Showing posts with label TV series. Show all posts
Showing posts with label TV series. Show all posts

Friday, April 30, 2021

Moviegoing (Pandemic) - April (Final)

And now, one year and one month later, I have wound down my pandemic-spurred moviewatching (I of course will continue to watch films and TV shows avidly), to conclude with the following films I shoehorned in during a very busy April. It was almost a blur, but I did remember to write down the following films and shows. Please do share your thoughts about any of these films or entries, throughout the entire past year, in the comments!

April's films:

Señorita* (a trans gem from the Philippines, by Isabel Sandoval)

Yellow Fever* 

Caught

Monkey Business*

Horse Feathers*

Relic (1, 2, 3, 4)*

Charles and Lucie* (a Nelly Kaplan film, my first introduction to her work)

A Very Curious Girl* (Kaplan's feminist masterpiece)

Papa, the Lil' Boats*

Watermelon Man* (I'd seen this a few times in the past) 

How to Take a Bath

Lovers & Lollipops

The Homecoming* (rewatched this)

Outside the Wire* (Damson Idris & Anthony Mackie + SF = worth it)

Monsoon* (Henry Golding's & Parker Sawyers's characters in love - well done)

Lime

Copa 181 (It needed a bit more depth, but interesting nevertheless)

Dr. Strangelove*

Guilt 

Wednesday, March 31, 2021

Moviegoing (Pandemic) - March (One Year)

So one year has passed--one year of the pandemic (which actually arrived in the US in December 2019 or perhaps January 2020, to be a bit more factual--since I began recording the films I watched during the dog days of Covid-19's devastating rampage, which is not over, let me state in no uncertain terms, though we now have more effective vaccines and greater knowledge about how it spreads, infects, and so on. As I noted in March of last year, I began watching films (I always watch TV shows) because I was struggling to read for pleasure or get through anything not work-related and thus required; my anxiety was off the charts but I found I could sit through films. I have catalogued thus far many of the ones I watched, though I'm sure I missed quite a few few, but reviewing the list, it really represents quite a range in terms of style and approach, with a strong emphasis, as I noted last year, on features and shorts, and far less on documentaries. (My cinematic mind is akin to my literary one, it seems, with a preference for poetry and fiction over nonfiction.)

Here is my list for March of this year:

One Night in Miami* (imagine Dr. King, Muhammad Ali, Malcolm X, and Sam Cooke all convened for one night in Miami -- enough said)

You Only Live Once* (the 1937 version, not the more recent one)

A New Leaf (this movie, directed by Elaine May, is so odd and awful it's actually quite interesting)

The Palm Beach Story* (Claudette Colbert, Joel McCrea, classic Hollywood divorce shenanigans)

Song of Freedom* (beautiful Paul Robeson film)

Rock 'n Roll High School* (an old fave)

Boneshaker* (a short, by Nuotoma Bodomo)

The Pleasure of Love* (Oh, Nelly Kaplan....!)

Other People (Molly Shannon is the main reason to watch this)

The Lady Eve* (Barbara Stanwyck & Henry Fonda one of her iconic roles)

Sullivan's Travels* (Veronica Lake in one of her iconic roles)

The Legend of Nigger Charley* (Fred Williamson stars as an escaped, self-empowered enslaved man, pursued by a bounty hunter)

Sergeant Rutledge* (Woody Strode in a career-defining performance as a soldier accused of raping a White woman)

Posse* (an old fave)

Kevin Jerome Everson films* - We Demand, Fastest Man in the State, Black Bus Stop

Owusu films* - Drexciya, Reluctantly Queer, Pelourinho: They Don't Really Care about Us

Plastic Bag* (Rahmin Bahrami's short about a...a plastic bag)

Putney Swope* (a successful racial satire of the kind we rarely see today)

Queen of Diamonds (Nina Menkes film, did little for me)

Permanent Vacation* (an early Jim Jarmusch film that gives a glimpse at what was to come in his work, as well as the New York of its era (1980))

The Reflecting Skin* (a vampire movie with a twist - eerie & refreshing)

The Inland Sea* (visually striking film about one of Japan's interior seas)

Insignificance* (Nicolas Roeg's unusual film that somehow works)

Love The One You're With* (the 2021 Black gay Sampson McCormick film about a couple's dying relationship)

Red Carpet, Hashtags & Heartbreak (a Black gay dramedy)

[Wyatt Cenac's commentary on Criterion Channel] 

Sunday, February 28, 2021

Moviegoing (Pandemic) - February

I posted a bit on my Blogaversary (Blogiversary?), not too long ago, so I will keep this entry brief. Every day of almost every week day this month was packed with one thing or another, I have been Zooming nonstop yet sitting still (go figure), chairing, conducting remote readings, and so forth. I also have a new book (poetry!) in the works for later this year (wish me luck!).

