This week we released Episode 73 of The Way of Improvement Leads Podcast titled “Cowboy Evangelicalism.” Our guest was Calvin University professor Kristin Kobes Du Mez, author of Jesus and John Wayne: How White Evangelicals Corrupted a Faith and Fractured a Nation.
Yesterday I received an e-mail from a reader who offered a video that brings these two posts together. Watch:
Learn more about Wichita Slim here.
After the killing of George Floyd and the social unrest that followed it, HBO Max decided to temporarily remove the movie “Gone With the Wind” from its streaming service. As Jennifer Schuessler writes at The New York Times, this is not the first time controversy has raged about this popular film. Here is a taste of her piece “The Long Battle Over ‘Gone With the Wind‘”:
But even as white Americans embraced the moonlight and magnolias, African-Americans were registering objections. Soon after the producer David O. Selznick bought the rights, there were complaints that a movie version would incite violence, spread bigotry and even derail a proposed federal anti-lynching bill.
Margaret Mitchell reacted dismissively to the criticism. “I do not intend to let any troublemaking Professional Negros change my feelings towards the race with whom my relations have always been those of affection and mutual respect,” she wrote to a friend.
Selznick did a more complicated dance. “I for one have no desire to produce any anti-Negro film,” he wrote in a memo to the screenwriter Sidney Howard. “In our picture I think we have to be awfully careful that the Negroes come out decidedly on the right side of the ledger.”
In 1936, Walter White, the secretary of the NAACP, wrote to him expressing concern, and suggesting he hire someone, preferably an African-American, to check “possible errors” of fact and interpretation. “The writing of history of the Reconstruction period has been so completely confederatized during the last two or three generations that we naturally are somewhat anxious,” he wrote.
Read the entire piece here.
Annie Thorn is a sophomore history major from Kalamazoo, Michigan and our intern here at The Way of Improvement Leads Home. As part of her internship she is writing a weekly column titled “Out of the Zoo.” It focuses on life as a history major at a small liberal arts college. In this dispatch, Annie reflects on the film Just Mercy. –JF
The best movie theater in the world is in Plainwell, Michigan. I might be a little biased, but I have yet to find a movie theater that can beat M-89 Cinema’s $2.50 ticket price for morning showings and $5 price in the evenings. M-89 even has popcorn buckets that you can refill for free on Thursdays and for just a few cents the rest of the week. Whenever I’m home on breaks from college I try to see as many movies as I can–over winter recess I went to M-89 four times. I saw Star Wars, Little Women, and Frozen II (twice).
I’ve found only one movie theater in Pennsylvania so far that’s cheaper than M-89, and that’s the one we have on campus at Messiah College. Every week there’s a different “Lost Film” (usually a movie that’s been in theaters for a while, but hasn’t yet been released on DVD) playing there for Messiah students to watch for free. This past weekend, hundreds of students flocked to Boyer 136 to see Just Mercy, a film that tells the story of Bryan Stevenson and the Equal Justice Initiative, a “nonprofit organization that provides legal representation to people who have been illegally convicted, unfairly sentenced, or abused in state jails and prisons.”
Anthony Ray Hinton, himself freed by the work of Bryan Stevenson and the Equal Justice Initiative, plugged Just Mercy a few times throughout his lecture at Messiah a couple weeks ago (read about it here). Inspired by Hinton’s lecture and determined to learn more about the EJI, I made plans with a few of my friends (most of them fellow history majors) to go see it Friday night. Parmer Cinema was packed. Those who couldn’t find an empty seat sat in the front below the screen, or leaned on the walls next to the side aisles. We all sat together for the next two hours, often in tears, and watched our nation’s all-too-recent history play out before us on the screen.
I left Parmer Cinema that night with the urge to do something. I’ve seen Hinton speak, and I’ve seen Just Mercy, so what now? Is there something, anything, I can do to help those wronged by the criminal justice system? I know men are still unfairly placed on death row across the nation (one such man is scheduled to be executed in Alabama tomorrow), but what can I do about it? I’m not a lawyer like Bryan Stevenson and I don’t plan on becoming one, so I know I cannot personally free innocent convicts from death row. I am not a millionaire with the ability to donate thousands of dollars to the Equal Justice Initiative, nor am I a legislator with the power to enact criminal justice reform.
