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tv   Talking Movies  BBC News  August 25, 2018 2:30am-3:01am BST

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more than 2,000 people have taken sheltering in evacuation centres, others have been stocking up on water and food. in the past couple of hours, lane has been downgraded to a category1 hurricane. president trump has cancelled next week's planned trip to north korea by his secretary of state. in tweets, mr trump complained that not enough progress had been made in dismantling pyongyang's nuclear programme. he blamed china for the stalled process, suggesting a link with current trade tensions. pope francis is due to arrive in ireland for the first papal visit there in four decades. the centrepiece of the visit will be a mass on sunday in front of 500,000 people. a series of scandals has damaged the reputation of the catholic church in recent years. now on bbc news, talking movies. welcome to this special hollywood
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and race edition of talking movies, i'm tom brook. in today's programme, we'll be focusing on how the american film industry is dealing with the issues of race and diversity. spike lee speaks. a look at blackkklansman, spike lee speaks. a look at blackkkla nsman, the latest spike lee speaks. a look at blackkklansman, the latest picture from the legendary black filmmaker. america first. this film is about today and we live in a very, very serious time in this world. does it matter that most film critics are white and male? does it have a negative affect on diversity in
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cinemas? it's about not only having one narrative that goes in terms of filmmaking, it goes in terms of acting, it goes in terms of film criticism. and asians, long underrepresented on the big screen, now have crazy rich asians, the first major asian led studio film in 25 years. so is the drought now over? we have such a treasure trove of interesting stories to be told with equally as powerful actors. and we look at the state of portrayals of native americans in hollywood cinema. why won't the old stereotypes fade away? nothing of any substances going to change until you have the native people writing the stories and directing them. plus a report on the new wave of black stories and black characters that have been moving into cinemas. stories and black characters that have been moving into cinemaslj think have been moving into cinemas.” think they're changing the equation because it made them see there was
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international value in black films. all that and more in this special hollywood and race addition of talking movies. leading african—american filmmaker spike lee is back this month with blackkklansman, a period film which relates very much to the present—day. this politically provocative picture has been getting excellent reviews and it marks a real return to form for the director. i happen to be talking to a true white american. god bless white america. the central character in blackkklansman is a real—life figure, ron stallworth, a black police detective who infiltrated the white supremacist group the ku klux klan in colorado springs in the 19705. klan in colorado springs in the 1970s. he did klan in colorado springs in the 19705. he did it klan in colorado springs in the 1970s. he did it by striking up a relationship with klan members by phone, then a white surrogate police officer, a colleague, stood in for
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him in face—to—face meetings. roncero paul wyatt was modest about his accomplishments in the new york premiere of the film that ron sta llwo rth. premiere of the film that ron stallworth. they didn't take time to recognise the signs that something was not right. you had two different voices talking to you, one in person, one on the phone and they didn't recognise that they were being had. it wasn't difficult at all. it becomes a combined ron stallworth. can you do that? with the right white man you can do anything. spike lee was drawn to ron stallworth‘s story for many reasons, he was certainly impressed with him asa he was certainly impressed with him as a man. courageous, heroic. the klan don't play, they kill people, they murder people, which are acts of terrorism. homegrown terrorism. to do that back in the 70s... i
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mean, it was no picnic. a key klan member scrutinised in the film is its former grand wizard, david duke, a pivotalfigure in the organisation. this actor portrays david duke. thank you so much for never put in your country second. the first half of the film early shows more of what the modern—day idea of racist was at the beginning of the 70s, beer belly, redneck dude. and then david, the most evil thing about him, he's really brilliant, he figured out a way to put a different face on racism. america first. duke is heard using words that president trump has also acted. throughout lee hsien loong's film, there's connections to be made with events in the 1970s and the present—day, most notably when the film transition from a ku klux klan rally in the past to a very real protest in charlottesville a year ago when white supremacist groups
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clashed violently with counterdemonstrators. it was a day that resulted in the death of heather hier, struck down when a car drove into a crowd. —— heather heyer. the film is quite provocative ina way, heyer. the film is quite provocative in a way, do you think it could really in french people in terms of their opinions rather than bringing about enlightenment —— entrenched. i've done my part and we'll see how the world sees it. this film is about today and we live in a very, very serious time in this world. many people who sing the film thought this was just about the united states of america, this is about the global rising of the right, notjust about the global rising of the right, not just the about the global rising of the right, notjust the united states of america. spike lee's film marks a triumph for him as a director. it's seen as triumph for him as a director. it's seen as his best movie in years and his first picture for a while to have become part of the cultural conversation. stallworth grows. we're ona conversation. stallworth grows. we're on a roll, baby! when critically acclaimed films like