Here's February's list:

Lupin* (series - I could watch Omar Sy in anything but this was an immense treat)

Plutão (short)

Urano* (Brazilian short by Daniel Nolasco)

The Breeding* (Extremely disturbing, on many levels)

The One You Never Forget* (tender queer short)

Gay Agenda films on HereTV: Bill & Robert, Diary Room, Floss

My Culture (Mario Bobino film, not super memorable)

Pretend It's a City (Scorsese & Leibowitz - it got a bit tiresome after a while, though I'm a fan of his and hers)

The Tall Target* (a historical thriller, starring Dick Powell & Adolphe Menjou & directed by Anthony Mann about a thwarted attempt to assassinate Abe Lincoln)

Ghost Dog, The Way of the Samurai* (an old favorite)

Thomasine & Bushrod* (Gordon Parks' take on the western, starring Vonetta McGee and Max Julien, star of The Mack)

A Season in France* (my introduction to Mahamet- Saleh Haroun & one I highly recommend)

Abouma* (another Mahamet-Saleh Haroun success)

Cotton Comes to Harlem* (Chester Himes' detective novel vividly realized, starring Godfrey Cambridge & yummy Calvin Lockhart & Raymond St. Jacques, directed by Ossie Davis)

Take a Giant Step* (Philip Leacock's 1959 film about a Black teen coming of age in a racist environment, the film stars Ruby Dee, Beah Richards, Estelle Helmsley and budding singing star Johnny Nash ("I Can See Clearly Now"))

Daratt* (translating to Dry Season, this is one of this Mahamet-Saleh Haroun's masterpieces)

A Screaming Man* (another haunting & remarkable film from Mahamet-Saleh Haroun, Chad's gift to the world of filmmaking)

Pressure* (Horace Ové's powerful portrait of 1970s Black London/Britain)

Celebration* (YSL documentary - very good)

The Brother from Another Planet* (an old fave)

Black Lightning* (series, new season - love love love) 

Sunday, January 31, 2021

Moviegoing (Pandemic) - January

A new year has begun and we are already at the end of its first month, though not without drama. On January 6, 2021, supporters of DJT attempted to storm the Capitol and overturn a legitimate election in which Joe Biden and Kamala Harris soundly and roundly defeated DJT and Mike Pence. In addition to extensive damage, several dead cops, one dead coup participant, unfulfilled threats to kill the sitting Vice President (some of the coup participants erected a gallows outside the Capitol and others chanted "Hang Mike Pence") and extensive destruction to the buildings, as DJT watched on, failing to quell the violence, the House and Senate were able to certify Biden's victory and he is now President of the United States. Covid-19's strains are still raging, but there are vaccines, social distancing continues, we have adapted in ways large and small at home, at work and in the wider world, and while we're not out of the abyss, there seems to be path upward and forward. My January films included:

Hasaki Ya Suda*

Twaaga*

The French Lieutenant's Woman* (I read Fowles' novel before I saw the film years ago & both, I must say, are very good)

Ministry of Fear*

The Age of Swordfish

Easter in Sicily

The Pub

Snuck Off the Slave Ship*

Lo Cal Hero

Frantz Fanon: Black Skin, White Mask

Les Saignantes* (I want to see much more by this director)

Yeelen* (remarkable)

Phoenix

White Elephant

Zumbi Child*

Blackmail

Kill List

Sorry We Missed You

Draw Me Now

Intimate Stranger

Space Is the Place* (I love Sun Ra & this film)

Marianne & Julianne

Mon Oncle*

Date with Dizzy*

Moonbird*

Dadli*

Flores* (I watched it again, it's short & beautiful)

Money Movers

Rome, Open City* (a classic)

Persona* (I have watched this film maybe 10 times!)