I may not be a lawyer or a millionaire or a legislator, but there is still plenty for me to do. Because I am a historian, I can uncover stories like those of Anthony Ray Hinton and Walter McMillan. Because I am a future teacher, I can then share those stories with young people and encourage them to fight for what they believe in. Because I am a United States citizen, I can vote for lawmakers who will protect the vulnerable members of society from injustice. Because I am a follower of Jesus Christ, I can pray and trust that one day, whether in this world or the next, all wrongs will be put right. Indeed, there is plenty of work to do.
If you do nothing else, please go see Just Mercy. It will open your eyes.
Here is Sharon Eberson at the Pittsburgh Post-Gazette:
Hamilton” will soon be available for all to see, for all time. The Walt Disney Co. movie version of the hit musical is coming to the big screen on Oct. 15, 2021…
“The film of the original Broadway cast performing ‘Hamilton’ is a leap forward in the art of ‘live capture,’” according to a Disney press release sent Monday. “Combining the best elements of live theater and film, the result is a cinematic stage performance that is a wholly new way to experience ‘Hamilton.’”
The cast includes Miranda as Alexander Hamilton; Daveed Diggs as Marquis de Lafayette/Thomas Jefferson, Christopher Jackson as George Washington, Jonathan Groff as King George, Phillipa Soo as Eliza Hamilton and two Carnegie Mellon alums, Renée Elise Goldsberry and Leslie Odom Jr.
Read the entire piece here.
NBA Hall of Famer and public intellectual Kareem Abdul-Jabbar wonders if movies like Harriet—the new movie about Harriet Tubman–“risk defining African American participation in U.S. history primarily as victims.” Here is a taste of his recent piece at The Hollywood Reporter:
On the one hand, these films are necessary to correct the misperceptions many Americans have about slavery as a result of inaccurate school textbooks, ill-informed teachers and conservative propaganda. Because many of them are prestigious enough to garner critical acclaim (12 Years a Slavealone won 32 awards, including three Oscars), they bring a gravitas to their message that people are more likely to take seriously. Such movies have the potential of raising awareness among white audiences about the horrific past so that they’re more sympathetic to the current economic and social plight of marginalized minorities, the cause of which is the domino effect directly from slavery.
On the other hand, some may see these films as snowflake overkill that desensitizes white audiences, putting them on the defensive about being blamed for something in which they had no part. That resentment could cause them to turn a blind eye to the current state of racial inequity.
I also worry that so many movies about slavery risk defining African Americans’ participation in American history primarily as victims rather than as victors in a continuous battle for economic and social freedom. The thousands of black soldiers who died fighting on behalf of the country, the martyred civil rights leaders, even our many scientific innovations and inventions that transformed American society — from refrigeration to blood banks — get dismissed, diminished or ignored because all that some white Americans remember are angry black faces crying “Unfair!” This puts a heavy burden on blacks to continually have to prove how vigorously they support the country that once enslaved them. They are expected to ignore the current inequities and just be grateful the country unlocked the chains. We stopped beating, branding, raping and lynching you — isn’t that enough?
Read the entire piece here.
Over at VOX, film critic and The Kings College (NYC) English professor Alyssa Wilkinson interviews Gregory Allen Howard, the writer of the screenplay for Harriet. Wilkinson writes: “it’s surprising that Harriet is the first biopic about such an important woman in American history, considering how this is an industry that loves making historical biopics — surprising, that is, until you remember that Hollywood has typically exhibited skepticism toward the idea that movies led by women and people of color can make money.”
Here is a taste of the interview:
Wilkinson: Hollywood has taken a really long time to accept the fact that movies about black people might be told on screen, and that audiences would embrace them. Were there any movies over the years that showed you what could happen if that ever changed?
Howard: Of course, and there are movies that proved that to my producers, too. For [producer] Debra [Martin Chase], it was Hidden Figures. Mine is 12 Years a Slave. See, what I had heard for all those years was, “Nobody’s going to pay to see the slave movie, Greg. Get out of my office.” But I said, “But it doesn’t matter. If the movie’s good, people will see it.”
“No, we don’t want it,” I’d hear back. “No one’s going to pay to see a slave story.” I swear to God, I heard that for over 20 years.
And then 12 Years a Slave came out and did massive business. It made almost $200 million worldwide. That’s when I took [Harriet]off the shelf again. And I said, “You can’t tell me what you’ve been telling me all this time.” And they said, “Yeah, but see, that was a different movie.” They came up with a different excuse.
But the truth was that the business was changing. If this movie has been made 10 years ago, it would’ve been an outlier, and no one in town wants to be an outlier. Fear drives our industry, and I don’t know that anybody’s ever gotten fired for passing on a movie.
