In the simpler media landscape of the late ‘70s, networks considered a show a blockbuster if it was watched in three of every 10 households. When “Roots,” a 12-hour miniseries exploring the multi-generational story of an African-American family, made its historic premiere on ABC during the last week of January in 1977, it could be found on more than half of the nation’s televisions (that night in Los Angeles, the share was 67 percent).
When putting the estimated audience of 130 million into perspective, one network executive said, “it’s like millions of people reading the same book simultaneously.”
Author and journalist Alex Haley made his name exploring different chapters of the African-American story, from Malcolm X to Miles Davis, and the blockbuster miniseries adaptation of his best-selling 1976 masterpiece “Roots” was a prologue to them all. Haley’s family story tells “the symbolic saga of a people,” a tale far more universal than even the most compelling celebrity interview.
Chasing the answer to a simple question of origins, which required the author to spend 6,500 hours in 57 libraries and archives, led to profound answers.
If Denzel Washington wins the best actor Oscar this month, it won’t break any obvious records; the actor won his first Academy Award in 1990. However, his role as Whip Whitaker in “Flight” (now available on XFINITY On Demand™) stands out for a reason made plain by the film’s review in the New York Times: “Flight Stars Denzel Washington as an Alcoholic Pilot.” Newspaper headlines have to say a lot with little, but these eight words demonstrate how much ground Black men have covered in Hollywood since Denzel Washington accepted his first Oscar from Geena Davis 23 years ago. He gripped the statue and gave it a long look as the camera panned to a beaming Morgan Freeman. Denzel soaked up the applause and adjusted his tux before he made his acceptance speech that concluded with an homage to the “Black soldiers who helped to make this country free.” The moment was a watershed in American culture. Not only did we get to witness the rise of a modern-day Sidney Poitier who moved with a showman’s swagger, but we also saw the birth of a nuanced presence for Black men in Hollywood. In the 23 years since Denzel Washington won, we’ve moved from a Black man portraying a slave who becomes a heroic soldier to portraying a drug- and alcohol-addicted airline pilot whose heroism can’t outweigh his own flaws. We are in a time where storytelling about black lives lean toward the individual rather than the collective “We” that long typified movies made about Black Americans. In her essay collection “The Black Interior,” cultural critic Elizabeth Alexander characterizes the period in which Washington came-of-age as revolutionary. “Washington has made very precise career choices, and there are no careless moves in his filmography,” she writes. “To portray Black historical characters was the necessary work of the 1980s and 1990s as opportunities for Black actors and directors expanded and Black people took more control of the image-making onscreen.” The care with which Denzel Washington and his advisors crafted his career is nothing short of remarkable. For most Black actors, their glory is summed up in one or two memorable roles. Haven’t we all heard the argument that there aren’t enough good scripts written for Black talent? However, Washington’s half-dozen Oscar nominations track the evolution in his filmography from historical heroic figures to more deeply flawed creations in which the character’s race may be the least interesting element.
His first nomination came in 1987 as a supporting actor for his portrayal of martyred anti-apartheid activist and journalist Steve Biko in “Cry Freedom.” That was followed by his Oscar-winning turn as slave-turned-soldier Private Trip in “Glory” (1989), then as the titular “Malcolm X” in 1993 (his first Best Actor nomination). In 1999, he was Rubin “Hurricane” Carter, the legendary middleweight boxer who was falsely accused of murder, in “Hurricane.” And then with “Training Day” (2001), as corrupt Los Angeles police detective Alonzo Harris, he crossed the rubicon: He won the Oscar with a character who was complex, unredeemed and entirely fictional. “Flight” arguably raises the stakes even higher: While Det. Harris was a very smart twist on the gangsta characterizations of so many films, the story of pilot Whitaker wasn’t attached to any race; as many films have already proven, addiction struggles can belong to anyone. Washington has been liberated to do what Poitier was never allowed to be on screen: fully human. Poitier acknowledged as much in an interview with the Academy shortly after Washington won for “Training Day,” on the same night that Poitier received an honorary award representing his body of work.http://www.oscars.org/video/watch/mi_spoitier_denzel.html
Noted Poitier, “It represented progress. It represented… a kind of democracy that had been very long in maturing. His following me as he did, he had taken the concept of African-Americans in films to a place where I couldn’t, I didn’t. I thank him for that. He helped me that evening to a closing of my artistic life.”
In, Drive, Nicolas Winding Refn turned Ryan Gosling into a nameless, mythic hero, willing to break laws to procure justice in the outskirts of Los Angeles. Their second film together, it seems, sends that roaming vigilante to the dirty underground of Bangkok. The first preview of Only God Forgives has been released (or, leaked) online, and though it’s just a brief 20 seconds, the footage displays the same sort of gritty, shadow-cloaked drama that made the actor and director’s first collaboration such a critical hit. Set in the underground kickboxing world of Thailand, Gosling plays a gym owner who has to take out his brother’s murderer — or perish himself. The film co-stars Kristin Scott Thomas, as Gosling’s mother. In Drive, Gosling famously made use of a hammer (and, yes, guns) to take down foes; here, the hand-to-hand combat seems even more high-stakes and intense. Knives, kickboxing and machine guns are just the beginning. And as you can see from the poster released for the film, it doesn’t all go well for our hero. The film has not yet set a release date; Gosling can next be seen in the upcoming crime drama, Gangster Squad.