Poetry In Motion*

The Grass Is Always Greener

What Women Want: Gay Romance

Living for the Weekend* (series)

The Boys of Rio

Stranger than Paradise* (an old fave) 

Thursday, December 31, 2020

Moviegoing (Pandemic) - December

It seems almost unreal that 2020, this tumultous year, is coming to an end. There are positive signs on the horizon when it comes to Covid-19--vaccines, with more on the way!--though we are still not out of the woods. The same is true with the US as a whole; it remains to be seen if DJT will leave office peacefully, since he has continued to claim the election was stolen--it wasn't, he lost handily--and the recovery, on every level, after four years of his tenure, particularly the horrendous year that just concluded, will require a herculean effort. I did keep watching movies during December (Criterion featured an Afrofuturist-focused curated set to end the year) and here they are:

Crumbs* (Miguel Llansó's post-apocalyptic trip across the Ethiopian desert)

My Culture

T

Afronauts* (a reimaging of the space race from a Zambian perspective)

White In, Black Out* (one of Brazil's most exciting young Afro-Brazilian filmmakers, from Brasília & a revelation) 

Robots of Brixton* (a short triumph from Kibwe Tavares)

Ballad of Genesis & Lady Jane* (documentary about Genesis Breyer P-Orridge & his wife Lady Jaye's ongoing Pandrogyne project)

The Awful Truth* (classic screwball film centering on divorce & featuring Cary Grant and Irene Dunne - what's not to like)

Zombies*

Once There was Brasilia* (another Adirley Queirós film that rocked my world)

The Changing Same* (a gem from Cauleen Smith)

Entertainment* (Rick Alverson's portrait of a truly bizarre, broken comedian)

The Becoming Box (Afrofuturist short)

Hannah Arendt* (severe but effective, from Margarethe von Trotta)

Torch

Jonah* (Kibwe Tavares's short featuring Daniel Kaluuya and playing off the Biblical story)

Holiday* (Katharine Hepburn is so peppy & brittle in this film it's unreal)

1968 < 2018 > 2068* (Keisha Rae Witherspoon's 7-minute meditation on the future)

The Go-Between* (one of my favorite Joseph Losey films, starring Julie Christie, with a Pinter screenplay, and tackling the potentially dire ramifications of the intersections of class and desire)

The Eloquent Peasant* (Chadi Abdel Salam's short set in around 2160 BC)

To Die Like a Man (João Pedro Rodrigues's take on a trans woman's attempt to grapple with her past and present)

The Undoing (a Ryan Crepack film I didn't full vibe with)

Four Women* (Julie Dash - I wish she'd gotten so much more money & support to direct so much more)

Illusions* (a Julie Dash fave)

Pool Sharks* (WC Fields)

The Golf Specialist (WC Fields)

Queen Sono* (I enjoyed the series but felt it should have been extended)

Cat People* (I saw the 1982 version when it debuted & later the Jacques Tourneur version, which was this one - I like it better than the update)

The Legend of Rita* (another Schlöndorff political thriller that was really well written & directed & gave a sense of the stakes of ultraradical politics)

The Ogre (nowhere near as good as the Tournier novel)

Tchoupitoulas* (a documentary about seeing New Orleans, from the perspective of three young Black New Orleanians)

Wild Strawberries* (Bergman is so severe but so talented)

Caché* (a Haneke psychological thriller that's unsolvable through logic)

The Best Man* (the Schaffner film from 1964, written by Gore Vidal, based on his play, not the later romantic comedy starring Taye Diggs, which I also love)

The Public Enemy* (Jimmy Cagney, in one of his best roles, as a White street hustler who attempts to rise in the world of organized crime)

The Comedy* (I cannot state enough how disturbing this film, by Rick Alverson, truly is; it is White male trolling elevated to the level of art)

The Body Beautiful (Ngozi Onwurah's short about her White mother's experience with breast cancer)

The Chase (Brando & Jane Fonda, directed by Arthur Penn, written by Horton Foote & Lillian Hellman - still fell a bit flat for me)

My Favorite Wife (more Cary Grant & Irene Dunne)

Industry* (series)

Cheer* (series)

Catharsis (I think this is the Cédric Prévost film about filmmaking and spectatorship--but I can't remember beyond writing the name down)

 

Monday, November 30, 2020

Moviegoing (Pandemic) October-November

I've already blogged about the election, which turned DJT out of office (if he leaves, that is, for which there is no guarantee) and will bring back Joe Biden, this time as president, with Kamala Harris as VP. So much else has gone on over the last few months that I basically smushed the two together, so instead of individual entries for October and November, here's my tally for both months. It's a long list, but an interesting one. One thing I'll note again is that it was refreshing to see both Criterion Channel and Amazon Prime respond, in their differing ways, to the Floyd murder and the Black Lives Matter push, with diverse and unexpected offerings. What remains to be seen is how long this lasts. The other streaming channels (Netflix notwithstanding), like the cable TV ones, need to up their games.

