Best of Enemies [2015]

MPAA (R)  ChicagoTribune (4 Stars)  RogerEbert.com (3 1/2 Stars)  AVClub (B+)  Fr. Dennis (2 1/2 Stars)

IMDb listing
ChicagoTribune (M. Phillips) review
RogerEbert.com (G. Cheshire) review
AVClub (N. Murray) review  


Best of Enemies [2015] (cowritten and codirected by Robert Gordon and Morgan Neville) is a documentary about the commentary / debating segments that ABC News had contracted from Gore Vidal and William F. Buckley, Jr to spruce-up / liven-up its otherwise certain destined to be 3rd place (among then three competing television networks) and forgotten television coverage of the 1968 Republican and Democratic Party Conventions.   The network chose well ...

Though both Patrician, both were articulate and often quite witty spokesmen for (and indeed epitomized the intellectual foundations of) their respective opposite ends of the American political spectrum at that time:

Gore Vidal knew both Eleanor Roosevelt and Jackie Kennedy personally.  The former actually campaigned for him when he, briefly, took a stab at running for the U.S. Congress (for a seat in upstate New York) in 1960.  The latter, he knew as Jacqueline Bouvoir BEFORE she became J.F.K.'s fiancée / wife.  Vidal who was gay, became famous in the 1950s-60s in the Eastern American intellectual establishment for his increasingly provocative novels [wikip] [GR] [WCat] [Amzn]  about sexuality, homosexuality, transsexuality (culminating perhaps with his 1968 novel Myra Breckinridge [wikip] [GR] [WCat] [Amzn]).  And yet that's NOT ALL that he wrote.  He called himself "America's biographer" and certainly he would have had a right to at least "throw his name in that ring," as he wrote a series of quite weighty tomes (lightened by his characteristic irreverent tone) on Lincoln [GR] [WCat] [Amzn], America's Founding Fathers [GR] [WCat] [Amzn], as well as America's increasingly imperialist tendencies in the modern era [GR] [WCat] [Amzn].  Much of "Liberal" / "Blue State" America today could trace its roots back to him.

On the flip side, William F. Buckley, Jr was a heavy weight himself.  He knew and was friends of both Barry Goldwater and especially Ronald Reagan.  His weekly National Review became sort of the "Federalist Papers" of the modern American Conservative movement.  Neither was he a "mindless Conservative" / "Reactionary."  Catholic, he took on Pope John XXIII's 1961 social encyclical Mater et Magistra, with a famous essay "Mater Si, Magistra No" which was both serious (putting the silliness of the current gas-bag Limbaugh-dine conservatives' complaints about current Pope Francis' environmental encyclical Laudato Si to shame) and also laced with his own brand of wit. 

Not that Buckley was right, IMHO. I do think that he and many of his head-shorter contemporaries today fundamentally misunderstood / misunderstand the Popes' role / teaching.  The Popes DON'T advocate for "Communism" (!?) BUT THEY DO remind the world of fundamental moral principles: We have responsibility for our brothers' / sisters' welfare (we are "our brothers'/sisters' keepers" [Gn 4:9]) as well as for "our common home" (which was given to us by God [Gn 1:28] originally AS A PARADISE [Gn 2:8]).  

What was clear to anyone, however, was that Buckley like Vidal HAD A BRAIN, and arguably much if not all of what is reasonable in contemporary Conservative "Red State" American thought could be traced back to him and The National Review that he founded.

So ABC chose its two commentators well.  How'd it go?

Here, contrary to most critics (and reviewers of the current film) I would suggest that the "Debates" between Buckley like Vidal, in as much as they were "debates" at all, ended _badly_.  Basically, what is most remembered of them (and certainly underlined _over and over_ in the current documentary about them) was that in the last "debate" Gore Vidal called Buckley a "crypto Nazi" and Buckley in turn called Vidal a "queer" and that SOMEHOW Gore Vidal "won the debate" as a result.  Why?  Presumably because it's okay to call someone "a  crypto Nazi" BUT NOT "a queer."