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blackkklansman and megahits like back panther, it's been a noteworthy yearfor back panther, it's been a noteworthy year for black back panther, it's been a noteworthy yearfor black cinema. back panther, it's been a noteworthy year for black cinema. more back panther, it's been a noteworthy yearfor black cinema. more modest of undertakings of black characters and black stories have also been doing well, as tristan daley reports. with months still left in 2018, this year has already seen the release of several films with black leads. year has already seen the release of severalfilms with black leads. a number of these films deal with real issues facing black people in america, but with creative flair. hey, mr kramer, this is limestone from real view, i didn't catch you at the wrong time, did i? there was sorry to bother you, a satire about a telemarketer. in blindspot in, colin, played by david dixon, tries to stay out of trouble on his last days of probation in his rapidly gentrifying hometown of oakland in california. even though this isn't a
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musicalfilm, characters in the movie wrapped. you stop me feeling like a monster in my own town. he co—wrote the film and he says although this project is a comedy, it doesn't strike away from real—life circumstances. it doesn't strike away from real-life circumstances. it's a buddy comedy in a world that won't let it be one, our protagonists would love it if it's an escapist movie but that's not the world we live in. it takes a buddy comedy tropes and doesn't ignore the circumstances real people live in, and this is what we get.” circumstances real people live in, and this is what we get. i wanted to get my dad's address. another film also deals with the circumstances of real people. it follows angel, who has recently been released from juvenile detention and goes on a journey to see her estranged father. while the film doesn't deal directly with the race of the main character, the lead is happy to play such a developed role. 0pportunities like this are few and far between for black actors. it's a real, true
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character study, which i believe i dreamed of doing when i was younger and now to be a ball to be a person and now to be a ball to be a person and live as another person, this film is for people who want to know about relationships and experiences. while some black filmmakers rejoice at new creative opportunities, executives are more concerned with the prospect of financial gains. industry leaders in hollywood have long maintained black stories don't sell as well at the box office as their white counterparts, but 2017's get out get out and this year's black panther have already poked holes in that line of thinking. earlier this month, blonde house productions veneered blackkkla nsman. the company ceo believes that the recent the company ceo believes that the rece nt su ccesses of the company ceo believes that the recent successes of black stories are changing the minds of film executives. there's always been this myth that black films don't do well overseas, i think black panther
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changed the equation because it made executives say that there's international value in black films, which they've never really accepted until black panther. while there are those that celebrate this moment, others are not so ready to rest on their laurels. at the moment right now it feels like we're having a critical mass of films that deal with issues important to black people, but that's actually a shame, three orfour movies in people, but that's actually a shame, three or four movies in a people, but that's actually a shame, three orfour movies in a summer shouldn't be a movement, that should be common practice. every few years it seems audiences are teased by an increase in the number of films that push the envelope in terms of diversity and creativity, but soon after, periods of complacency followed and executives forget the benefits of inclusivity. many hope industry leaders remember lessons from the 2017 season as they plan their future seasons. i'm a tough guy! nowadays, diversity on screen, or the lack of it, is being closely
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monitored and there's scrutiny of evaluating films. a recent us survey found the vast majority of film reviewers were white and male. what does this mean for diversity in cinemas? emma jones has been finding out. i have never seen anything like this. how much more are you hiding? those who criticise for a living are now dealing with a dose of their own medicine. visible diversity on screen is one of the direct results of the 0scarssowhite campaign. now questions are being asked about why the status quo prevailed for years. you think that we're running some kind of uprising. the people need a sign for them to believe in. jessica chastain, who recently starred with a native american actor, has been a vocal critic of the critics on their own lack of diversity, even as they reported on the uproar in hollywood. it's about not only having one narrative. that goes in terms of filmmaking, it goes in terms of
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acting, it goes in terms of film criticism, which i think is a major problem and no one seems to be talking about it. that when you have 90% of journalists talking about it. that when you have 90% ofjournalists are from one demographic, they're the ones telling an audience what is worthwhile to see. if we are creating diversity in filmmaking, we also need diversity in that point of view. so is she right? here in london, this is a press screening for spike lee's blackkkla nsman. this is a press screening for spike lee's blackkklansman. it's not com pletely lee's blackkklansman. it's not completely white and male, as you'd hope for the hotly anticipated work from the successful african—american filmmaker. but a survey this year in the us found them a couple reviewers from 2017's most popular 100 movies on from 2017's most popular 100 movies o n rotte n from 2017's most popular 100 movies on rotten tomatoes was just under 80% male, 67% white mile and 2.5% nonwhite female. the major arguments against pale,
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male perception of film criticism is this, it no longer reflects the kind of societies that we're living in, never mind the kind of films that audiences increasingly want to see and hollywood actually wants to make. but criticism, awards season is not just an art, it is business. critics wield immense power to reward and historically performances from black, asian and minority ethnic groups have been overlooked. you might have a film, like, for example, macro a two, that's a hugely popularfilm example, macro a two, that's a hugely popular film and a lot of critics like it and a lot of white critics like it and a lot of white critics liked it, but it was really the black critics, the few, who championed that film, who said, for example, daniel kaluuya was an outstanding chance for an oscar nomination. i remember when i first said that a few people laugh but on the kind of films where you're seeing a lot more black characters, they're the more arthouse films, 0scar films, and they need a lot of