My list for the two months:

Beau Travail* (an old fave)

Career Girls* (I'd always heard about this film & it was worth the wait)

Suburbia (a 1984 Penelope Spheeris that felt less engaging than many films from that era on a similar theme)

Tomboy* (one of Céline Sciamma's best)

Viridiana* (a film of considerable formal and plot restraint that is nevertheless quite outrageous)

Luminous Motion (Bette Gordon realist film from 1998)   

Variety* (I watched it again!)

Born in Flames* (Lizzie Borden's masterpiece, IMHO)

Calendar* (Atom Egoyan film about a woman who decides to stay in Armenia once her husband finishes his photographic assignment & heads home to Canada - visually striking & full of Egoyan's signature touches)

Lola Montès* (the Max Ophüls masterpiece I first read about years before actually being able to watch it; this was my 3rd viewing)

Henry Gamble's Birthday Party (a good introduction to Stephen Cone's oeuvre if you haven't ever watched one of his films)

The Gates* (I saw this in real time--the exhibit inaugurated this blog!--& the film was a delight)

The Headless Woman* (by the director of La Ciénaga--I definitely want to watch this again)

Pauline Alone (one of my first introductions to the work of Janicza Bravo)

Salut les Cubains* (Agnès Varda, introducing viewers--me--to revolutionary Afro-Cuban filmmaker Sara Gómez)

Vitalina Varela* (a performance so searing you won't soon forget it--my favorite of Pedro Costa's films that I've seen so far)

Affirmations* (Marlon Riggs--love love love)

100 Boyfriends Mix Tape* (Brontez Purnell)

Lovecraft Country* (series)

Two Drifters (a João Pedro Rodrigues film from 2005; not among my top films by him but suitably strange and full of unexpected twists)

A Drop of Sun Under the Earth* (Shikeith Cathey's marvelous short)

Anthem*

The Joy of Life* (Jenni Olson's lesbian hymn to San Francisco)

2001: A Space Odyssey* (one of my all-time faves)

Mildred Pierce* (Joan Crawford's greatest role)

The Ornithologist* (the incomparable João Pedro Rodrigues at his best--utterly bizarre and unpredictable yet still able to weave everything together)

O Fantasma* (Rodrigues's first major international success & one I've seen many times now)

Videodrome* (an old Cronenberg fave)

The Lost Honor of Katharina Blum* (jointly directed by Volker Schlôndorff & Margarethe von Trotte, this is a ironic political film in the best sense & one you seldom if ever get from Hollywood these days)

Burroughs: The Movie

The Night of Counting the Years* (Shadi Abdel Salam's version of The Mummy, but really a neo-realistic, groundbreaking essay in filmmaking)

Flores* (visually arresting)

Coffee Colored Children* (Ngozi Onwurah's experimental film about growing up mixed-race in the UK)

Jáaji* (Hopkinka films)

Anti-Objects of Space Without Boundaries*

Lore* 

A Spell to Ward Off the Darkness* (a Ben Russell film, starring Robert Aiki Aubrey Lowe -- whew!!!)

Terence Nance films*: Swimming in Your Skin Again, Their Fall Our All, No Ward, Jimi Could Have Fallen from the Sky, You and I and You

8th Continent* (compelling short about the aftermath of migrancy and refugee arrivals)

Buck Privates* (Abbott & Costello film - pure silliness)

Accident* (Joseph Losey's campus entanglement film, starring Dirk Bogarde, Stanley Baker, Michael York, Delphine Seyrig, and Vivien Merchant, with a screenplay by Harold Pinter)

Welcome to the Terrordome* (Ngozi Onwurah's groundbreaking SF film)

An Oversimplification of Her Beauty* (A Terence Nance joint, very inventive)

A Dream Is What You Wake From* (Third World Newsreel's documentary film about three Black women and their lives)

Tender Game* (animation by John Hubley)

Totally F***** Up* (perhaps my favorite Gregg Araki film & his most racially diverse - I watched it again)

Working Girls* (Lizzie Borden's feminist film about a young woman trying to fund her own business and the steps she has to take, including sex work, to get there)

The Dark Past* (William Holden vehicle about a psychopathic hostage taker, starring Lee J. Cobb as a psychiatrist)

Mangrove (Small Axe)* - (this and the other Steve McQueen mini-films are some of my favorites of his work. I wish he'd make many more)

The Homecoming* (an adaptation of Pinter's brilliant, frightening play--I'm a huge fan of Pinter's but I appreciated this cinematic adaptation)

Vente et Loquamur (Hopinka)

Wawa (Hopkina)

When You're Lost in the Rain (Hopinka)

The Crown* (series, Season 4 - when is this show never not entertaining?)

