Born within a year of each other, Michael and Seamus Sullivan have become very different men. On the eve of their father’s funeral, Seamus drags Michael to the local pub in their small, logging community of northern California.
He attempts to convince his brother that they must take their father’s ashes to Ireland in tribute.
Of course, it isn’t long before Seamus’ true intentions are revealed, when his involvement with a group of local drug dealers becomes impossible to avoid, and Michael must confront how much he is willing to sacrifice for his Irish twin.
But what compelled me most about the film (outside of great pacing and drama) was the discussion of Irish identity. (Warning: Mild dialogue spoilers ahead, explicit language.)
by guest contributor Manish, originally published at Ultrabrown
The new movie Renditionis more interesting for what it is than how it runs. It’s the first fictional film about the U.S. kidnapping-and-torture program, which began under Clinton but was expanded massively under Bush. It’s the first mainstream movie I’ve seen which gives Arabs and Arabic large amounts of humanizing screen time (the protagonist is an Egyptian-American who went to college in the States). And it’s the latest in this year’s wave of whistleblower movies against Dubya’s assault on American liberty.
Mired in noble savage stereotypes, the movie is more earnest than subtle. Moa Khouas, the Arab Romeo, looks like a brown James Franco, but most of the Arab characters are more archetypes than people.
The plot’s central Capulets and Montagues romantic coincidence is Rushdie-esque, a synthetic conceit for the sake of a more interesting story. It’s not a bad movie, just a slow and obvious one, never more so than in a scene where the magnetic Peter Sarsgaard needles CIA muckamuck Meryl Streep with the Constitution, and she responds with 9/11.
The movie is A Mighty Heartin reverse, where the kidnappers are the U.S. government rather than Al Qaeda terrorists. You’ve got the same pretty, pregnant wife embedded in a labyrinthine search for her handsome, intelligent husband. Reese Witherspoon isn’t given much screen direction beyond playing a grieving wife. Jake Gyllenhaal’s character may be suffering from post-traumatic stress sufferer, but the actor sleepwalks through the movie.
This movie was directed by Gavin Hood, the South African who did Tsotsi. The plotting uses the now-familiar Rashomon device of connecting subplots via a single climactic event. One of the subplots is unexpectedly time-shifted, which is great fun.
But the real-life issue is far more significant than the film: the president claims he can legally kidnap anyone around the world, jail him forever without trial, witness or evidence, and have him tortured. It shocks the conscience. Here’s an actual Dubya quote. I can’t figure out whether it’s duplicitous or just feeble-minded:
Q: What’s your definition of the word ‘torture’?
Dubya: That’s defined in U.S. law, and we don’t torture.
… [The FBI agent] told him that he should cooperate, and explained that if Higazy did not cooperate, the FBI would make his brother “live in scrutiny” and would “make sure that Egyptian security gives [his] family hell.” … [The agent] knew how the Egyptian security forces operated: “that they had a security service, that their laws are different than ours, that they are probably allowed to do things in that country… probably about torture, sure…” [Higazy said:] “Saddam’s security force–as they later on were called his henchmen–a lot of them learned their methods and techniques in Egypt; torture, rape…” [Link]
And to think America was founded precisely because of this kind of limp-dickery.
After Latoya wrote the excellent article “Know Your Place, Woman: BET’s Meet the Faith on Black Marriage,” I decided to do a little additional research by checking out the BET site for the show with the all the questionable content. I ended up reading very little on Meet the Faith. In fact, the one thing that stood out to me about the site was actually a random distraction . . .
Toward the bottom of the page regarding a segment on black beauty, I noticed a survey entitled “Korean or Black Owned?” The caption read:
For the most part, Black haircare products didn’t exist until Madame C.J. Walker introduced her Wonderful Hair Grower in the early 1900s. Today, there are still very few products and equipment made for or sold by Blacks.
For such a loaded topic, there were only two simple questions:
1. There are two beauty supply stores next to each other. One is Korean-owned and sells your shampoo for $10. The other is Black-owned and sells your shampoo for $12. Where would you buy your shampoo? The Black-Owned Store or The Korean-Owned Store?
2. If the Korean-owned shop sold items $2 to $3 higher, where do you think the average Korean customer would shop? The Black-Owned Store or The Korean-Owned Store?
I immediately felt the urge to look into what had compelled this very basic set of questions and find some answers. Carmen raised a question of her own back in December, “Do Korean-Americans Control the Black Hair Market?” prompting readers to check out Aron Ranen’s documentary Black Hair and leaving them to render their own judgment on the issue. Half a year later, however, I find myself asking less about the prospect of Korean market dominance in the black haircare industry, and more about the process of seeking an answer to the inquiry itself. What methods have we used to publicly examine this market dominance and what effect have they had on the respective communities involved?
First and foremost, there is the film by Ranen. Black Hair is a documentary created to bring attention to the plight of people of African descent who attempt to manufacture and/or distribute black hair care products within the black community as they face considerable adversity in a market now controlled by Korean immigrants and their families. While some, including members of the Black Owned Beauty Supply Association (BOBSA), see the film, as absolute truth, I find that it could be quite easily interpreted as an open attack on Koreans. I understand quite clearly that the film is a powerful form of advocacy for keeping money spent and earned by African-Americans in the black community, but I question the need for Ranen’s clear manipulation of an already troubled case of ethnic disunity between American blacks and Korean immigrants as a means to push the “buy black” agenda.
During an interview with NPR, Ranen is asked whether or not his film creates “an environment that shows Korean proprietors as the enemy.” In defense of his work, he answers simply that he does not want to be a “hater,” but instead he wants to be a “motivator.” Yet I can’t help but consider his attempt to “motivate” the black community suspect. By publicly picking at old wounds between Koreans and African-Americans, Ranen has tapped into an increasingly lucrative market for the press: inter-ethnic conflict. The American media can’t get enough of it. Stories about people of color fighting other people of color, even if their initial disagreement has little to do with race or ethnic background, always make headline news, often yielding skewed and/or distorted results. Asian-American activist Helen Zia discusses this phenomenon in her book Asian American Dreams with regard to the L.A. Riots: Continue reading →
Asian-American parenting blogs Kimchi Mamas and Rice Daddies have teamed up for a special contest giveaway. You can win one of five super prize packs that includes one copy of The Motel DVD and a poster signed by its cast and one copy of Red Doors with accompanying poster.
What do you have to do? Pick one of these two things:
1) Share your funniest story about your dad in the comments section of this Kimchi Mamas post. Be sure to include your email address, and they’ll enter you in a drawing.
2) Share your funniest story about your mom in the comments section of this Rice Daddies post. Be sure to include your email address, and they’ll enter you in a drawing.
The contests will be open until Saturday, February 3, 2007 at 12:01am PST. Check back on Monday to find out who won. Let the fun begin!!
Needless to say, you don’t have to have an Asian parent to enter the contest.
When Oprah interviewed the cast of Crash, she asked each person to tell their own “real-life Crash moment.” No, not a moment in which they were embroiled in a completely unrealistic situation with two-dimensional Asian caricatures and absurd dialogue, but a moment in which they personally experienced the effects of racism.
Terrence Howard told the story of how his father got into a fight that ultimately put him in jail and landed his family in poverty. But according to some of the comments that were left in response to our post, some believe he took a bit of artistic license in his interpretation of the story. Here’s the beginning of Terrence’s story:
“I’m the product of a mixed marriage: My father’s actually mixed and my mother is mixed but my father looks more white than my mom,” Terrence explains. “We’re at a department store in 1972, right before Christmas, and my mom’s taking us all around to go get clothes and my dad’s standing in the Santa Claus line. … My dad is 5-foot-8, weighs 125 pounds. There’s a guy standing behind him [who is] 6′-4″, weighs about 260. The man said, ‘Why did you let those niggers cut you?’ And my daddy said, ‘This is my wife.’ … The man turned around and my father turned back to talk to us…
Asians? What are those? I guess we were all too busy getting good grades and doing kung fu to take time to talk to The Gallup Poll about interracial relationships:
The Gallup Poll published their findings from their annual Minority Rights and Relations poll. Part of the survey questioned Americans on how they feel about interracial relationships — specifically between blacks and whites. Not surprisingly, they didn’t bother to survey people’s attitudes on any other couple configurations! Next, they surveyed people on their own dating trends. Apparently, Asians and Native Americans (if we are going by the usual 5 category “racial” breakdown) are not important enough to figure into any of this. The survey asked white, latino and black correspondents whether or not they had ever dated other races, including Asian, interestingly enough. But then Asians were not included in the questioning at all. Strange to say the least.
“Color-blind” casting somehow always seems to benefit white actors. Think of the new CBS sitcom The Class, for example. Although it’s set in the rather diverse city of Philadelphia, the show features an all-white cast. Just like Friends did. The producer David Crane responded to critics by saying this: “When we wrote the script, we wrote it color-blind…and then we auditioned. For six months we saw just a huge range and diversity of actors and at the end of the day these were absolutely the eight actors who were absolutely right for the parts.” Uh-huh.
That’s why it was so refreshing to read this news story about Halle Berry’s upcoming project. It’s based on the true story of a teacher who accepted a challenge from her sixth grade class to run for Congress. But get this: the original woman was white. For once, “color-blind” casting done right! From EURweb.com:
Halle Berry’s next movie role will center on the true story of Tierney Cahill, a teacher from Reno, Nev. who accepted a challenge from her sixth grade class to run for Congress in 2000.
The actress will portray Cahill in the DreamWorks drama, titled “Class Act.” The filmmakers have taken a rare turn in casting an African American actress to portray a woman who is white in real life. Sources close to the production tell Variety that it was more important to find the right actress for the role rather than the right white actress.
In 2000, Cahill decided to grant the wishes of her students and run for Congress on the condition that they would help with her campaign. The single mother ultimately lost her bid to an incumbent, but she ended up winning 35% of the popular vote.
by Jen Chau Backstage, the weekly paper for actors, actually devoted a good-sized article to the discussion of acting and how mixed-race people fit into the field (thanks to Jarrad, my actor friend for the heads-up! I didn’t even realize that it had come out yet! :)). The article questioned whether “racial categories help or hurt actors.” I was asked to comment as part of the article, and was happy to see that many mixed actors and actors of color were also included in the discussion of this topic.
Chau explains….”I definitely think that there’s that struggle with, ‘Do I try to get roles that I actually identify with culturally, or do I just fit into what people think that I am?’” she says. “How much do you really fight that as an actor or actress? I think that in some ways Hollywood is a little bit behind the times; they see people in very defined categories. Within those categories, you’re supposed to look a certain way. It’s very limiting. I personally think that it isn’t until people force it a little bit more that Hollywood is going to change.”
Actor Coby Bell, son of Broadway actor Michel Bell, is multiethnic — African American and Caucasian — and admits that casting directors see him differently than he sees himself. “I’ve always been put into the category of African American as far as Hollywood goes. I’ve never had a problem finding work, so I’ve been lucky in that sense,” he says. Bell’s résumé includes Half & Half, Third Watch, Girlfriends, A.T.F., Smart Guy, and, most recently, a starring role in the new CW series The Game. He says it’s rare to find a project in which race isn’t an issue.
This is an interesting conversation that we have been having more and more lately. How do you negotiate the difference between what is already available to you in Hollywood as an actor, and where you would like to see things go (if you are indeed concerned with realistic representations and want actors to be able to play characters true to their own ethnicities in real life)? Some actors care and feel the responsibility…others consider the small opportunities afforded them, and take the good roles they can get (no matter what ethnicity they are asked to portray).
This brings up a lot of questions — is it important for actors to truly represent the characters they play (latinas playing latinas, middle easterners playing middle easterners, etc.)? Do we want to go in that direction? This raises questions of authenticity, responsibility…who is accountable for these images? And what exactly are we prioritizing when an actor is matched up with a character to play? Is the most important thing their ability to tell the story? Or is it to make sure that they truly represent the ethnicity of the character they are playing? Perhaps one matters more to some, while the second matters more to others. It’s interesting to think about as more and more actors of color are on screen and speaking about this issue… thoughts?
Race, Culture, and Identity in a Colorstruck World