Tag Archives: Writer

FILM REVIEW: Citizen Kane (Welles, 1941): USA

Viewed by Larry Gleeson as part of the American Film Institute’s (AFI) AFIFEST 2016 presented by Audi. Citizen Kane, directed by Orson Welles, was first on AFI’s first 100 Greatest American Movies Movies of All Time in 1998. Ten years later, a 10th Anniversary Edition of AFI’s 100 Greatest American Movies found Citizen Kane still perched in the top spot.

Loosely based on newspaper tycoon, William Randolph Hearst, Citizen Kane was the first feature film by Welles. Hearst forbad any mention of the film in his newspapers upon the film’s release.

After signing his contract, Welles had been green-lighted for his film with a directorial final cut by RKO Pictures after his string of successes on Broadway with his Mercury Theater, including the thrilling radio broadcast of ‘The War Of The Worlds.’ Welles also brought several of his Mercury Theater actors on board for the project, several of whom would go on to have substantial Hollywood film careers including Joseph Cotton, Agnes Moorehead, Everett Sloane and Ruth Warrick.

Welles shared writing credits for Citizen Kane with Herman Mankiewicz and the two won the Academy Award for Best Screenplay in 1942. The film received a total of nine Oscar nominations in 1942 including Best Picture, Best Director (Welles), Best Actor in a Leading Role (Welles), Best Cinematography (Gregg Toland), Best Sound, Recording (John Aalberg), Best Music, Scoring of a Dramatic Picture (Bernard Herrmann), Best Film Editing (Robert Wise), and Best Art Direction-Interior Decoration, Black-and-White (Perry Ferguson, Van Ness Polglase, A. Roland Fields, Darrell Silvera).

The film opens in what appears to be a surreal reflection with a Bengali Tiger and ominous non-diagetic music with snow falling inside a crystal with an utterance of “Rosebud.” A strong, deep-toned, narrative voice-over begins informing the viewer with wartime newsreel clips from “News on The March,” mentioning among others Khubla Khan. After a series of quick edits, a low-angle shot of a large, stone-built castle the narrator refers to as “Xanadu, a pleasure dome,” is held for a moment.

Without missing much of a beat the narration continues with quick frames of paintings, pictures and statues that have been “looted” from the finest European museums. Not stopping, the narration intensifies as the narrator projects powerfully about animals of the land, foul of the air – two of each – in creation of the world’s largest private zoo since Noah and the largest monument a man has built to himself since the pyramids using 100,000 tons of concrete and 200,00 tons of marble in its construction culminating in a crescendo as the narrator introduces by name only the film’s protagonist, Charles Foster Kane, the great yellow journalist and heir of the Colorado Lode. News stories and the biography of the his life and death are flashed on screen as the story begins with a smoke-filled room of newsmen trying to determine the significance of the last word the newspaper tycoon uttered, ‘rosebud.’

Told primarily through flashbacks as the mystery of rosebud is explored, Citizen Kane contains a highly structured narrative coupled with revolutionary deep focus cinematography, mostly unseen before in mainstream cinema. Cinematographer Gregg Toland provided the deep focus effect with his specially treated lenses and light-sensitive film stock. The deep focus cinematography allowed the entire scene being shot to have primary focus and thus allowing the subjects to have equal importance visually. In addition, Welles and Toland removed floorboards in another groundbreaking scene to create ultra low-angle shots of the newspaper men following Kane’s unsuccessful pursuit of the American Presidency. The effect visually is stunning as rather ordinary, though influential, men are now seen as overly large, powerful titans squaring off.

In its essence, Citizen Kane, is the tragic tale of a man who has high ideals to be the people’s voice, the voice of the common everyday man. Slowly, however, the benevolence of the man becomes consumed with a passionate pursuit for power.

Tellingly, Citizen Kane’s message is still pertinent today. After Kane is defeated at the ballot box by the ‘sleaze factor’ (a decidedly distasteful tactic that can skewer even the most accurate polling data) he uses his newspapers to declare “Fraud at the Polls” in large-type newsprint headlines. Historians often cite Welles’ depiction of Susan Alexander Kane (a character purportedly representative of Hurst’s long-time, close intimate, Marion Davies) as the basis for Hurst strong negative reaction to Citizen Kane. More recently, several news outlets cite President Obama’s infamous roasting of President-elect Donald Trump at a 2011 White House Correspondents’ Dinner as the catalyst for Trump’s headlong dive into the 2016 race for the White House. Interestingly, even before Election Day, Trump declared fraud on the election. Interesting indeed. Citizen Kane is a must-see film for any serious cinephile and is highly recommended for all filmgoers.

