as Jackie Robinson, you may want to see this award-winning documentary about the real Robinson.
tells his life story ithrough rare footage and photographs from real life.
). "My Story" is just that. In a locker room setting, Hill as Robinson materializes to discuss his life and times directly to the camera -- to you, to young people.
This is a remarkable story about a towering American icon, not only of baseball, but of political activism, civil rights, the media and the changing times. The account is direct and honest, not only about Robinson's struggle to equality that seemed impossible at the time, but also of his issues with his people, his family and his son.
Hill's performance is understated, straightforward and matter-of-fact, which makes the moment he reflects on the loss of his son all the more effective. It should be noted that some language, particular racial slurs, are heard in this film, vicious things that were said in a less enlightened time.
As a production of limited budget but a lot of heart, "My Story" makes fine use of its source material. Even the music seems to fit the sequences.
" is a shorter version of the feature, using much of the same sources and a condensed edition of the same script. Perhaps this was created for groups and schools. It contains none of the offensive phrases heard in the other film.
who was also Director of Photography of "My Story," narrates offscreen. This distances the viewer from the impact of the dramatic story when compared to Hill speaking right to us in "My Story." Schaeffer does an earnest job, but it cannot compare to the effect carried off in the longer film. One wonders why they simply didn't edit "My Story" down, but perhaps the short film was made first.
with the real Robinson playing himself. Considering his influence on history, it's about time a new movie is being released to theaters. This video makes a nice companion. Either way, this is a story worth telling and remembering.
Is Jon Stewart JUST directing a movie -- or negotiating?
Posted on Mar 30 2013 by Greg
In general, many of TV's pillars are showing signs of cracks. It was news when Katie Couric anchored the CBS News, the results were mixed, now no one really talks much about the new guy.
Today is getting attention for backstage drama but not for the show, which is sagging.
As for late night, here's my view for all it's worth:
Jay is a poor little rich man. He's never really been accepted as the new Johnny, his early Tonight Show history was marred by Kushnik Kapers and no matter how he delivers and tries to be a company man, they don't seem to care.
I don't think he's terrible at interviews, depending on the guest. I skip over Jaywalking because too many of the people seem to be acting hopefuls who say dumb things to get on camera and be discovered.
My question for NBC is: what ever happened to the grand celebrationary sendoff? Johnny had a week of clips and tributes, Jay's going out angry.
Surely his departure this could have been managed in a more dignified, positive and ratings-getting way than Jay being treated like any old cog in a corporate wheel that's downsizing.
Fallon has a lot going for him -- impish nonthreatening looks, not-too-edgy, not-too-snarky humor, contemporary pop and rap and an easy, reassuring manner. I only wish he'd been given just a little more time to mature into the role. He tends to loooooove everyone and seems sincere about it, but sometimes the guest just isn't worthy.
The key thing that NBC is counting on with Fallon, beside ratings, is social networking. He has tweeted to fans from day one. The networks aren't sure where the new media is going but they want to be as ready as they can be. That's as big, or bigger, then demographics.
Conan can chug along as long as he wants in his little pond as the biggest fish. When he has a good guest, he does fine, but he's best in some sort of fringe, whether at 12:30 or on cable. He has a great band, though I miss Max.
Letterman still is a master of the craft, but he's not as passionate about pushing the envelope as he used to be. I respect the fact that he doesn't seem to be hiding his opinion about his guests.
His is the only show upon which I would watch an interview with Paris Hilton or a Kardashian because only Letterman can interview on two levels, seemingly deferential, yet letting his audience know just what he and they really think.
Ferguson is the most brilliant of all of them, an incredible mind so dynamic he can hardly get the words out fast enough. He is a curious blend of "vulgar lounge comic" as he puts it, sophisticated and intellectual ("Oh sure, another late night comic talking about Proust and existentialism!")
On the other hand, I love Secretariat and the vocal talents of the robot, but Ferguson sometimes falls into the repetition that affects Letterman. I miss "Murder She Wrote."
Not sure if Ferguson can -- or even wants -- Letterman's spot. He seems destined for other avenues for his talents. And he'd have to tone down the naughtiness.
That leaves the mystery of Jon Stewart. "The Daily Show" lacks some of its punch when there isn't an election, just like Saturday Night Live, but it still scores often. But is Jon Stewart REALLY leaving JUST to direct a film, or also to make some career negotiations?
Gotta wonder. His current show gives him a Peabody winning platform, but a bigger show and bigger audience (perhaps retaining some Daily Show elements) has got to be tempting.
My two cents.
A page turning "holiday" mystery thriller from a "Dark Shadows" icon
Blog, TV, Books
Posted on Mar 28 2013 by Greg
Kathryn Leigh Scott continues to amaze with Down and Out in Beverly Heels, the latest example of her many creative talents. In addition to being a pop culture icon ("Dark Shadows," "Police Squad"), publisher of a vast array of nonfiction/showbiz books and author of several books on the DS phenomenon, Scott has created her second novel -- this one a crisp, page turning mystery thriller in the grand tradition of TV series like "Columbo" and movies like "The Net."
Told in first person (which creates an uneasy feeling, at least to me, that the character may not survive the story), the lead character is Meg, the star of a classic TV light mystery show called "Holiday." The glamorous dream life she has lead, from the series and her marriage to Mr. Perfect to her beautiful home and seeming financial security, it all comes crashing down all over her. In a short time, she's alone, broke and a suspect of a costly fraud scheme.
As Scott unfolds the story and Meg searches for the truth, we get a glimpse of Hollywood through a prism of location filmings, lavish parties and nostalgia shows, every setting described in meticulous but never oppressive detail. She uses the traditional mystery simile, but with a nod and a smile. As a character, Meg is never at a loss for humor and irony.
Perhaps the most affecting world we explore is that of the downtrodden former Hollywood individual: a former director, a stuntman and sex symbol, to name a few. Each of these folks has carved out a life after the cameras stopped rolling for them, some very comfortable, some not so much.
I was touched when reading about the "street stars," a community who cling to former glory while living through soup kitchens, park benches and public restrooms. Meg is particularly close to one lady whose makeup and clothes are deteriorating as much as she and her mind are -- and of course, Meg is a breath or two away from becoming like her, as we all might be should we hit similar circumstances.
Surely this underground of Hollywood life is sadly a reality. And what an amazing nonfiction book or documentary it would make -- or maybe it has and I am not aware of it.
This is just the sort of book to relax with, to take on a trip, to read by the pool. This is page turning romp, filled with fiction fun, humor and heart.
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