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Brooklyn’s Finest: Old-School BK on Film

Even before Brooklyn became the nation’s hottest borough, it figured prominently in cinema. Its image has changed drastically over the years, though–from a working class, matter-of-factly multicultural bastion to the hipster playground that’s mocked and celebrated today. Not to malign triple-shot almond milk lattes and bearded men in skinny jeans, but for those longing for old-school BK (and regular coffee!) these movies are a good place to start.

A Tree Grows In Brooklyn (1943)
Elia Kazan’s first film is not his finest–it took a few years before he shed that studio system staginess–but it is an affecting adaptation of Betty Smith’s beloved novel set in 1900s Williamsburg, Brooklyn. A theater director initially, Kazan excelled at working with actors; under his tutelage, Peggy Ann Garner, whose real-life father was fighting in World War II, was heartbreaking as Francie, a scholarly girl with an alcoholic dad, played equally movingly by James Dunn, the Hollywood veteran derailed by his own love affair with the bottle. (He won an Academy Award for this performance.) A beautifully blue valentine to early twentieth-century tenement life. Continue Reading →

Kind of Blue: Jazz Cinema’s Mixed Bag

Great films about jazz are unhappily rare, perhaps because exactly what makes the musical genre wonderful–its complexity, its lack of pandering, its gorgeous esoterica–are qualities that are anathema to Hollywood. In the absence of a great Duke Ellington or John Coltrane biopic, here are some selections that, in one way or another, do offer a love supreme.

A Great Day in Harlem (1994)
Jean Bach’s documentary about the story behind the legendary photograph of the same name is a study in “the little engine that could” artistry. A pastiche of home movies and interviews with everyone from Art Blakely to Sonny Rollins to Dizzy Gillespie, it recalls the Esquire magazine shoot in which many of jazz music’s greats rather improbably gathered in front of a Harlem brownstone on a 1958 Sunday morning. With a running time of 60 minutes, it delivers just enough nostalgia, though some might prefer a greater emphasis on the featured artists rather than the merits of the image itself.

Lady Sings the Blues (1972)
Diana Ross stars as Billie Holiday in this conventional yet affecting biopic about jazz’s most tragic female star. Focusing on Lady Day’s heroin habit as well as the backstory of her controversial “Strange Fruit,” this film spares no genre cliché. But as a vehicle for Ross, who channels Holiday’s sorrow with an uncharacteristic gravitas, it offers unparalleled pleasure. Plus: Richard Pryor in his first onscreen performance.

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‘The Americans’ and Cold War Cinema

Though criminally under-watched, “The Americans,” about a pair of KGB spies (Keri Russell and Matthew Rhys) living as U.S. travel agents Elizabeth and Philip Jennings in Reagan-era Washington D.C., is one of television’s most brilliantly absorbing shows. Without revealing any details, its season finale was such a cliff-hanger that it is hard to believe we have to wait until next year for another episode. The best cure for our separation anxiety? Education. This FX series references so many 1980s geopolitical issues that it’s hard to keep up, especially when we’re distracted by Russell and Rhys’s spectacular array of wigs. So why not transform this hiatus into a Cold War immersion camp?

Reds (1981)
At roughly three and a half hours, this Warren Beatty-directed epic about communism in World War I was the last studio film to require an intermission. Starring Beatty, Diane Keaton, and Jack Nicholson as “red-shirt” American writers bonded by romantic and ideological ardor, it dances between Russia and the United States with an elephantine grace and an appropriately scarlet-hued cinematography. As glamorous as it is long-winded, this is the ultimate Hollywood primer in the roots of the two countries’ long-simmering antipathy. Continue Reading →

"All, everything I understand, I understand only because I love."
― Leo Tolstoy