August 25, 2003 |
Tears well in the eyes of director Neema Barnette as she pours out the story of the three years it's taken to bring her first feature film, the urban women's prison tale "Civil Brand," to theaters. "A lot of things happened during this project, but I was determined to see it through," she says. Shortly before passing away, Barnette's dying mother encouraged her to do the film. During the difficult shoot, members of the cast and crew came down with pneumonia.
April 7, 1992 |
Two teens, drawn together after witnessing a murder, find their growing attraction affected by another tragedy: societal prejudices. "Different Worlds: A Story of Interracial Love" is today's "CBS Schoolbreak Special" (3 p.m., Channels 2 and 8), a sensitive look at the multitude of barriers that prevent human connections between racial and ethnic groups. Christine (Noelle Parker) and Jordan (Duanne Martin) live in worlds that barely touch: She's white, he's black.
June 15, 1996 |
A gifted female track star overcoming a near-tragic illness to win Olympic gold is a compelling true-life story. Sunday's TV dramatization, "Run for the Dream: The Gail Devers Story," lacks the depth to be as compelling, but Charlayne Woodard in the title role and Louis Gossett Jr. as her tough coach are a class act.
February 14, 1990 |
Ruby Dee has fashioned a rich salute to an obscure American folklorist whose voice is as authentic as Mississippi mud. "Zora Is My Name!" on "American Playhouse" tonight (at 9 on Channel 28, 9:30 on Channel 15) infers that the little-known Zora Neale Hurston was a 20th-Century Joel Chandler Harris who recorded adult folk tales told by those "who lived on the other side of the crik."
November 22, 1986 |
Much will be forgiven "Tamer of Horses" because it plays. William Mastrosimone's new play at the Los Angeles Theatre Center suggests one of those TV movies in which a complex societal issue (child abuse, abortion, AIDS) is disposed of in two hours, with time for commercials. Mastrosimone's proposition is that a vicious street kid (Esai Morales) can be turned around in a matter of months by a father figure (Joe Morton) who knows the uses of "tough love." Does he prove it? Not really.
January 19, 2004 |
Most moviemakers want to see their work on the big screen. But many black independent filmmakers have found a profitable venue long considered the kiss of death: straight-to-video. Even before the surging popularity of DVDs led major Hollywood studios to focus on the home video market, black filmmakers saw the advantage there. Not only could they target their films directly to an underserved audience, but with lower budgets and overhead, they stood a better chance of making money.