The Wise Kids (another Stephen Cone film)

Portugays* (O Ninho) (A series about queer 20-somethings in Porto Alegre, Southern Brazil)

Conframa* (series, new season)

Freefall

Borat

 

Wednesday, September 30, 2020

Moviegoing (Pandemic) - September

The number of films & series I watched this past month dwindled to its lowest level since March, for a range of reasons, not least my slow and steady recuperation, though an ultrasound late this month showed healing (thank the gods). The pandemic rages, classes have begun, online, I have new colleagues in the MFA program, a new (longstanding but with a new position) colleague in Africana Studies, Rutgers-Newark has a new Dean of the School of Arts and Sciences, and Rutgers University (all three campuses) has a new president, Jonathan Holloway (I served on the committees that selected all of them). Fingers crossed things will work out OK in all cases.

As for the movies:

The Future (a Miranda July film that didn't hit)

The Third Generation* (Fassbinder's take on radical left politics in West Germany)

Town Bloody Hall* (the deliciousness of seeing Norman Mailer getting his public comeuppance drums on like a tattoo)

Zama* (the original di Benedetto novel is brilliant and Lucrecia Martel's adaptation is superb)

Duck Soup* (an old favorite)

Lost in America* (an old fave)

Princess Cyd* (a queer coming of age film by Stephen Cone)

The Wise Kids* (the first Stephen Cone film I'd ever watched)

Bacurau (this was hyped but fell flat for me)

La Ciénaga* (one of the month's highlights)

Personal Problems, Part 2*

Imagine the Sound* (an old favorite)

Black Narcissus*

The Last Tree* (Shola Amoo's exploration of a young Black man from rural England who moves to London)

Residue* (Meriwa Gerima's version)

Dames

Wolf* (Ya'ke Smith's 2012 film)

Before I Do 

 

Monday, August 31, 2020

Moviegoing (Pandemic) - August

It is hard to believe that August is here and gone. I have been hobbling around, having torn (or severely strained) a tendon behind my knee, and trying to avoid the heat, as well as Covid-19, which continues its rampage. This month I watched fewer movies and TV shows than any of the prior months, for a variety of reasons (see above), but I did watch at least 20, and here they are:

Bolden (I had been waiting on this one, in part because it starred Gary Carr and because of its long production history, and it was a bit of a bust)

Push Comes to Shove (a Bill Plympton animated feature)

Sun Don't Shine* (an Amy Seimetz film, full of mystery)

The Lonedale Operator* (a Guy Madden short, focusing on none other than John Ashbery, though not his poem of the same name)

Sabotage* (a still compelling thriller)

The Chant of Jimmy Blacksmith* (heartbreaking and powerful)

Rafiki* (a gem of African queer cinema)

Snows of Grenoble* (a documentary on the 1968 Winter Olympics, featuring one of the greatest skiers of all time, Jean-Claude Killy)

Suzanne, Suzanne* (Camille Billops's compelling 1982 documentary

Wolf (a bizarre film with lycanthropic elements I'd probably have to watch again)

Happy-Go-Lucky* (Mike Leigh's character study of a relentlessly happy teacher)

Losing Ground* (a Kathleen Collins fave & testament to her originality & talent)

Things to Come* (Isabelle Huppert in one of her better performances)

Personal Problems, Part 1* (Ishmael Reed's highly original series--what if independent series had taken off in this vein rather than the ones they did?)

Bill Gunn Interview*

Foreign Correspondent*

Gohatto* (my favorite Nagisa Oshima film--visually it's exquisite)

Don't Look Now* (haunting 1970s thriller)

Friday, July 31, 2020

Moviegoing (Pandemic) - July

145,000+ people in the US have officially died from Covid-19 and the totals of those who've gotten it once or multiple times far exceeds that number. The US continues to stagger forward, in crisis and chaos, under DJT's misrule. I kept up my moviewatching, though I tallied far fewer films this month than prior ones. Here's my July 2020 total:

Aguirre, Wrath of God*

Made in U.S.A.*

Detour

Their Own Desire

Red Road

The Human Factor

Between the Lines*

Me and You and Everyone We Know* (I loved this film when it came out but I felt a bit more critical of it this time through)

Love Is the Devil* (Francis Bacon!)