And there we have it.   I would suggest that BOTH MEN FAILED.  And I would agree that their childish if certainly mesmerizing presence on the television screen back in 1968 (but the alternative would have been watching even more of police officers hitting protesters with clubs ...) INFLUENCED (though in my mind BADLY) political "debate" on television ever since.  Basically, these two "Giants" gave us the first "CNN Crossfire" show, when, sigh ..., they could have done so much better.

So in the end, I left the theater disappointed, though perhaps understanding a little better why we are in the country we are today: Nearly 50 years ago, two of the truly best and most articulate minds of the time were invited to debate the great questions of their time, and instead ... they chose to call each other names.  Sigh ...


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White Water [2015]

MPAA (UR would be PG)  Fr. Dennis (4+ Stars)

IMDb listing 

EUR (L. Buford) review
Broadcastingcable.com (J. Walsten) review
The Art of the Monteque (V. Nickerson) review

Deadline.com (A. D'Alessandro) interview w. the child actors


White Water [2015] (directed by Rusty Cundieff, screenplay by Michael S. Bandy and Eric Stein) is a family drama set in 1963 rural Alabama near the end of the Jim Crow Era.   The film played recently at the 2015 (21st annual) Black Harvest Film Festival held here in Chicago at the Gene Siskel Film Center.

The film tells the very human story of a 7 y/o African American boy named Michael (played by brothers Amir and Amiri O'Neill) who becomes fascinated / obsessed with the _probable_ taste of the water coming-out of the "white's only" water fountain in town.  Since he saw a white boy his age, Tommy (played by Brody Rose), drink and drink and drink from that fountain, Michael is convinced that it must be _much better_ than the water coming out of the "colored folks" water fountain.  Michael knows the taste of the water from that one and he's never been impressed.  Indeed since the water was rusty in taste, he rarely drank from it, only when he was really, really thirsty.

So there it is.  A seven year old African American boy wants to taste "the water of the white folks," and, well ... it's ILLEGAL.  And his ma', Annie (played spectacularly by Sharon Leal) and grandpa (played by Leon Lamar) become convinced that Michael's inevitably going to do something really stupid (like drink from the "white folks' water fountain") that's going to get him into _a lot of trouble_ just like his no-good saxophone playing father (played by Larenz Tate) would get into.

Add then Michael's maybe one-year-older cousin Red (played by Zhane Hall) who eggs Michael on, telling him he's "drunk from white folks' drinking fountains many-a-times" and then Rev. Stokes (again wonderfully played by Barry Shabaka Henley) who's JUST TRYING to keep his little, often quite oppressed / humiliated flock from doing any of a wide number of very stupid things (both politically and personally) that would "lead them on the certain Road to Perdition" ... and one gets ONE HECK OF A (somewhat tempered by years) SEGREGATION ERA STORY that TRULY EVERYONE, BLACK OR WHITE, COULD UNDERSTAND.

Honestly school teachers, if you're looking for a GREAT CHILD FRIENDLY FILM THAT EXPLAINS _ALL THAT ONE REALLY NEEDS TO KNOW_ about THE HUMILIATING (and at times DEADLY SERIOUS) EVIL that was SEGREGATION in the SOUTH during the Jim Crow Era this is A GREAT ONE TO CHOOSE.

Great job folks, great, great job!


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The Diary of a Teenage Girl [2015]

MPAA (R)  CNS/USCCB ()  ChicagoTribune (4 Stars)  RogerEbert.com (3 1/2 Stars)  AVClub (B+)  Fr. Dennis (1 1/2 Stars)

IMDb listing
CNS/USCCB () review
ChicagoTribune (M. Phillips) review
RogerEbert.com (S. O'Malley) review
AVClub (J. Hassenger) review


The Diary of a Teenage Girl [2015] (directed and screenplay by Marielle Heller based on the novel [GR] [WCat] [Amzn] by Phoebe Gloeckner [wikip] [GR] [WCat] [Amzn] [IMDb]) is a definitely _appropriately_ R-rated film about a 15 year old whose first sexual experience (and second, third, ...) was with her mid-late 30-something mother's boyfriend (also 30-something though perhaps a couple of years younger than said mother).  Say what??

