Black American History

Truth burns up error. ~ Sojourner Truth

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This is a really cool post. I really want to see Death at a Funeral-- I saw the first one and thought this one looked like it was funnier from the trailer-- I thought the British one was a bit of a mixed bag. I went to film school and did a lot of my theory work on adaptation and remake and I can't really think of a movie that, as you say, was given this kind of "American" adaptation treatment that didn't involve the white default. It really intrigued me when I saw the trailer for that reason.

I also love where you are going with the discussion of Eco...but I have to run to the apiary now!

thank you for your comment! yeah, i'm very interested in how books get adapted into movies and what does or doesn't make it into the movie. i actually had a digression on some films that were different/better than their book counterparts like Kubrick's The Shining vs the later version or the movie ending in Hannibal vs. the book ending. anyway, i hope you do see the film and support it in the theater. i'd be interested in if you think it's very different from the original.

I look forward to seeing this movie. I loved the British original and I like the casting choices for this film. The trailer was hilarious and I loved being able to track all of the jokes with the original.

You make a really valid point about white reviewers and their reactions to movies with POC in non stereotypical roles. I also appreciate the quote from Zoe. It angered me during some of the press for Star Trek and Avatar when people would argue that she was not black but latina, as if one could not be a black latina or be latina and identify as black. It angered me the same way it angered me when some white liberals and conservatives would argue that Obama was bi-racial and should not be called the first black president, but the first bi-racial president, as if their self-identification as black devalued them or that by trying to label them as not black they could reclaim them or somehow hold onto another thread supporting their preconceived notions of superiority.

oh god yeah, Obama. smh I feel like the more 'outrage' people have over that, the bigger their issues are. and i agree that it's not about slighting his white family, it's just been about his reality and his formative experiences. I'm really starting to appreciate Zoe as an actress more and more. Even though I couldn't support Avatar by paying to see it, I do want to follow her career and be a fangirl. lol i'm looking forward to shipping Aisha/Clay and i'm *so* ready to ignore the JDM stalkers who'll bitch about it. lol

but feel free to post a comment here on what you thought of death at a funeral. or even post your own review to the comm if new things strike you about it or from other fandoms. i'd like it if people could post more movie/tv reviews in a historical context. i'll probably make a new tag too if more people start doing that.

My reaction to it was very different. I . . . didn't have a good time because it seemed like a lot of stuff I'd seen before when it comes to Black comedy. I knew it was a remake of a British play beforehand, but - I don't know. Also, considering that Neil LaBute directed it, there was a certain kind of spectatorship of Black culture this American version created that made me feel very uncomfortable.

Yeah, i've been curious about the money behind this movie and I want to get the DVD and listen to the commentary if there is any. on imdb the screenwriter, Dean Craig is listed as an executive producer, and with the exceptions of Chris Rock and another black producer--the rest of the producers are white I believe. though that's not to say that the actors didn't exercise any creative control or input. i wonder if that's something their agents negotiate on their behalf--how much money they can make, how much creative control over the final cut (or if that's even an issue for them).

I'd love to know who got the idea of casting this. who approached who? Who optioned that script? I think the hiring of someone like Neal LaBute also is an attempt at getting that 'crossover' appeal, ie that white audience's money, since he's a certain brand himself in indie films.

but yeah, i think you raise a good question about who the audience is exactly. which makes me think about Kara Walker's art work, why David Chappelle left Comedy Central or even why Precious is so lauded in the mainstream press for it's 'authenticity'.

but then connect that issue with who sees/supports these efforts in the end. who sees value in it for whatever reason? because the media was quick to jump on its 'poor box office performance'. that's the only thing that matters with the hollywood formula. lol so i think that's yet another challenge for black comedians like Chris Rock or the other actors who want to stretch themselves beyond just doing comedy.

Honestly, I don't understand why comedians like Robin Williams and even Steve Carrell can make that transition from comedy to more serious fare and be lauded for it, and yet god forbid a black comedian like Rock or Murphy tries to make that attempt, because clearly it just doesn't go over well.

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