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FILM CAPSULE: Singin’ In The Rain (Donen, Kelly, 1952): USA

Viewed during the Santa Barbara International Film Festival. Reviewed by Larry Gleeson.

Singin’ In The Rain, is a Hollywood gem created under auspicious beginnings as the writers, Green and Comden, pushed themselves through the night to come up with a musical recycling some of the great tunes of yesteryear. One can’t help but wonder!

singin-in-the-rain-7438_1The musical film contains toe-tapping tunes and choreographed dancing that are a pleasure to experience. The version I watched was in color and the colors were vivid and bright and complemented the tone of the film.

In addition, the musical had a significant industry milestone contained within as the transition from silent to talkies was showcased in a lighthearted, laughable, and fun manner as we see a camera hidden in a phone booth, a microphone placed in flower pot and the outcomes of such attempts as preview audiences laugh and guffaw at the attempts to synchronize and balance the recorded voices.

Even the film’s climax brings laughter as the audience witnesses platinum blondesingin-in-the-rain-ending bombshell, Lina Lamont, played to a tee by Jean Hagen, a prim a-donna of the worst sort, who has connived, bullied and blackmailed co-stars and executives alike in making her way to the top, being brought down as the curtain is raised showcasing a new rising star, Kathy, played by the effervescent Debbie Reynolds. The audience sees Kathy singing and Lamont’s contemptuous attempt at lip synching. When confronted Lamont speaks and the audience roars with laughter at her high-pitched Brooklyn accent.

The theme of contempt isn’t just introduced at the end. It’s evident from the opening as Don, played by Gene Kelly, overwhelms a reporter as he details his rise to stardom with his partner Cosmo, played by Donald O’Connor, with “Dignity. Always Dignity.” Yet, the truth is the two struggled and scraped and clawed their way to the top working in pool halls, slapstick vaudeville sketches and even burlesque. Not one to be left out, Kathy gets in on the contempt as she tells Don she’s a serious actor and then we see her jumping out of a birthday cake.

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Meanwhile the studio is sending out press releases stating Don and Lina are a romantic couple. Hilarity ensues as Lina believes the press releases and is in hot pursuit of her man Don. And, studio executive Simpson, played by Millard Mitchell insists talkies will never catch on. Most everything gets turned this side of Tuesday as Don and Kathy become romantically involved, Lina finally gets what’s coming to her (although one can’t help but sympathize with such a nitwit), talkies catch on and sound get synchronized onto the film as it’s shot, and the project is a success.

Definitely a feel-good film from start to finish. I highly recommend this film the any cinephile as it’s a Hollywood treasure in respect to the industry at large and also because of the superb dancing and singing performances. Furthermore, I strongly encourage  those interested viewers to watch this film on the big screen as it’s characters are larger than life.

Jackie Chan reflects on 50-year career and honorary Oscar

Posted by Larry Gleeson

By Sandy Cohen, Ap Entertainment Writer

LOS ANGELES (AP) — As an action star, Jackie Chan never expected to get an Oscar.

So he considers receiving an honorary Academy Award from the film academy’s Board of Governors his proudest professional achievement.

Chan will accept his Oscar statuette Saturday at the eighth annual Governors Awards. Film editor Anne Coates, casting director Lynn Stalmaster and documentarian Frederick Wiseman are also receiving honorary Academy Awards, which recognize lifetime achievement and contributions to the film industry.

“I never imagined that I’d receive such an award,” Chan said. “I still remember my very first proudest moment was when I received an award for stunt choreography. At that time, I didn’t know much about directing, I just knew how to do action and fighting sequences and stunts. Receiving this honorary award has raised my feelings to another level.”

The 62-year-old writer, director, producer and actor reflected on his career in an email interview with The Associated Press from his home base in Hong Kong. He plans to be in Los Angeles to accept his award in person.

AP: What was your most challenging film to make and why?

Chan: “Rumble in the Bronx” had a lot of action choreography, fighting sequences, and dangerous stunts. In “Operation Condor” I filmed in extreme temperatures of over 40 degrees Celsius in the desert. I had a near-death accident while doing a stunt in “Armor of God.” In “Rush Hour,” I found the English dialogue most challenging.

AP: How does making movies in Hong Kong differ from Hollywood’s approach to film?