Obviously, this is _not_ a "light" film.  And let's be clear, there are adults, both men and women (among them, of course, some past Catholic priests), WHO ARE IN PRISON / AND ON LIFELONG SEX OFFENDER LISTS for having had sex / entered into sexual relationships with minors.  So what possible value could there be to making such a film?

To be honest, this is a film IN THE FIRST PLACE FOR PARENTS / OTHERWISE ADULTS and then perhaps for SOME TEENS (with HOPEFULLY some parental involvement).

Why Parents?  Well this film is as good a reminder as any to divorced / unmarried / recently married parents with kids that their new "one" could have dangerous issues with regards to the kids (from hitting them to hitting-on / SLEEPING with them...).  Yes, can be pretty awful and/or lonely to be divorced / unmarried with kids at home, but one simply has to be very careful about who one's bringing (new) into the house because one's not just putting oneself at risk, but also one's kids.  Honestly, it's just the reality.

Then why adults in general?   If a fifteen year old (a minor) starts thinking that you want to have sex with them, it's time to run.  There's NO WAY that such a relationship could play-out well and in the U.S. today (and, indeed, in most of the western world) 9-out-of-10, 95-out-of-a-100, the adult's gonna end-up in jail / on a sex offender list, etc.  So the film presents an opportunity to internalize how stupid / creepy the guy was in the film and then to redouble one's efforts manage one's life in a manner that would avoid getting sucked into a situation like the one portrayed in the film.

So then what the heck happened in the film to produce such an intro to a review of it?

The very first line of the film (set in San Francisco in 1976) has the film's 15-year-old protagonist Minnie (played by 20-something actress Bel Powley) proclaim in a voice-over to viewers: "Today, I had sex for the very first time."

The next fifteen-or-so minutes involves her progressively revealing to viewers the exact circumstances of the loss of her virginity, and it becomes clear that the circumstances were quite fumbled and yucky and let's face it, the guy (played by Alexander Skarsgård), was her twice divorced 30-something mother (played by Kristen Wiig)'s 30-something boyfriend.

How did it come to that?  Well, Minnie explained:  Some days (or a couple of weeks) before, she and her younger half-sister Gretel (played by Abby Wait) along with their mom and mom's largely-live-in boyfriend were all watching TV.  Eventually Gretel and mom pealed off to go to bed, leaving Minnie and her mom's boyfriend alone.  Having all been snuggling together (as "family") before, Minnie and mom's boyfriend were left in that position after the other two left.  Then whether by accident -- he _could have been_ tired, he _could have been_ drunk -- or intentionally, said mom's boyfriend plopped his hand on Minnie's breast and _appeared to fall asleep_.   Was it a come-on?

I could imagine a lot of people who see that movie debating that point.  However, it's beside the point:  that accidental and/or very creepy gesture left Minnie, a not particularly confident in her own skin 15 year old, wondering: "What did he mean?"  But she kinda liked it (it was the first time anyone had touched her like that).  And so sometime later (a few days later or a few weeks later) SHE TELLS HIM that SHE wants to have sex with him.

Said boyfriend of Minnie's mom had exactly one opportunity to end this well.  HE COULD HAVE SAID: "But Minnie I love your mom."  BUT HE DIDN'T (SAY THAT) BECAUSE HE DIDN'T (REALLY LOVE MINNIE'S MOM).  He was JUST SLEEPING WITH MINNIE'S MOM because she was available and HE (PROBABLY) HAD "NOTHING BETTER GOING ON."  Not exactly a romance that would "launch a 1000 ships ..."

He could have also said: "Minnie you're 15 years old and I don't want to go to jail" and since he didn't particularly love Minnie's mom anyway, could have made a relatively easy exit over the next several days.

Instead because he probably was something of a creep, he had sex with her.