Sleepwalk

Soleil Ô* (Med Hondo's film was a highlight for the month)

Young Ahmed* (chilling but a sharp psychological portrait of fanaticism)

Dear Mom

Birthright

Zora Neale Hurston's Fieldwork Footage*

My Own Private Idaho* (an old fave)

Death in Venice*

Sidewalk Stories* (an old fave--so good)

Stille Nacht

In Absentia (the Quay brothers, enough said)

The Scar of Shame* (I first saw this in a Black film class in college)

Border Radio* (rewatched)

The Exile

Barbarella* (very light entertainment)

Company: The Original Cast Album* (I love this film and the musical as well)

Vazante* (a lovely historical film from Brazil, by Daniela Thomas)

The Lovebirds (Issa Rae & Kumail Nanjani but it didn't gel for me)

Mucho Mucho Amor: The Legend of Walter Mercado* (magnificent!) 

Tuesday, June 30, 2020

Moviegoing (Pandemic) - June

The horrors--the pandemic continues, with 120,000 now officially reported dead (and who knows how many deaths remain unreported), the aftermath of George Floyd's murder by Minneapolis police, the steady tide of state murders, the growing protests against the administration and the state security apparatus, the administrative crisis plaguing the federal government, the general sense of chaos and misrule....I won't list the roll of devastation except to note that the economy is cratering, people continue to get sick and die from Covid-19, the administration's and countless others' disinfo and misinfo continue, and we are supposed, somehow, to function. Make it make sense! (I also rang in my birthday and thanked the gods I made it to another year, so far Covid-free.) Perhaps in response to the ongoing catastrophe I did watch more movies this past month than during prior ones. I think my tally exceeded 40. Does that sound right?

Movies & TV shows watched during June:

Greetings from Africa

Symphony in Black*

A Rhapsody of Negro Life* 

Totally F***** Up*

The Owls

Hoagy Carmichael

Variety*

Janine

A Bundle of Blues

Je, Tu, Il, Elle* (It wasn't what I thought but it's still groundbreaking)

She Don't Fade* (one of my favorite of Cheryl Dunye's films)

The Potluck and the Passion*

St. Louis Blues

Artie Shaw's Swing Class

And When I Die I Won't Stay Dead* (Bob Kaufman, resurrected in this documentary)

Cab Calloway's Hi-De-Ho

People Like Us

Bazodee* (a Trinidadian love story)

Pretty Dudes 

Homecoming* (series, season 2)

El Violinista* (a stunning documentary about a young Haitian violinist who heads to the DR & resumes his passion for the violin)

A Miami Love Story*

Kafou* (Haitian filmmaking with wit)

Before I Do

Discrete Charm of the Bourgeoisie* (Buñuel at his late career best)

The Dark Past

The Fountainhead (as bad as I remembered)

Tristana*

Vanilla Sex

A Rhapsody in Black and Blue* 

Audience* (Lesbian filmmaking pioneer Barbara Hammer's film about the impact of her work with audiences around the country)

Guerrillière Talks* (Vivienne Dick's experimental shorts)

Two Knights of Vaudeville*

Dirty Gertie from Harlem* (landmark early Black cinema)

Urban Rashomon (my favorite Khalik Allah entry on Criterion Channel)

Water Lilies* (a Céline Sciamma gem)

Angst Ist Seele Auf / Ali: Fear Eats the Soul* (an old fave)

My Josephine* (early Barry Jenkins)

Portrait of Jason* (one of the all-time great, complicated Black queer portraits, esp. for its era) 

Thursday, February 08, 2018

Black Lightning, the Series

Cress Williams as Black Lightning
When I was a pre-teen, I read comics avidly, but by the time I reached junior high, I shifted mainly to books, alongside movies and records. This preference has continued into adulthood, though I enjoy reading graphic novels and comics for adults, especially if they're formally experimental, from time to time. But the comic book character families, networks and lore that so many nerds and blerds    hold dear to their hearts were not really part of my adolescence, which probably accounts for why now in adulthood, I tend to be mostly uninterested in movies and TV shows based on standard comic book heroes or teams. Netflix's Jessica Jones (2015) and the subsequent Luke Cage (2016) were rare exceptions. Certainly Hollywood's formulaic approach to most of the comic book franchises does not help things, in my opinion, though I have occasionally gone to see some of the Batman and Spider-Man films on occasion, and loved the Batman TV series as a very small chill. Non-comics derived TV shows involving characters with supernatural powers sometimes do draw me in: Charmed was a favorite during its early run, as was Heroes. But speculative narrative shows and comics are two different things.
Black Lightning, DC Comics version