But boy, if you say yes to something, or even go fight for it, you’re risking your career. You’re certainly risking your job.
Read the entire interview here.
COLTS NECK, N.J. — “Ahh, it’s early!” Shortly after 9:30 on a warm autumn morning, Bruce Springsteen walks into the cozy kitchen-sitting area of Thrill Hill, the recording studio nestled into a corner of his Monmouth County farm. “For the first interview of my 70s, it’s early!”
A few days after turning 70, Springsteen looks tan and fit as he settles into a leather slingback chair, stretches his arms and runs his hands through brush-cut hair the color of steel shavings. This is the same room where “Western Stars,” a movie based on his recent album of the same name, was in postproduction over the summer, with co-director Thom Zimny editing at a nearby dining table as he listened to Springsteen working on the score in the next room. The movie had its world premiere at the Toronto International Film Festival in September; it opens in theaters on Oct. 25.
Springsteen makes his feature directing debut with “Western Stars,” sharing a credit with Zimny and making official a fact that has been obvious to anyone who’s ever listened closely to his music: Bruce Springsteen — singer, songwriter, rock star, consummate showman, American icon — has always been a filmmaker. Whether in the form of widescreen, highly pitched epics or low-budget slices of daily life, Springsteen’s records have been less aural than immersive, unspooling with cinematic scope, drive and pictorial detail. Phil Spector might have built a wall of sound, but Springsteen used sound to build worlds.
He greets the suggestion that he’s an auteur with one of his frequent self-effacing chuckles. But Springsteen admits that a cinematic point of view came naturally to him. “Movies have always meant a lot to me,” he says in his familiar rasp. “It’s probably just a part of being a child of the ’50s and ’60s and ’70s, when there was so much great filmmaking.”
He grew up in a blue-collar, Irish Italian family at a time when the local bijou was still a vital community hub. “The Strand Theatre in Freehold, N.J., was dead in the center of town,” he recalls. “It was your classic old, small-town movie theater. Its main attraction was, ‘Come on in, it’s cool inside.’ ”
He laughs again.
Read the rest here.
Springsteen’s most recent album, Western Stars, will be the subject of a music documentary that Warner Brothers will release this Fall. Here is Variety:
Warner Bros. has nabbed global rights to “Western Stars,” the upcoming music documentary co-directed by Bruce Springsteen. The film will be released on the big screen and will open in theaters this fall after its world premiere at September’s Toronto International Film Festival.
“Western Stars” is Springsteen’s first studio album in five years and the film marks his directorial debut. It weaves in archival footage along with Springsteen’s narration, and shows him performing all 13 songs on the album, alongside a band and a full orchestra, in a nearly 100-year-old barn on the singer’s property.
The film was also overseen by Thom Zimny, a frequent Springsteen collaborator. Zimny directed the Boss in “Springsteen on Broadway” and “Bruce Springsteen: Hunter of Invisible Game” (2014), and picked up a Grammy Award for “Wings on Wheels: The Making of Born to Run” (2005).
“Bruce lives in the super rarified air of artists who have blazed new and important trails deep into their careers,” said Toby Emmerich, chairman of Warner Bros. Picture Group. “With ‘Western Stars,’ Bruce is pivoting yet again, taking us with him on an emotional and introspective cinematic journey, looking back and looking ahead. As one of his many fans for over 40 years, I couldn’t be happier to be a rider on this train with Bruce and Thom.”
Read the rest here.
Bruce Springsteen was born to run. Luckily, so was English film director Gurinder Chadha.
She ran into the Boss on a red carpet several years ago. When you want to make a movie using all his early music and then see him in the flesh, you don’t walk up to him. You sprint.
“I ran over and seized the moment. I said, ‘Hi Bruce! You gotta help us out. My name is Gurinder. I’m a film director. I made ‘Bend It Like Beckham,’ ” she recalled. ‘I said, ‘We really want to make a film of the book written by Sarfraz Manzoor about his life and how your music inspired him.’ ”
“To which, Bruce looked at Sarfraz who was there with me and said, ‘Sounds good. I read that book. It’s beautiful. Talk to my manager,’ ” said Chadha, 59, one of the few female film directors of Indian origin.
The end result — “Blinded by the Light” — is one the biggest deals coming out of the Sundance film festival this year, as the film sold to Warner Bros. for $15 million. Early reviews are calling it “the feel-good movie of 2019.”
