to both men receiving Oscar nominations, with Washington eventually taking home the prize. article by Justin Kroll via Variety.com
As he became an accomplished wide receiver at Sacramento State and a budding filmmaker, Coogler’s father later came down with ALS. All of the touchstones of his life are rolled into this movie and it required him to win the trust of Sylvester Stallone, who was very protective over his first and most memorable character creation. When the movie became a reality, there was no one else he wanted to play the role of Apollo Creed’s son (it started out as grandson, but that evolved).
It’s been over a decade since Denzel Washington, Ethan Hawke, and director Antoine Fuqua patrolled the mean streets of Los Angeles in “Training Day,” and it looks like that team is looking to head to the Wild West for their next collaboration.