Chan: I find Hollywood’s approach to film production very systematic and organized. Of course, being organized is a good thing, but sometimes I feel restrained within set rules. Hong Kong filmmaking is more dynamic because things can be changed on the set while we’re still filming. It’s more flexible and encourages creativity, and if we think of something that might work, we try it right away.

AP: What changes in the industry have been most surprising to you?

Chan: Because I’ve been in the film industry for over 50 years, the most significant change I’ve noticed is the change from using 35mm film to digital technology, and even 3D filming. The improvement of technology has changed how films are now made. What we used to use back then is now part of history. I’m still fascinated by digital technology and the amount of work that can be done in post-production with CG (computer-generated) effects.

AP: What has been was your most exciting Hollywood experience?

Chan: All my experiences in Hollywood have been interesting and exciting. I’ve learned so many new things in Hollywood, made new friends and family, such as my American Chinese brother Brett Ratner. I’ve had many great memorable moments while working in Hollywood. I guess the most fun was making the “Rush Hour” series.

*Featured photo: Photo: Lai Seng Sin, AP

(Source: http://www.thehour.com)

 

FILM CAPSULE: Nebraska (Alexander Payne, 2013): USA

By Larry Gleeson.

Viewed during the AFI Filmfest 2013.

Nebraska, written by Bob Nelson, is the latest film from two-time Oscar winning screenwriter and acclaimed director, Alexander Payne (The Descendants, Sideways, About Schmidt, Election, Citizen Ruth). Nebraska, takes us on a 750-mile black and white journey from Billings, Montana to Lincoln, Nebraska. Along the way, an emotional healing occurs amid some exceptional dialogue and strong character development.

The character arc of the protagonist, Woody Grant, an elderly man with a touch of dementia, played by veteran journeyman and Hollywood legend, Actor Bruce Dern, an elderly man with a touch of dementia, is fully realized, in my opinion, as we see his willingness to fight for what is his and his ultimate acceptance of his lot in life.  And, much like his 2004 Sideways,  Payne utilizes the road trip structure to bond the two main characters and he also revisits the cantankerousness of character eccentricities as in his 2002 film About Schmidt. 

Nevertheless, it’s the performance of Dern as Woody Grant that makes the film what it is. Throughout his career, Dern has played a plethora of despicable characters and lays a claim to being the only actor to kill Hollywood legend, John Wayne on screen  in The Cowboys, (1972). Before the screening at the Graumann’s Chinese TCL Theater Mr. Dern was given a Hollywood tribute. Quentin Tarantino gave an introduction to the “acting national treasure.”

The film opens with Woody walking on the shoulder of a well-traveled highway. He tromps up towards  the camera and before long the police arrive and escort Woody home to his antagonistic wife Kate, played by June Squibb. She’s at wits end with Woody’s antics and his adamant, persistent posture in going to Lincoln to get his million dollar prize money which turns out to be nothing more than a Publisher’s Clearinghouse type of sweepstakes notification enticing the recipient to order magazine subscriptions. Kate unable to deal with her husband calls upon her sons, David, a local electronics salesman played very convincingly by Will Forte,  and Ross, a back-up local newscaster, played by Bob Odenkirk. As siblings often do, the two disagree on their father’s situation with David, recently put off by his girlfriend who decided to move out leaving David by his lonesome, seizing the moment to spend time with his dad by driving him to Lincoln so Woody can collect his million dollars but also so he can get to know his dad again.

Along the way the two make a stop after an accident in the town where Woody grew up complete with the relatives and locals who stayed and who believe Woody has become a millionaire. Mr. Payne born in Omaha, Nebraska paints quite a caricature of the local populace. The small town is believable enough. Yet, the characters that inhabit the town might be a stretch. For example, Woody’s two nephews draw a strong resemblance to Disney’s Tweedle Dee and Tweedle Dum. Adding into the mix is Kate Grant’s full on personality, an overly harsh, yet comedic, belittling better-than-thou Catholic, in a most memorable graveyard scene. On the other hand, Stacy Keach who plays Woody’s former business partner, Ed Pegram delivers with the utmost believability the dark side of a partnership/friendship when he believes Woody’s come into some easy money.

Overall, Alexander Payne delivers a film in black and white that not only entertains but also delivers a visual portrait of a small Midwestern town in an economic downturn, bypassed by mainstream America while showcasing the sense of loneliness and the eccentricities it has caused.

‘The Young Offenders’ Secures Second International Distribution Deal

Posted by Larry Gleeson

By Nathan Griffin

Carnaby International is the latest distributor to acquire the Irish box office hit The Young Offenders.