The rest of the movie follows.  Again, this is not a pretty picture.  In fact, IMHO it is quite an ugly one.  Is it "realistic"?  I think that most viewers would probably hope not.  But it can give parents, adults and possibly some older teens some things to think about.


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Kahlil Gibran's The Prophet [2014]

MPAA (PG)  CNS/USCCB ()  ChicagoTribune (3 Stars)  RogerEbert.com (3 1/2 Stars)  AVClub ()  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB () review
ChicagoTribune (R. Moore) review
RogerEbert.com (P. Sobczynski) review
AVClub () review  

Kahlil Gibran's The Prophet [2014] (directed by Roger Allers, et al, screenplay by Roger Allers along with Hanna Weg and Douglas Wood based on the acclaimed spiritual book [wikip] [GR] [WCat] [Amzn] by turn of the 20th century Lebanese author Kahlil Gibran [wikip] [GR] [WCat] [Amzn] [IMDb]) offers a gentle introduction to the immensely popular text.

As in the book, so too in the current animated film (Al)Mustafa (voiced in the film by Liam Neeson), a spiritual leader, who has spent 12 years on an island outside of a fictionalized town called Orphalese, is about to go home.  A ship has come to take him to his homeland (or "homeland").

Now why was (Al)Mustafa on "the island" to begin with?  The book is (deliberately) unclear.  The film is much more specific (but certainly offers a credible explanation for both that time-in-history, and perhaps even ours.  After all, the story plays out near the Eastern Mediterranean / Western Middle East, hence in "the land of I.S.I.S." and all kinds of extremist militias).

As in the book, so in the movie, BEFORE (Al)Mustafa departs (or "departs" ... in both the book and the film the actual and certainly ultimate manner of his "departure" also remains vague) HE'S ASKED A NUMBER OF SPIRITUAL QUESTIONS by the people coming together to bid him farewell, which provides him opportunity to give sage advice about love, work, marriage, time, etc.

His answers, generally given in in the book 1-2 page poetic vignettes, make up the bulk of the small 60-or-so-page text.  The film expounds in generally lovely / gentle / colorful animated fashion on four or five of his answers.

Since the bulk of the 60-or-so-page book is in effect (Al)Mustafa preaching to the people, before "departing", the film does take _some_ imaginative liberties with the book to tell the story.

Notably, it dramatizes (Al)Mustafa's leaving of his "little house outside of town" and his walk to the town and its harbor.  (Al) Mustafa is portrayed as having a (widowed) house keeper, named Kamila (voiced by Salma Hayek) who, in turn, has a little 6-7 year-old daughter Almitra (voiced by Quvenzhané Wallis).  Note that that Almitra is imagined/portrayed quite differently in the original book than she in the film.  Together with a guard named Halim (voiced by John Krasinski), Kamila and Almitra help (Al) Mustafa travel down from his "little house outside of town" into town.

It all makes for a lovely story and for a nice, but certainly not only, perhaps even _intentionally_ limiting (concretizing) interpretation of the book.

So while not necessary to understand the story presented in the film, getting-hold-of and reading the 60-or-so page book both beforehand and perhaps especially _afterwards_ will help one appreciate the specific artistry and choices made in the film.

IMHO the book [wikip] [GR] [WCat] [Amzn] is far more general in scope than the film.  However, as I've already suggested, the choices made by the film-makers make for an interesting, even compelling (and perhaps unfortunately still all too timely) interpretation of the book.

Good job folks!  Very good job!


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The Man from U.N.C.L.E. [2015]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (2 Stars)  RogerEbert.com (2 Stars)  AVClub (B)  Fr. Dennis (3 1/2 Stars)

IMDb listing
AlloCine.fr listing*
CSFD listing*
FilmTV.it listing*
FilmWeb.pl listing*
KinoPoisk.ru listing*
Kino-Zeit.de listing*

CNS/USCCB (J. Mulderig) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (G. Kenny) review
AVClub (J.Hassenger) review

FilmServer.cz (V. Limberk) review*
Gazeta.ru (J. Zabaluev) review*
Kino-Zeit.de (Press Spiegel) reviews*
Rossiyskaya Gazeta (D. Sochovskiy) review*