Black Lightning, the new series on The CW channel, is based on a comic book series, but intrigued me. I knew only a little bit about its origins: writer Tony Isabella and artist Trevor von Eeden issued the first Black Lightning comic book in 1977, and as it turns out, he was the first black superhero to have his own DC Comics book. A little more reading up on the forthcoming series let me know that the metahuman hero was middle-aged, as opposed to a youngster, which I found appealing, and it did not hurt that Cress Williams, an actor I remembered and enjoyed from many shows in the 1990s and early 2000s, including Living Single, Beverly Hills 90210 and Prison Break, and the film Doom Generation, was going to star in it. The basic storyline I could have predicted with my eyes closed; after a stint cleaning up his town, Black Lightning gave up his crime-fighting for a career as a principal and educator. More compelling was the fact that his superheroic efforts had destroyed his marriage and divided his family, leading him to retire in part to heal the frayed family ties. In addition, the show's creator, Salim Akhil, has a strong track record as a writer and producer. Husband of the prolific writer, showrunner and producer Mara Brock Akil, writer for Moesha and Sparkle, and creator of the popular show Girlfriends (2000-2008), the Akils co-developed the successful, provocative TV shows The Game (2006-2015) and Being Mary Jane (2013-). The show's alluring ads, I'll admit, did the rest of the work.

Jill Scott and Marvin "Krondon"
Jones III in a scene from Black Lightning
The Black Lightning series is set in an alternate universe (though filmed in Atlanta), and opens with the superhero, known in semi-conventional human form as Jefferson Pierce (Williams) serving as principal of Garfield High School. He lives with his two daughters, first-born Anissa (Nafessa Williams), who is in medical school and a part-time teacher at Garfield High School, and Jennifer Pierce (China Ann McClain), younger daughter, who is a student at Garfield and dating one of the school's track stars, Khalil (Jordan Calloway). Jefferson remains divorced from his wife, Lynn Stewart (Christine Adams), but they maintain a connection for the sake of their daughters. He seems eager to initiate a romantic rapprochement. As Jefferson, he attempts to guide his students on the proper path, but one result of his work as a principal and teacher is his acquaintance with many locals who have gone off the rails, including various thugs and dealers linked, directly or not, to the area's major criminal organization, The 100. Jefferson also stays in close contact with Peter Gambi (James Remar), his oldest friend and an inventor and tinkerer of Italian ancestry who serves as Jefferson's--and Black Lightning's "tailor"; Gambi creates the superhero's suits and devices, which he continues to improve as the series proceeds.
 Marvin "Krondon" Jones III in a
scene from Black Lightning
Black Lightning's and the town's major antagonists are Tobias Whale (Marvin "Krondon" Jones III), who heads up the 100, and, viewers learn in the second episode, Lady Eve (Jill Scott), a diabolical, platinum-tongued mortician who serves as a coordinating link for all of the major power interests in the city. In the third episode, she harangues Whale, who had previously claimed to have killed Black Lightning, to follow up and rid the town of the beloved superhero forever, threatening him with a dethroning, or worse. Krondon, a hiphop artist and actor in real life, is albino, a rarity on US TV, and one of the show's fascinating conceits is that he will only allow white or very light-skinned people to work for him. In other words, his malevolence is manifest in his colorism, yet surprisingly for TV, the series does not overtly state this, forcing the viewer to figure it out. Another of Black Lightning's antagonists is Inspector Billy Henderson (Damon Gupton), a police officer who also is friends with Pierce but has strongly opposed to the "vigilantism" of Black Lightning, blaming him for disruptions in the police force's ability to maintain order. As quickly becomes clear and perhaps as a subtle critique of the inadequacy of police, the citizenry hunger for Black Lightning's intervention because of the authorities' complacency and failures.