The Irish cocaine comedy, The Young Offenders, has already successfully grossed over €1mscreen-shot-2016-11-06-at-10-51-19-am domestically and is now set to be distributed in a number of countries internationally, following Vertigo Releasing’s acquirement of the film late last month.

The UK Film and Distribution Company obtained the sales rights for Canada, US, UK and Australian/New Zealand in October after the movie’s hugely successful opening weekend.

The film took in €202k on its opening weekend and ranks as the most successful Irish film of the year. It has also become the fastest grossing Irish-made film to reach the coveted €1m milestone, placing it alongside Irish classics such as The Guard and Man about Dog.

In the film, Writer-Director Peter Foott showcases Irish acting debutantes and leads, Alex Murphy and Chris Walley who are supported by Hilary Rose (The Republic of Telly) and Comedian PJ Gallagher (Naked Camera).

Inspired by the true story of Ireland’s biggest cocaine seizure in 2007, The Young Offenders is a comedy road movie about two inner-city teenagers who look to cash in when a drug-trafficking boat capsizes off the coast of West Cork spilling 61 bales of cocaine.

Carnaby International Sales and Distribution is a UK film company specialising in worldwide sales based out of Soho London and are recognised by all major motion picture and television festivals and markets worldwide.

The deal was brokered by Carnaby International’s Head of Acquisitions, Lorianne Hall, together with Peter Foott of Vico Films.

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(Source: http://www.iftn.ie)

M. Night Shyamalan’s SPLIT Added to AFI FEST 2016

Universal Pictures’ SPLIT — from Academy Award®-nominated director/writer/producer M. Night Shyamalan and Academy Award®-nominated producer Jason Blum — will play as a Special Screening at AFI FEST 2016 presented by Audi. Watch the trailer below.

Written and directed by Shyamalan, SPLIT is an original thriller that delves into the mysterious recesses of one man’s fractured, gifted mind. Though Kevin (James McAvoy) has evidenced 23 personalities to his trusted psychiatrist, Dr. Fletcher (Betty Buckley), there remains one still submerged who is set to materialize and dominate all the others. Compelled to abduct three teenage girls led by the willful, observant Casey (Anya Taylor-Joy), Kevin reaches a war for survival among all of those contained within him — as well as everyone around him — as the walls between his compartments begin to shatter apart.

Following last year’s THE VISIT, Shyamalan reunites with producers Blum and Marc Bienstock and executive producers Ashwin Rajan and Steven Schneider for the film, which also stars Jessica Sula and Haley Lu Richardson.

SPLIT joins the already announced Special Screenings BRIGHT LIGHTS: STARRING CARRIE FISHER AND DEBBIE REYNOLDS (DIRS Fisher Stevens, Alexis Bloom), THE COMEDIAN (DIR Taylor Hackford), LION (DIR Garth Davis), MISS SLOANE (DIR John Madden), MOANA (DIRS Ron Clements, John Musker), PATERSON (DIR Jim Jarmusch) and TONI ERDMANN (DIR Maren Ade).

Free tickets to AFI FEST will be available on AFI.com beginning November 1. For the full slate of previously announced titles screening at the festival, visit the Film Guide, now online here.

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(Source:www.blog.afi.com)

The AFI FEST Interview: PREVENGE Director Alice Lowe

British comedy actress Alice Lowe makes her feature directorial debut with this pitch-black comedic tale of a pregnant woman whose fetus has a lust for killing. Seven months pregnant, Ruth receives murderous instructions from her misanthropic unborn baby, who has a vendetta against society for leaving her fatherless. Coached by the fetus, Ruth lures in unsuspecting victims by using her pregnancy as a cloak of innocence. Who would suspect a mother-to-be of homicide? Commanding a supporting cast of fantastic British actors, Lowe, a triple threat here in the roles of director, writer and actor, shines as Ruth. Lowe even lent some real life inspiration to the part, as she herself was pregnant during the film’s shoot. PREVENGE is a macabre comedy and entertaining revenge  that could have only come from the hormone-influenced mind of a pregnant woman.

AFI talked to Lowe about the film, screening as part of AFI FEST 2016’s Midnight section.screen-shot-2016-10-26-at-9-37-24-am

AFI: You wrote, directed and acted in the film while you were pregnant. That must have been quite an experience.