The Man from U.N.C.L.E. [2015] (directed and screenplay cowritten by Guy Richie along with Lionel Wigram, story by Guy Richie, Jeff Kleeman, Lional Wigram and David C. Wilson based on the television series [1965-68] [IMDb] by Sam Rolfe) is the less "controversial" film coming-out in wide release this weekend, the other, edgier film being Straight Outta Compton [2015].  And I have to say that I enjoyed (indeed LOVED, read on...) this "lighter" / "safer" even if surely "more vanilla" film as well.

Though certainly more serious than the Get Smart [1965-70] [IMDb] television series, the current "U.N.C.L.E." film as well as the series that inspired it takes its lead with (and is partly a send-up of) the James Bond movies that were already so popular in the 1960s.

Like the Get Smart [1965-70] [IMDb] series, the U.N.C.L.E. [1965-68] [IMDb] series involved a battle between two great coalitions representing "Good" and "Evil."  In Get Smart, the Coalition for Good was called "Control" and the coalition for Evil was called "KAOS."  In U.N.C.L.E. the "Coaltion for Good" was indeed called U.N.C.L.E. (standing for United Network Command for Law and Enforcement) and its opponent was a neo-Nazi ODESSA-like Coalition called T.H.R.U.S.H. (Technological Hierarchy for the Removal of Undesirables and the Subjugation of Humanity).

That the opponent of U.N.C.L.E. was a neo-Nazi ODESSA-like organization allowed both American / Western agents in general to work with Soviet (Russian) agents to work together _both_ in the original series and in the current film today.  This cooperation between East and West is a key distinguishing characteristic of the U.N.C.L.E series from pretty much all the others (in the West) of this genre: Ian Fleming's James Bond, Mel Brook's / Buck Hardy's Get Smart, Tom Clancy's Jack Ryan and so forth.  Given renewed East-West tensions today, I do find the decision to try to reboot this _hopeful_ 60s-era series to be an unexpected joy and a reminder that just as Russia (then the Soviet Union) and the West cooperated in defeating Nazi Germany (and no-doubt frustrated any subsequent attempts at revival of race-based neo-Nazi empire building, no in this case, no one's 'crying' Argentina ...), Russia and the West have common interests even today, notably in fighting Islamic extremism / terrorism.  So there is undoubtedly contemporary value to the revival of this (then) hope-against-hope 1960s era spy-series.

Another _great joy_ in the revival of this 1960s era spy-series can be found in the drawing of the key characters (re)introduced in the film -- the super-competent / stylish yet slippery American CIA Agent "Napoleon Solo" (played with exquisite brashness by Henry Cavill), his huge, perhaps coming across initially as somewhat clumsy, but also arguably more straight-forward / honest KGB counterpart Illya Kuryakin (played again spot-on by Armie Hammer), an OMG she _steals_ the movie (!) mild-mannered East German "auto-mechanic" (agent) named Gaby (played wonderfully by Alicia Vikander) WHO'S PLAYING EVERYBODY (but SHE HAS TO ... SHE'S GERMAN in the middle of the Cold War ;-) and the ever smiling (but which way is he really going?) head of British Intelligence, Alexander Waverly (played again wonderfully/spot-on by, again, ever jovial / ever-smiling Hugh Grant).

Together they must break into a secretive neo-Nazi/Fascist ring led by an Italian Versaci-dressed bombshell named Victoria Vinciguerra (played again perfectly as a Bond-worthy villian by Elizabeth Debicki) and, it turns out, some of Gaby's old (past-Nazi) relatives "Uncle Rudi" (played with appropriate "I'm a member of the Aryan super-race and if you are not you don't deserve anything from me" Evil swarminess by Sylvester Groth) and as well as _her dad_, a scientist who just seemed to get mixed-up _way over his head_ (again...) into something increasingly/unbelievably Evil).  Much then had to ensue ... and it does ;-)

I'd also add that the COSTUMING (and even SET DESIGN) in this film are about as good as they get.  While this is a very "light" film, I DO HOPE that come Oscar Season, this film gets remembered with regards to COSTUME DESIGN in particular:  For every time that Gaby came-up on the screen, I kept thinking of my (Chicago Art Institute diploma-ed / accredited) dress-designing mom who was in her 20s-30s in the 1960s and pretty much made / wore _exactly_ (!) the kind of light dresses that Gaby wore throughout the film.  (Honestly, I found this aspect of the film AN ABSOLUTE JOY).