Cress Williams, in a scene from Black Lightning
I've given the background information about Black Lightning's world, but I have said little up to this point about his particular superhero powers. As his name suggests, his chief gift, beyond supernatural speed and the ability, it appears though it hasn't been stated outright, to pass through solid walls and leap onto roofs and ledges, is lightning-like electrical power, which can stun, disable or even kill his assailants. He also has the ability to create ionized fields, which can distribute the electricity in tiny zaps, and generate an electrical force-field, which can shield him from bullets, grenades, and even bombs. So far the series has not shown him creating a black thunder bolt, but when enraged, at least according to the comic strip, he can do so. Additionally, he is able to gather electrical force in his fists to create even stronger punches, perceive nearby electrical flows (and, in episode 3, with the help of new goggles by Gambi, all electrical currents in the area), and even absorb electricity or disappear into electrical wires or powerboxes, traveling like an electrical current. Given these powers, I have to wonder what could stop or at least blunt him; he does not wear a helmet, so he's vulnerable to anything happening behind him if he doesn't perceive it before it hits him. Viewers got a taste of this when during a peace march, despite Black Lightning's presence to protect his family, one of Whale's deputies shoots the march organizer, Reverend Holt, through the upper chest and paralyzes Jefferson's daughter's boyfriend, Khalil. My immediate thought was that had the gunman aimed a bit to the right, he might have struck the superhero dead on. I suppose we will see what measures Whale devises to bring him down.
Black Lightning stars Cress Williams, Christine Adams,
Nafessa Williams, and China Ann McClain
As in the original comic book, Black Lightning is not alone in his crime-fighting. At the end of the first episode, Anissa cracks off part of the bathroom sink, and then, in subsequent episodes, she comes to realize that she possesses unique metahuman powers, inherited from her father, though she is unaware, as far as the viewer knows, that he doubles as Black Lightning. So far she hasn't unleashed any lightning bolts or electrical sparks, but she can create soundwaves by stomping the ground, and can increase her body density to generate super-human strength, which she has used several times to fight off attackers, including a group of adult men selling drugs to teenage girls. We also learn that she is an out lesbian, which, as far as I can tell, makes her the first black lesbian superhero to appear on US TV. The show's approach to sexuality is refreshing and contemporary; when her parents discuss their concerns about her younger sister's Jennifer's announcement that she plans to lose her virginity, they acknowledge their earlier support, though not without tears and shock, for Anissa's coming out, and Akil and the show's writers have fully integrated her relationships into the fabric of the storyline. At a moment when an anti-LGBTQ backlash is underway, and a white supremacist occupies the White House and racism regularly appears in spectacular form, a show about a mature, middle-class superhero and his family, which includes a lesbian superhero daughter, fighting to save a predominantly black and brown town, makes a statement, without hammering anyone over the head.
Nafessa Williams, in a scene
from Black Lightning

Black Lightning
In some ways, Black Lightning feels like a figure conceived during and in response to the previous, pre-Trump moment. A mid-40-something model of flawed respectability, well-spoken and highly educated, a dutiful though divorced father of two smart daughters, a negotiator rather than a hothead, he at first comes off like a Barack Obama with secret superpowers he's willing to use, almost in spite of himself. (His daughters mirror but complicate this template.) Even the stakes, at one level, feel lower than what we currently face as a country and globe. Instead of a supranational or external power, like a fictionalized version of Russia, or against the current hyper-neoliberal/libertarian, overtly racist, misogynistic, anti-liberal political and economic threat, embodied by the Trump administration, the villain he faces is a mostly local crime syndicate. As with Luke Cage, the villainry he's battling is not the result of larger structural and systemic forces, but corrupt and corrupted black people. I understand the desire to depict an enclosed black speculative world, and, more so than with Luke Cage, it feels well built out. But in some ways, it also feels a little inadequate; can this parallel world open out into something that more fully resembles our own? On the other hand, given the current moment of overt backlash, a flawed black superhero family feels appropriate, and, to some degree, emotionally comforting. But is it enough?

What I am waiting to find out is when Jefferson and Anissa will recognize not only that they both possess superhuman powers, but that Black Lightning has a potential partner, if he is willing to accept Anissa--Thunder's--participation in crime fighting. When will Jennifer's powers manifest themselves? Will Jefferson and Lynn get back together? Will the writers allow Anissa's relationship with her Asian American girlfriend, Grace Choi (Chantal Thuy), last the entire season? What is behind Gambi's seeming duplicity in deleting a video feed of Anissa's demonstration of her power, and, in a confusing move, his deletion of Whale's image on a camera feed after the shooting of Reverend Holt? Will the cops work with Black Lightning or continue to see him as a vigilante? I also want to know how Whale's scheme to take out Black Lightning will resolve itself. What other smart, unexpected elements in the series plot and characterization will the writers introduce? Will the show end on a cliffhanger? But let me not get ahead of myself, because there are nine more episodes to go in the thirteen-episode first series, meaning there will be more than enough time to learn how things are going to turn out.
Skye Marshall and Cress Williams,
in a scene from Black Lightning