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help and a lot of nurturing and they need people to support them. for example, moonlight would never have been a success unless it was a big group of african american critics in america who really got behind it and from that it created a snowball movement and a crescendo and grew. idris elba may be hotly tipped as the next james bond, idris elba may be hotly tipped as the nextjames bond, but this is his directing debut, yard yardie. were i was a boy my brother asked me what we was going to go. it premiered at the sundance film festival this year and it's the story of a jamaican boy's rise to the top in the criminal london underworld. it's from a book and it probably needs the same trampoline as critics. it's a nuanced world and the language dictates a lot of the world. i think critics can help other critics in an understanding of things is great. but that's not to say, though, that ican but that's not to say, though, that i can watch a movie that i've got no
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associated with the culture and have some kind of embrace towards it. ultimately film criticism suppers from the same problem as film direction. there are only a fewjobs at the top. it took deliberate intervention to put someone like davydov and eight in charge of a blockbuster like a wrinkle in time. initiatives are under way in many critics‘ circles to at least make room at the bottom, but how long before these critics can finally scrambled to the top? asians are woefully underrepresented in hollywood films but that may change this week with the release this month of crazy rich asians. it is the first movie to feature a largely asian cast in a contemporary story. crazy rich asians, inspired bya story. crazy rich asians, inspired by a bestseller, tells the story of rachel, chinese american professor
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in new york who troubles with the 0xford educated boyfriend to meet his family in singapore, where he was born. —— boyfriend. there she discovers to her amazing at his singapore‘s most eligible bachelor and heirtoa singapore‘s most eligible bachelor and heir to a massive auction. those are for yourfingers. and heir to a massive auction. those are for your fingers. yellow on the outside, white on the inside. henry golding sees the film is breaking new ground. it really opens the idea to not only the studios, but two audience members around the world, the fact that has asians, we have typical stories like what we have been seeing so far, these love stories, and that we have such a treasure trove of interesting stories, with equally as powerful lead stories, with equally as powerful lea d a cto rs
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stories, with equally as powerful lead actors waiting to be told. asian—americans who went to the movie premiere in new york responded positively, viewing it as empowering. have never seen a film that has such an asian cast and husband betrayed in such diverse ways and so glamorously. being able to have visibility to all the asian actors, it is really good to see them on screen. i know not what we need is. crazy rich asians stands in stark contrast to most hollywood films, where there is a dearth of asian stories and characters. a report has found that among recent hollywood films, asians represented around less than one in 20 of all speaking characters and often the asian characters who do appear onscreen reinforce negative stereotype. the history of america is better told with asian or asian american characters, and they are put into boxes, like these
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stereotypes of kung fu masters and like china dolls, or dragon ladies orjust being sidekick or being effeminate males, that is something that i think was set very long ago. crazy rich asians tries to deliver more rounded, authentic depictions of asian men and women. to have these characters who have so much depth to them, who have the strength to them and are very much human, and not just helping to them and are very much human, and notjust helping characters in the film, it isjust notjust helping characters in the film, it is just going to notjust helping characters in the film, it isjust going to be notjust helping characters in the film, it is just going to be so important for a lot of asian people. crazy rich asians has been the target of some protest. there were complaints that the leading man, who has a white dish rather and malaysia mother, was not asian enough of this asian ledville. there is also been some criticism over the representation of singapore in the film, that the local malay and indian populations have been ignored. there are not a lot of scott brown figures or actors or
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people from malaysia or india in the film, absolutely there is not enough. there should be more of these films to be able to represent everybody. —— brown figures. again, this is a step in the right direction. crazy rich asians has been a hit at the us box office and it is hoped its success will lead to more asian led films in future, sequel is already in the pipeline. its release has been described as a watershed moment asian representation. —— moment for. in recent yea rs, representation. —— moment for. in recent years, there has been some improvement in the representation of people of colour by hollywood that one people of colour by hollywood that u people of colour by hollywood that one group has been left behind, native americans. they have been appearing in films since hollywood‘s early days but their representation on screen has not really evolved. hollywood has always relied on the native american. in its early days,
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the western was film‘s most popular genre, the cowboy its iconic hero in the indian it is most reliable villain. native americans were threats, they were the enemy. the true story of native americans in the united states is one of marginalisation, poverty and extreme oppression, and the movies have done their part to support this, depicting them as at best props in a white man‘s heroic story, or at worst an antiquated race of people needing to be pushed aside. films that are made are what i call white saviour films, that are made are what i call white saviourfilms, indian that are made are what i call white saviour films, indian people, that are made are what i call white saviourfilms, indian people, there might be native actors in them, there might be roles for native people but they are not written and directed from the native perspective, and they are not our stories. it is this idea of indians as victims. —— it supports this idea, it is a very narrow perspective. if the stories themselves a narrow, the casting is