So what then to say about this film?  Perhaps it's more optimistic than reality (certainly then, but also now) would warrant/deserve.  But this is a lovely / LIGHT film that offers the possibility of looking for the best in each other's characters (or at least of most characters) rather than looking for the worst.

So honestly, great job folks!  Honestly, great and _positive_ job!


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Straight Outta Compton [2015]

MPAA (R)  CNS/USCCB (O)  ChicagoTribune (2 1/2 Stars)  RogerEbert.com (4 Stars)  AVClub (C)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (O. Henderson) review
AVClub (I. Vishnevetsky) review  

BET coverage
Ebony coverage
Essence.com coverage
TheSource.com articles

Straight Outta Compton [2015] (directed by F. Gary Gray, screenplay by Jonathan Herman and Andrea Berloff story by S. Leigh Savidge, Alan Wenkus and Andrea Berloff) is a biopic about the late-1980s early-1990s Los Angeles-based "gangsta rap" group N.V.A.

Perhaps the most important thing that I can say about both their story and the film is that despite a very long list of (legitimate) complaints about the content of their songs and then their often violent / often misogynist off-stage behavior, the group did OFTEN tell the truth, certainly the truth as viewed from their perspective.

And I think I can say that because I LIVED IN LOS ANGELES during those same years, studying for a PhD (in Chemistry) at the University of Southern California, at the northern edge of South Central L.A.  I knew very well the buzzing of police helicopters over my head at night, pretty much _every night_.  And I watched a black man being spread-eagled / arrested at night in front of my student room for rent where I was living.

Later, after I finished my PhD, I still lived in the area during the L.A. Riots following the trial of the LAPD officers in the Rodney King arrest.  I will never forget the smell of the city burning on the first night of the rioting.  And I spent the second night at a priest friend's out in the suburbs near where I was working because I could not get home to the apartment where I still lived at the time (on the east side of Hollywood) because the area was still cordoned off by police who were trying to restore order.  I spent that evening with my priest friend and his Hispanic gang-intervention group standing on a street corner by a shopping center a few suburbs away, chanting to very agitated passerbys essentially "Give Peace a Chance" and I've never forgotten my impression of that angry night as: "So this is how the Apocalypse would look like" as it seemed like there was a near total (if thankfully temporary) unraveling of social order.

While I did not know Compton as well as I knew South Central L.A., I would have to say that comparisons to the notorious Soweto Township in South Africa would _not_ be entirely off-base.  As such, I totally get the sharp, spare-me-the-B.S.(!) language / anger of N.V.A.'s songs and the current film.

Now a fair number of non-blacks who've never lived in an area like Compton / South Central L.A. will simply not understand or _not get past_ the anger expressed in the N.V.A.'s songs and videos (Hence a fair question could be asked: 'Okay, you're absolutely right, but ... if you turn a lot of people off who's going to really listen to you?' But a fair response would probably be: 'Well a lot of those people who don't like us weren't going to listen to us anyway...").  A fair number of observers will also discount / dismiss N.V.A. (and other rappers like them) for their attitude / descriptions AND OFTEN ENOUGH (DOCUMENTED) BEHAVIOR toward WOMEN.  I also _completely_ understand the AFRICAN AMERICAN PARENTS precisely living in places like Compton / South Central L.A. who would be saying: "WE GET IT.  WE SEE IT.  BUT WE _DON'T_ WANT OUR KIDS LIVING LIKE YOU -- with guns, drugs and whores (or living as drug dealers / whores)."