“Blinded” revolves around a British-Pakistani teenager named Javid (Viveik Kalra), an aspiring poet who meets with the disapproval of his strict father Malik (Kulvinder Ghir). Life is bleak in their small town in England circa 1987. Dad has been laid off from the local plant and to cope with the despair and local racism, Javid becomes obsessed with the rocking music and inspirational lyrics of Bruce Springsteen….
What happened after you encountered Springsteen on that red carpet?
Sarfraz and I went away and wrote a script just for Bruce. We sent it to his manager and then came the waiting period. Finally, Bruce sent this message to his manager and it read: “I’m all good with this. Give them what they want.” Our timing was good because he has really been looking at his legacy and the impact of it.
Read the entire interview at Las Vegas Review-Journal.
Look, if there’s one thing I don’t even try to “play it cool” about it’s my unadulterated love for Bruce Springsteen. I’m sort of partially serious when I claim that back in 2004 I moved to New York City for more access to Springsteen concerts. (My number of shows attended has ballooned substantially over the last 15 years.) Anyway, somehow, in all this time, I have never been to Asbury Park, New Jersey. On Wednesday night, Blinded by the Light – a love letter of a movie about the music of Bruce Springsteen that I first saw back at Sundance and adored – was having its premiere in Asbury Park. This seemed to be a good time to go to Asbury Park.
So, here’s a little bit of backstory about Bruce Springsteen and this movie: Blinded by the Light, directed by Gurinder Chadha, is based on Sarfraz Manzoor’s book about growing up in a Pakistani family while living in English town of Luton and falling in love with Springsteen’s music. Springsteen pretty much gave this production full access to his catalog – using a Springsteen song in a movie usually costs a pretty penny – and, boy, Blinded by the Light did not skimp on the Springsteen music. So, of course, when Blinded by the Light premiered at the Sundance Film Festival, there were countless rumors Bruce himself would be making the trip to Park City, Utah.
Now, I’ve seen Bruce roughly 26 (maybe 27, I haven’t counted recently) times but I’ve never caught one of his “secret” or “rumored” shows. Basically, let’s say, oh, Joe Grushecky is playing a gig at The Stone Pony or Wonder Bar in Asbury Park, there’s maybe a five percent chance Bruce shows up to just jam. This will never, ever be announced. And most of the time you’re just going to wind up getting a full Joe Grushecky set. But, on those rare occasions, the lucky people there will get to basically be transported back in time to the early 1970s, before Born to Run, where they get to see Bruce Springsteen just hanging out in a bar playing guitar. It’s every Springsteen fan’s dream.
Read the entire piece here.
And here is a glimpse of Springsteen’s mini-concert with Southside Johnny on Wednesday night:
Former President Barack Obama was meeting with Steven Spielberg on Monday night, sources exclusively told Page Six, months after Obama’s production company with wife, Michelle, unveiled a slate of films with Netflix.
Obama and the Oscar-winner were at upscale seafood eatery Marea, spies said.
“Spielberg walked through the front and no one noticed,” said the source, while Obama arrived through a side entrance.
“They were with a group — with lots of Secret Service,” said the source. “But it was still pretty low-key with no disruptions to other diners.”
The Obamas have seven planned Netflix projects via their Higher Ground Productions, including an adaptation of David W. Blight’s 2018 Pulitzer Prize-winning book, “Frederick Douglass: Prophet of Freedom,” as well as a series called “Bloom,” set in the fashion world of New York after WWII.
In 2015, it was reported that Spielberg — whom Obama awarded a Medal of Freedom the same year — was helping the ex-pol create a “narrative” for post-presidential life….
On Monday, the director’s wife, Kate Capshaw, was spotted having 25-cent wings with Bruce Springsteen and wife, Patti Scialfa, at Henry at Life Hotel.
Blinded by the Light is a new movie featuring the music of Bruce Springsteen. Here is a description of the movie from Wikipedia:
Blinded by the Light is a 2019 British drama film directed by Gurinder Chadha. Inspired by the life of journalist Sarfraz Manzoor and his obsession with Bruce Springsteen, the film is set in Luton in 1987. Manzoor co-wrote the script. It premiered at the 2019 Sundance Film Festival and will be released in the United Kingdom on 16 August 2019, by New Line Cinema.
The official synopsis reads “Blinded by the Light tells the story of Javed (Viveik Kalra) a British teen of Pakistani descent, growing up in the town of Luton, England, in 1987. Amidst the racial and economic turmoil of the times, he writes poetry as a means to escape the intolerance of his hometown and the inflexibility of his traditional father. But when a classmate introduces him to the music of “the Boss,” Javed sees parallels to his working-class life in Springsteen’s powerful lyrics. As Javed discovers a cathartic outlet for his own pent-up dreams, he also begins to find the courage to express himself in his own unique voice.”