Alice Lowe: I actually was incredibly lucky that I had a very healthy, happy pregnancy. I think I may have exorcised any fears I had through making the film. I had huge amounts of energy, which I think was hormonal. I only got very weary by the time we had finished filming, right at the end of the pregnancy.  During the shoot, I felt very calm and relaxed. I just felt ecstatic that I was getting to have my cake and eat it — have a baby and direct a film. Every day was a joy. I think any filmmaker itching to make a film for many years feels that way when they actually get to shoot. It’s a relief and cathartic. A bit like giving birth. All this stuff bursting to come out of you finally gets release!

In terms of the work, it felt very familiar to me. Low-budget film is my métier and has been for many years. I felt very at home. Sometimes I forgot I was pregnant and it would be the other actors or crew who would remind me. I think it was weirder for them to be doing stunts or nudity or kissing scenes with a pregnant director/actor than it was for me.

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AFI: Were there any major surprises throughout shooting as a first-time feature director?

AL: Post-production was the biggest learning curve for me. Because that’s the side I see least of as an actress. By this time, I had a tiny baby in tow, too. What I really learned was the process you go through in carving out, dismantling and rebuilding the film. It’s really like you are getting to know the film and what it is. In some ways, the film has its own unique personality and you are just discovering it. It’s an exciting process. A bit like being someone who carves wood or cuts gems. You find which way the grain goes and what the best outcome of that grain will be; it tells you which way to go.

Sometimes, the footage is rough and wild and you’re trying to tame it. So you’re finding these lovely surprises and gems within the footage, and surprising ways it affects your emotion as the film plays out. I guess the thing that most surprised me was the audience liking the film. You have a weird idea for a film that is dark and perverse and personal and strange. And more people than you think actually get it. And laugh. And other reactions! I suppose that’s the joy of being a filmmaker, that something that was in your head has managed to be communicated to other people.

AFI: How did the premise of the screenplay come to you?

AL: I thought pregnancy was going to prevent me from working. I was actually really worried about it. But then I thought, “This is a perfect way of combatting that.”

I’d been thinking about revenge structures and themes for a while. I was never going to make a story about a pregnant woman who has a minor emotional dilemma about what color to paint the nursery. My bugbear as an actress is characters that are women first, and characters later. I was really sick of reading characters that are cut-and-paste mother characters. They’re always so bloody kind and self-sacrificial. What about their personalities and goals? Have they just disappeared when they’ve become mothers? Not on my watch, anyway.

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AFI: Pregnancy and evil children often figure into horror films — but the tone isn’t usually comedic. Were you inspired by any films while making this one?

AL: I’m a big fan of horror that deals with human transgressional boundaries. Films like THE SHINING, DON’T LOOK NOW, CARRIE and ROSEMARY’S BABY all deal with very human drama, and that’s where the horror comes from. The supernatural is an invisible threat, but the human threat is real and tangible — parents trying to kill their children, bullying, husbands betraying their wives. And many of these films deal with liminal rites of passage — becoming a teenager, a parent.

So yes, I definitely wanted to make a film about becoming a mother, but perhaps from more of an insider’s view, a female viewpoint, too. For me, the comedy goes without saying, as I can’t help it. I think life is kind of a mixture of hilarity and horror anyway. It was important to have warmth and humor for you to get into Ruth’s interior. She is a real human with flaws who is in this absurd predicament. Otherwise she’s just a victim, or a heartless perpetrator. I think the humor helps you to feel for her. Perhaps even feel like her. I haven’t exactly made KNOCKED UP. The humor is pretty pitch black. I’d love to have just answered with, “yes, I was inspired by LOOK WHO’S TALKING TOO,” and just have left it at that. That would have put a cat amongst the pigeons. 

Free tickets for PREVENGE will be available on AFI.com beginning November 1.

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(Source:www.blog.afi.com)

‘Michael Moore In TrumpLand’ Lands On iTunes & Sets Global Airdates – Update

Posted by Larry Gleeson

By Greg Evans

Michael Moore In TrumpLand is now available on iTunes, and the surprise self-distributed documentary has also lined up presentations around the globe. The film will air on October 30 in the UK (Channel 4), Australia (Ten Network), Netherlands (VPRO), New Zealand (TVNZ), Denmark (TV2), Sweden (SVT), Finland (Nelonen), Norway (NRK) and Iceland (365).

The film, currently available on iTunes for $4.99, broke the house record at the IFC Center cinema in New York on Wednesday, according to a Moore spokesman, who reported ticket sales of $6,972. The film, dubbed Moore’s October Surprise, is also playing at the Laemmle Town Center 5 in Encino in Los Angeles, where it has been the top-grossing film since it opened.