So this is a film that is edgy about a rap group whose music was and remains _very disturbing_.   Parents, this film certainly deserves its R-rating.  But it's NOT a film / story to dismiss.


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BaddDDD Sonia Sanchez [2015]

MPAA (PG-13)  Fr. Dennis (4 Stars)

IMDb listing


BaddDDD Sonia Sanchez [2015] (codirected by Barbara Attie, Janet Goldwater and Sabrina Schmidt Gordon) is a documentary about the prolific 80 year old African American writer / poet / educator Sonia Sanchez [wikip] [GR] [WCat] [Amzn]  co-foundress of the Black Arts/Studies Movement in California in the 1960s.

The documentary played recently as part of the 2015 (21st annual) Black Harvest Film Festival held here in Chicago at the Gene Siskel Film Center.

Her story could be inspiration to a lot of young educated men and women of color in the United States today because she had to navigate pretty much _every_ professional obstacle that could be placed in front of a woman or person of color to marginalize him/her:

Yes, she was a co-founder of the Black Studies Movement movement in the 1960s and hence had to FIRST DEFEND the very legitimacy of "Black Studies" as field worthy of academic endeavor and THEN had to fight clueless (generally white) university administrators who wanted the works of towering African American figures like Booker T. Washington (an African American leader of the post-Reconstruction Era who built an entire movement around African American self-reliance) and W.E.B. DuBois (the founder of the N.A.A.C.P. !) to be kept _outside_ of emerging Black Studies curricula (LOL ... probably "Uncle Tom's Cabin" would have been "okay" ...)

Then, she became an initially reluctant but as time went on _scathing_ African American opponent to the Black Panther movement also emerging in California in the 1960s for its horrendous marginalization / mistreatment of African American women.

For a time, she was part of the Nation of Islam movement RUNNING SCHOOLS FOR AFRICAN AMERICAN MUSLIM WOMEN within the movement, until she came to realize with hard experience that this Muslim affiliated movement was, after all, (if _not_ explicitly hostile) not particularly oriented toward promoting higher / scholarly education of women.

And she did all this WHILE RAISING THREE CHILDREN -- two sons and a daughter -- in the course of two marriages (both eventually failed) and finally on her own.

What she did have, always, was her writing and her poetry and eventually a rock solid conviction that _violence_ of any kind, was NEVER the solution.

By then, living and teaching at Temple University in Philadelphia she publicly challenged then Philadelphia's African American mayor's 1985 decision to _bomb_ the somewhat odd, to many misguided, black separatist movement "MOVE's" compound in Philadelphia, an action that killed 11 MOVE members including 5 children.  Later, to oppose the 2003 Iraq War along with several other "grannies" (both black and white), she participated in a sit-in at at U.S. army recruitment office after the recruiters wouldn't take _their_ applications to enter the Army "rather than the young ones."

Those who know something about poetry will find her philosophy there fascinating: Sonia Sanchez [wikip] [GR] [WCat] [Amzn] is famous for her free verse BUT she's also written _entire books_ on and in the style of Haiku and she would insist that her students become masters in form poetry _like but not inclusive_ of Haiku BEFORE going into free verse.  Also in the film, Ms Sanchez insisted that when she speaks, there's always a "sound track" (perhaps only in her imagination) behind it.  And indeed, most of the times when the film showed her reciting poetry, there was a jazz ensemble of one-sort-or-another playing "background."

All in all, I found this documentary about Ms. Sanchez to be a joy.  I found her person to be _very interesting_ and inspirational.  And I appreciate festivals such as this, the annual Black Harvest Festival held here in Chicago, as an opportunity to be introduced to people like her and to other artists, indeed often enough film makers, that I otherwise would probably never have learned about, but can enrich my / other's lives.

Great job!


ADDENDUM:

While this documentary film was _wonderful_, one need not find / see it to learn about Sonia Sanchez [wikip] [GR] [WCat] [Amzn].  There's plenty to find about her across the internet, in book stores and in libraries.  Just follow the links I've placed along side her name ;-)


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