Here is the trailer:
I’ll bet you didn’t know that Bruce Springsteen wrote a song for a Harry Potter movie. His song “I’ll Stand by You Always” did not make the cut, but it has now found its way into a new Springsteen-inspired movie titled “Blinded by the Light.”
Here is a taste of Steve Pond’s piece at The Wrap:
Almost 20 years after he wrote the song for a “Harry Potter” movie, Bruce Springsteen has finally found a home for his unreleased ballad “I’ll Stand by You Always.” The song has been added to the end credits of “Blinded by the Light,” an upcoming, Springsteen-heavy New Line/Warner Bros. film from “Bend It Like Beckham” director Gurinder Chadha.
The song did not appear in “Blinded by the Light” when the film screened at Sundance in January, where its $15 million deal with New Line was the festival’s biggest. But it was added before this week’s screenings in Los Angeles and at CinemaCon in Las Vegas, and will now follow the song “Born to Run” during the end credits.
“Blinded by the Light” is based on the memoir “Greetings From Bury Park” by Sarfraz Manzoor, who was born in Pakistan but came to Great Britain as a child. Manzoor wrote about his teenage years in a small British town where his desire to become a writer was inflamed by a passion for Springsteen’s songs.
Read the rest here.
Have you ever, while watching the movie Julie & Julia, drawn comparisons between Julia Child’s struggle to find the right publisher and the mercurial marketplace of academic publishing?
You probably haven’t. But historians have.
The comparison is one of many under the Twitter hashtag #HATM. The abbreviation stands for Historians At The Movies and was created by Jason Herbert, a doctoral candidate at the University of Minnesota-Twin Cities who now lives in Florida where he studies indigenous people and ecology.
Every Sunday at 8 p.m. EST, Herbert and other historians, plus people who just enjoy history, watch the same movie. They tweet along, sharing insight, tidbits, and punchlines. They prepared for the 2019 Oscars, by watching Roma, a Best Picture nominee. On Sunday, they’ll live-tweet the awards ceremony — which will be fun and a break from the norm, Herbert says.
Since the hashtag kicked off in July 2018, the weekly ritual has cultivated quite the following.
The Chronicle spoke with Herbert about what sparked the idea, how to forge scholarly camaraderie online, and why historians have a soft spot for Benjamin Franklin Gates, the historian/treasure hunter played by Nicolas Cage in the movie National Treasure.
Q. How did this idea come to you?
A. When I left Minnesota, I left behind a lot of my friends and colleagues who I saw on a day-to-day basis and would have these great conversations with. I needed to create a new network for myself where I could still be intellectually engaged with an academic community, even though I was physically removed. I got active on Twitter. I would talk to other historians. I had seen that National Treasure was going to be on Netflix. I just tweeted out, ‘We should all watch it.’ And someone said, ‘Yeah, we should do that.’
The running gag with historians is that the archeologists get Harrison Ford, but historians get Nicholas Cage. You laugh at it, but we all kind of love National Treasure. So why not? It’ll be fun and silly and a nice way to blow off steam on a Sunday night in the middle of the summer. We had a lot of people engage. Joanne Freeman, who’s a professor at Yale, jumped in. She studies early America and she just died when she saw them putting lemon juice on the back of the Declaration of Independence.
Read the rest here.
A lifelong Christian, a former film critic at Christianity Today, and a professor of cultural theory at the conservative evangelical The King’s College, does not think so.
I will admit up front that I have not seen any of these movies. I have always considered them to be just another weapon in the culture wars and yet another example of the evangelical persecution complex.
Here is a taste of Alissa Wilkinson’s piece at VOX:
God’s Not Dead has never been warmly welcomed by mainstream critics. The problem isn’t really the production value (which is mostly fine), or even the statement in the title, a contradiction of a willful misreading of Nietzsche that’s so generic and bland that few people would find it offensive.
The thesis of the God’s Not Dead series is that Christians and Christianity are under attack in America, and that the way to fight back is through exercising First Amendment rights, mostly in educational settings. In the first film, a college freshman named Josh Wheaton (Shane Harper, who returns as a campus minister in the new film) intellectually conquers his caustically atheistic philosophy professor in three classroom rounds of debates about the existence of God. The professor gets hit by a car at the end and dies, but not before he becomes a Christian….