Moore was expected to make appearances at New York screenings this weekend.

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(Source: http://www.deadline.com)

 

FILM REVIEW: The Housemaid (Ki-young Kim,1960): South Korea

Reviewed by Larry Gleeson. Viewed during AFI FILMFEST 2010.

Considered by many to be one of the top three Korean films of all time, The Housemaid (1960), was directed by the legendary Ki-yong Kim. Kim is known for films Fire Woman (1970),  and Goryeo jang (1963). The film was produced by the production company of Kuk Dong, known for the Godzilla movies and The Three-Headed Monster. Kuk Dong was also a distributor for Harry Potter and the Chamber of Secrets (2002)  and The Sorcerer’s Stone (2001). The film also waas screened at the 2008 Tokyo Int’l Film Festival and at the 2009 Buenos Aires International Festival of Independent Cinema. The film’s cinematographer was Deok-jun Kim, known for Thirsty Trees (1964), Water Lady (1979) and It Goes Well (1989).

The Housemaid (1960) was shown as the second half of a double feature. The first half of the feature was a 2010 remake of the Housemaid. The 2010 version was directed by Kim’s old directing adversary’s son, Sang-soo Im. In my opinion, the 1960 version has stood the test of time. Shown in B&W, it’s a domestic thriller with mounting intensity up to and through the climax. It’s at the very end of the film when a most unusual resolution occurs that finally allows the light of day! The storyline is based on a news flash and focuses on a very traditional four-member Korean family. The family has moved into a new two-story home that forces both husband and wife to work demanding jobs to meet their bills. The wife is unable to work and keep the house. Begrudgingly, the happy couple makes the decision to hire a young eager Korean girl to be their housemaid.

Kim’s portrayal of the young housemaid is nothing short of brilliant. A working girl who becomes impregnated by her male employer rises up to run the household. In essence she has turned the table on the “ruling” class. Furthermore, Kim uses rats and rat poison so adroitly throughout the film to heighten the intensity. Couple the heightened intensity with the housemaid’s portrayal of envy and grossly overt sexual wantonness and the viewer is thrust into an unforeseen and dark thematic element of the expanding Korean middle class circa 1960. Despite the apparent housemaid’s scheming and havoc-wreaking behavior, ultimately leading to the fatal destruction of the family unit, not all hope is lost as Kim surprises the audience with a comical ending assuring the viewer that the situation depicted in the film won’t happen if he has learned the lesson so eloquently taught in The Housemaid (1960).

Highly recommended. A classic!

‘Barry,’ The Young Obama Netflix Movie Will Tell Things People Don’t Know About The Outgoing President

Posted by Larry Gleeson

By Joseph S.

Barry, the young Obama movie is just right on the dot as President Barack Obama is cleaning out his desk at the oval office before he finally returns to private life. Some people are already feeling nostalgic about him leaving the White House. This movie would be an apt tribute to the first black President of what is regarded as the most powerful nation on earth.

The Movie’s Premiere Was A Hit

When Barry premiered at the Toronto Film Festival, it was an instant hit. The role of the president was played by Devon Terrell, a newcomer. The story revolves around the president’s younger years while he was studying at Columbia University in New York City in the early ’80s.

This Is The Official Plot Summary

The plot of the real-life story of the U.S. President goes like this: “In a crime-ridden and racially charged environment, Barry finds himself pulled between various social spheres and struggles to maintain a series of increasingly strained relationships with his Kansas-born mother, his estranged Kenyan father, and his classmates. Barry is the story of a young man grappling with those same issues that his country, and arguably the world, are still coming to terms with 35 years later.”

The Trailer Is A Real Teaser

In the trailer, young Obama is always showing his back to the viewer.He is constantly moving forward, perhaps giving the image that his life’s approach is always to look and move forward. It is only at the end of the teaser where the young Obama’s face was revealed – in the mirror – since his back is still on the viewer. He was arranging his tie before he goes out.

A report from Entertainment Weekly indicated that Netflix has just acquired the film last month when it was shown at the Toronto Film Festival. IMDB rates the film at 7.8 while Rotten Tomatoes gave it 92 percent. It was directed by the director of “Vice,” Vikram Gandhi and written by Adam Mansbach. Netflix will air the movie on Dec. 16. Take a peek at the first trailer below.

(Source: http://www.itechpost.com)