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even now are. the decades at a time, it seems that most native american characters only played by a single actor. following his performance as kicking erred in dances with wolves, graham greene was called upon to play native americans in numerous subsequent projects. more recently, adam beach and have dominated those types of roles. it seems that only one major native american actor gets native american roles in hollywood films. what is this tell you about it? i think it is important that we do have stars in our community because they are people that we aspire to be, which i think is very significant. i think it is a problem that there are not want kinds of roles being written for a wider spread of native folks, and ultimately i think they are being written, i think it is that they are not being produced. native people
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being able to imagine whatever they wa nt to being able to imagine whatever they want to be in a with native crew and a native director, then suddenly owl horizons expand dramatically. robert ceta cea n horizons expand dramatically. robert cetacean remains a hot issue in hollywood, native americans are still not seeing the kind of progress that other people of colour have fought for and achieved. —— while representation. recent films featuring native american characters, while largely endorsed by critics, failed to meaningfully revise the white saviour stereotype. nothing of any substance is going to change until you have native people writing the stories and directing them and telling them from that perspective. there are a handful of people who have gotten that opportunity, not too many. i go back
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to smoke signals, which also by the way is an example of people saying well, native projects cannot pay for themselves, that is actually not true. they can pay for themselves if they are promoted properly like anybody else‘s work is, which smoke signals was. why can‘t you have a normal conversation? you always trying to sound like some them medicine or some. i trying to sound like some them medicine orsome. i mean trying to sound like some them medicine or some. i mean how meat times have you seen dances with wolves ? times have you seen dances with wolves? 100, 200? geez, you have seen it that many times, haven‘t you? the marginalisation of native americans runs deep throughout americans runs deep throughout american culture. there is only part of the problem but with their power to reshape lives by influencing millions, they could be a large part of the solution. well, that brings this special hollywood and race edition of talking movies to a close. we hope you have enjoyed the
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show. please remember you can always reach us online. and you can find us on facebook too. so for me and the rest of the new york production team, it is goodbye as we leave you with this montage of clips from films we discussed during the show. hi there. there were loads of showers around on friday, some of them really heavy with some hail and under. it was also really cool right across the board. cause many of us, this is a bank holiday weekend. we have seen showers at times and some sunshine. friday‘s showers clearing away with this low pressure during the early hours of saturday. a few showers still remaining across northern and western areas, a few pushing in towards the midlands there. but with lengthy clear skies, a really chilly start to this morning, with temperatures widely in single figures. perhaps across scotland into north—east england,
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some sheltered spots could get close to freezing. we start the morning on a chilly note, but largely dry and bright with lots of sunshine. breezy across the north—east. elsewhere, there could be showers developing here and there, but nowhere near as many as we saw on friday. with slightly lighter winds across the south and the west, despite the fact it will still be quite cool for this time of year, with below average temperatures, it should feel that little bit better. as we head through saturday night, it will be another chilly one. a veil of high cloud pushes in off this weather system. i don‘t think it will be as cool to start sunday as what we were expecting this morning. double—figure values across many areas. now, this area of low pressure there will come hurtling in during sunday. it will spread eastwards through the day to bring wet and windy weather. a bit of brightness across the far east for a while, but a cool start. very soon, that cloud will thicken up. wet and windy weather spreads to all areas. some of this rain will be quite heavy. in western areas, it
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could be a blustery day, with winds of ao—asmph in the south and the west. it will feel disappointingly cool with all the cloud, wind, and rain. temperatures generally the mid—to—high teens celsius. 0ur area of low pressure pushes off into the near continent though, then for monday it looks like we are into a ridge of high pressure, so a bit quieter. still breezy in the west and north—west, that could feed in further clouds to england and wales through the afternoon. perhaps a few showers here, but for most places, a drier and quieter day, temperatures ranging from 17 to 21 or 22 degrees in the south—east, so a touch warmer. as we head on towards tuesday, a fine and settled day, with a ridge of high pressure and feeling a little bit warmer with some sunny spells. hello and welcome to bbc news. hawaii is bracing itself for floods and landslides as hurricane lane makes
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its way past the islands. it‘s been downgraded to a category1 storm, but authorities are warning that lives are still at risk. it‘s the biggest storm in nearly three decades. james cook is in hawaii. this is what hurricane lane has done to hawaii already. and it‘s still churning towards the islands. so far, it‘s not the ferocious winds, but the torrential rain which is the biggest problem.
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