Despite their titles, the movies haven’t really been about arguments for the existence of God, either anecdotal or philosophical. Arguments for God’s existence are trotted out mostly in support in the movies’ main plots, which are about threats Christian characters face from people who are hostile toward Christians talking about God in the public square.
This, the films posit, is the relationship of Christian America to the rest of the country. And implicit in this idea is the notion that it hasn’t always been that way. As someone in a montage of cable news talking head programs says at the start of the third film, “This is what our country has come to.”
There’s a reason the first God’s Not Dead movies did so well at the box office. (The third installment didn’t fare as well, bringing in less than half of its predecessors’ opening weekend take at the box office — likely a result of competing with the very successful and largely apolitical I Can Only Imagine, and perhaps waning interest.)
White evangelical Protestants, who make up the lion’s share of the so-called faith-based audience, are the only major religious group in America who believe they face more discrimination in America than Muslims do. And nearly eight in 10 white evangelical Protestants believe that discrimination against Christians is as big a problem as discrimination against blacks and other minorities. (I hardly need to point out that about the same proportion of white evangelical Protestants still form the lion’s share of President Donald Trump’s base.)
Here is a taste of “Hoosiers and Rudy”:
It’d be hard to decide which of those inspired-by-a-true-story underdog victories is more unlikely and more inspiring. The Hickory high school team in Hoosiers (based loosely on Milan High’s 1954 championship season) is coached by two men as collectively flawed as Buttermaker in Bad News Bears—Gene Hackman’s Norman Dale has been dismissed from his prior job for losing his temper and striking a student; Dennis Hopper’s Shooter Flatch is an alcoholic town outcast—and has barely enough players to field a team, yet goes on to win the state championship against a vastly more deep and talented South Bend team. Daniel “Rudy” Ruettiger, whose life and events are portrayed relatively close to accurately by Sean Astin and company, is the undersized son of an Illinois factory worker who refuses to give up on his dream of playing football for Notre Dame, overcoming numerous challenges and obstacles and finally making his way onto the team and into the final game of the season, in which he sacks the quarterback on the final play and is carried off the field by his teammates. Having critiqued lovable loser films for their merely pyrrhic victories, it’d be hypocritical of me not to applaud films that depict underdog victories, and such stories are indeed undeniably appealing and affecting.
Yet in order to tell their stories in the way they want, these films also have to leave out a great deal, elisions that are exemplified by the way racial issues are not addressed in Hoosiers. For one thing, Hickory’s opponent in the championship game, South Bend, is intimidating in large part because it features a racially integrated team, which would have been a significant rarity in 1952 and which would seem to make them a team worth our support. And for another, as James Loewen has written in his groundbreaking book Sundown Towns (2005), southern Indiana in the early 1950s was a hotbed of overt and violent racism; to quote Loewen, “As one Indiana resident relates, ‘All southern Hoosiers laughed at the movie called Hoosiers because the movie depicts blacks playing basketball and sitting in the stands at games in Jasper. We all agreed no blacks were permitted until probably the ’60s and do not feel welcome today.’ A cheerleader for a predominantly white, but interracial Evansville high school, tells of having rocks thrown at their school bus as they sped out of Jasper after a basketball game in about 1975, more than 20 years after the events depicted so inaccurately in Hoosiers.” Such histories don’t necessarily contrast with those featured in these films—but it would be important to complement the films with fuller engagement with their perhaps less triumphant contexts.
If you are a sports fan or just enjoy sports movies, these posts are worth your time.
Watch this clip. It will be stuck in your head all day:
Matthew Rozsa agrees with the title of this post. Here is a taste of his recent piece at Salon:
It’s a great story, one that both I and many of my close friends ritualistically watch every 4th of July. Yet what about “1776” makes it so resonant? Why does this movie stand out when countless other patriotically themed motion pictures fade into the background?
It’s instructive to first look at another recent musical about our Founding Fathers, “Hamilton.” While it doesn’t pass a lot of tests when it comes to historical accuracy, “Hamilton” works so well because it brilliantly resurrects the philosophical debates that were at the core of America’s founding during the ratification of the Constitution and the administration of President George Washington.
“1776” does the same thing, only with a different moment from American history. It picks apart the debates that occurred between, on the one side, Adams and other revolutionaries who believed America needed to break free from the British Empire, and, on the other, the motley of factions who, for various reasons, felt we should remain loyal to Great Britain.
Read the entire piece here.