By request: I Am Not Your Negro (Raoul Peck, 2016).
Nominated for the Best Documentary Feature Oscar (it lost to O.J.: Made in America), I Am Not Your Negro reminds those of us who remember James Baldwin how important he was (and hopefully introduces him to younger viewers). I remember reading The Fire Next Time when I was 10 or 11, and it turned on many lights for me, growing up as I did in a town with no black people. I don’t know that Baldwin’s fame has had the staying power of King, or Malcolm, or the Panthers, perhaps because while he was a vocal advocate, he was primarily a writer, not a speech giver. His autobiographical novel Go Tell It on the Mountain was still being taught when I was in college. Perhaps I’m wrong, and Baldwin is still remembered as an important figure. In any event, I Am Not Your Negro does a solid job of bringing Baldwin to our attention, using film clips and voice-over narration of his words read by Samuel L. Jackson, who effectively buries himself in the role (it took me awhile to realize it was an actor reading those lines). This is an efficient documentary that speaks to us today, as well as serving as a history lesson. #723 on the They Shoot Pictures, Don’t They list of the top 1000 films of the 21st century.
Film Fatales #28: Jesus’ Son (Alison Maclean, 1999). Billy Crudup heads an impressive cast in a film based on a series of short stories by Denis Johnson. There is a casual realism to the tale of junkies and lo-fi criminals, partly due to the presence of so many characters who are neither junkies nor criminals. It’s a slice-of-life with no apparent agenda. It could use a little more spice ... this isn’t Sid and Nancy. Crudup’s character is named “Fuckhead”, and by his actions and his voice-over narration, I thought “FH” was a bit slow, which I don’t think was the intention. Among the supporting cast, many in what amounts to cameos, are Samantha Morton, “Mike” Shannon, Denis Leary (not as obnoxious as usual), Jack Black, Will Patton, Miranda July, Dennis Hopper, Kevin Carroll from The Leftovers, and Holly Hunter. Maclean deserves credit for a production that clearly had appeal to a lot of actors (this was only her second feature ... she has done a lot of work in television). I wanted to like this one more than I actually did. (Explanation of the Film Fatales Series.)
The Thing from Another World (Christian Nyby, 1951). Revisiting a favorite. There is a long-standing discussion about whether Nyby actually directed The Thing (an editor, this was his first credited director’s job). Howard Hawks produced ... Nyby had worked with Hawks many times, and when people pointed out how Hawksian The Thing was, Nyby reportedly said that of course Hawks rubbed off on him from all their work together. The film makes an impressive example of the auteur theory as it applied to the studio system ... everyone thinks Hawks directed it because it’s recognizably a lot like many other movies he directed. You can enjoy The Thing without knowing this stuff ... it’s compact, manages to make individual characters out of the stock cast, and is more horror than sci-fi. It’s hardly worth comparing it to the John Carpenter remake ... they are quite different.
As we watched it, my wife said the following has always been one of her favorite movie scenes: