Tag Archives: movies

Quoted: Lucy Liu On Racial Image And Romantic Comedies

by Joseph Lamour

lucy-liu

Image via Net-a-Porter.

The levels to which I would like to see Lucy Liu, Eva Mendes, or Aisha Tyler as the next Rom Com Queen knows no bounds. It’s nice to know Ms. Liu feels the same way. From The Edit magazine:

“I wish people wouldn’t just see me as the Asian girl who beats everyone up, or the Asian girl with no emotion. People see Julia Roberts or Sandra Bullock in a romantic comedy, but not me. You add race to it, and it became, ‘Well, she’s too Asian’, or, ‘She’s too American’. I kind of got pushed out of both categories. It’s a very strange place to be. You’re not Asian enough and then you’re not American enough, so it gets really frustrating.”

I have so many (read: so many) ideas in the works for romantic comedies, each starring a lead of color. And, one gay one- starring me, of course. If Lena Dunham can do it, so can I. I just want to see someone like Lucy fall in love in a movie lit like a Dannon commercial. Doesn’t everyone want that?  Fellow lovers of Hitch, The Wedding Planner, and Something New: who would you like to see meet-cute, wardrobe montage, and run towards (or away from) an airport in a romantic comedy? Make your case in the comments.

The Business Of Diversity: Why Hollywood Needs Integration

By Guest Contributors Zach Stafford and Nico Lang

Choscar

Illustration: Joseph Lamour.

Over the years, people of color have had the hardest time breaking into the ‘biz’ or just simply being recognized for the work that they have done on the silver screen.

It was in 1939 that the first African American person–Hattie McDaniel–won an Oscar for her supporting role in Gone With the Wind. It took 30 years for another African American person to win again: Sidney Poitier won Best Actor in a leading role for Guess Who’s Coming to Dinner?, a film that tackles racial divides and interracial dating at the onslaught of integration. But how much have we integrated since then?

In their 2011 New York Times article, “Hollywood’s Whiteout,” staff film critics Manohla Dargis and A.O. Scott wrote, “[Race] in American cinema has rarely been a matter of simple step-by-step progress. It has more often proceeded in fits and starts, with backlashes coming on the heels of breakthroughs, and periods of intense argument followed by uncomfortable silence.” Their article came out in response to the 2010 Academy Awards where zero African Americans were nominated, which struck many as peculiar within this Obama Era where ideals around post-racism circulated from sea to shining sea.

The lack of people of color at the Academy Awards was a stark reminder that Hollywood was still very much divided. Let’s play a game: Can you name a prominent black actor under 30? Someone that, if you walked up to a random person on the street, they would know who you are talking about? Didn’t think so.

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The Bourne Legacy And Manila’s Militaristic Mapping

By Guest Contributor Bryan Ziadie

I’ve heard a few friends’ opinions so far about The Bourne Legacy, the latest installment in the Bourne film franchise. The last set of sequences in the film got particular attention. Those scenes take place in Manila. It seems to be the case here in the Philippines that people, at least those I know, managed to stay immersed in the film up until that point. After this, a feeling of strange misrecognition of the landscape took over. This may be because what we’re shown through the camera work in the Manila scenes suggests a perception of the Philippines not unfamiliar to a militarized American pop-culture industry that’s easy to identify with it until you find that familiar spaces have become the focus of the camera’s lens.

Rooftop-Hopping

One thing that I’ve noticed about First World action sequences that take place in Third World settings is the position of the camera. You often find it hovering above, looking down on metal, shanty-town rooftops as protagonists run across, leaping from one roof to the next either in pursuit of, or escape from, the enemy. A couple examples that come to mind can be found in Edward Norton’s Incredible Hulk and, in Inception, the scene that takes place in Mombasa. I can’t actually remember the movie Quantum of Solace very well, but the video game features a shanty-town, rooftop-hopping stage.

(Don’t watch the whole video, it’s actually pretty boring)

But, to say on track, here’s an illustrative scene from Bourne.

(Watch the whole video. It’s actually pretty badass.)
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New Film: Middle of Nowhere

Winner of the Best Director Award at the 2012 Sundance Film Festival, MIDDLE OF NOWHERE follows Ruby, a bright medical student who sets aside her dreams and suspends her career when her husband is incarcerated. As the committed couple stares into the hollow end of an eight-year prison sentence, Ruby must learn to live another life, one marked by shame and separation. But through a chance encounter and a stunning betrayal that shakes her to her core, this steadfast wife is soon propelled in new and often shocking directions of self-discovery – caught between two worlds and two men in the search for herself.

Ava DuVernay is back! And I have been dying to see this film.

The Evolution of Snow White

By Guest Contributors Paul and Renee, cross-posted from Fangs For The Fantasy

One of the newest trends we’re seeing in speculative fiction is the revisiting of fairy tales, especially in a modern setting–they’re almost a unique sub-genre of the Urban Fantasy and Fantasy genres.

And, in many ways, this is very important to do as fairy tales are some of the very first stories many of us are exposed to as children. Unfortunately, they’re also very old stories–and contain a lot of very old and sadly prevalent tropes that have stayed with us over the years. Generations of children have grown up with stories of helpless princesses, passively waiting for a handsome (and anonymous–after all, any man will do if he’s in the right place at the right time) prince to save them from abject peril. There is no question that this iconic image–repeated over and over in fairy tales, has had a profound effect on our culture, our society, and our view of gender roles, and there have been numerous excellent posts deconstructing the damaging messages of fairy tales.

There is no fairy tale that can be considered more centre stage than Snow White and the Seven Dwarfs. An ancient tale, it rose to prominence when it became Disney’s first full-length animated movie and was forever cemented front and centre as not just a fairy tale–but the fairy tale. The ultimate tale of the protagonist–poor, helpless, sweet and oh-so-fair Snow White is attacked by her evil stepmother, while she helplessly sings to wildlife and eventually resides in a glass coffin to be rescued.

This is clearly an image that needs challenging–and, appropriately, Snow White is front and centre of the fairy tales that are being revised for the modern world. Between Once Upon A Time, Mirror Mirror, and Snow White and the Huntsman, we see a very different princess. The modern Snow White does not lay in glass coffins awaiting rescue. Her reaction is to attack, not to run away in fright, or maybe sing a little ditty to bluebirds. The modern Snow White kicks arse, she wields a sword, actively hunts down the Evil Queen, and she stands shoulder-to-shoulder with her Prince Charming.

One of the things that we love most about Once Upon a Time is that, while Mary Margaret may be the soggiest lettuce in town, Snow White is a highwaywoman, a fighter, and a swashbuckler–every bit Prince James’s equal. Snow White is no longer a prize to be claimed, no longer an object to be won, and no longer a passive element in what is supposed to be her own story. And if she needs rescuing, she is quite capable of rescuing herself, thank you very much.

This is both so very needed and very empowering. It’s powerful to not only create new stories that empower marginalised bodies, but re-examine these old tropes and challenge them in a way that not only sets a new paradigm but highlights how wrong the old paradigm was.

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Sundance Pick: 2 Days In New York

“Madcap comedy” is the only phrase that really describes the absolute ridiculousness that is Julie Delpy’s 2 Days In New York. There really isn’t any other term that fits–the experience is akin to watching a circus unfold in your living room, which I assume is the point. Julie Delpy is Marion, a deeply eccentric Parisian-born artist based in New York who is trying to juggle the demands of a new and blended family with her art. When her French family is flying in to support her solo exhibition, her tranquil relationship with her radio host blipster husband Mingus (Chris Rock) is put to the test. Over 48 hours, the entire household is thrown into chaos.

A few things that happen in the film: a violation of sexual boundaries involving an electric toothbrush, wanton keying of limousines, smelly situations at customs, a French nudist captivates a bored American doctor, the children decide they want to be a dead princess and a dead bunny for Halloween, stoned shenanigans in the co-op elevator, and Marion sells her soul, which results in a minor brawl.

And did I mention a cardboard cutout of Barack Obama is a major character?

Delpy, who wrote and directed the film, makes the most out of the short screentime cramming in as much commentary on family life and the art world as she possibly can. A follow-up to 2 Days in Paris, Delpy balances the pace of her city subjects with the quiet calamity of modern life. The film spins so fast that in the middle of the madness, it takes more than half of the movie before I realize 2 Days in New York has managed to pull off an amazing depiction on an interracial relationship. Race is not the most important thing between Marion and Mingus, and it certainly isn’t their primary conflict throughout the film. Instead, where race intersects with their lives is subtle.

If race is blatantly brought up as part of the plot, it is often played for cringe-inducing laughs. Manu, Marion’s former flame who is currently dating her sister Rose, is a one-stop shop for racial ignorance posing as innocence. He tries to curry favor with Mingus’ sister Elizabeth (Malinda Williams) by saying she looks “just like Beyonce, only sexier.” Chagrined at finding out that Mingus doesn’t smoke weed, he off-handley remarks that Marion “found the only black guy in New York that doesn’t smoke.” And when Mingus’ friend from the Obama Administration comes to town, Mingus is mortified when Manu starts randomly calling him “Kumar.” (This friend was not played by Kal Penn.) Luckily, after a day or so, Manu is deported for lighting up in front of a police station.

2 Days in New York is a fun romp, with a strange, but satisfying ending that proves that love (mostly) conquers all.