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Posté le: Mer 11 Jan - 16:26 (2017) Répondre en citant

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The Birth of a Nation (2016) [HD] (3D) regarder en francais English Subtitles

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Release :2016-09-09Runtime :117 min.Genre :DramaProduction :Phantom Four, Mandalay Pictures, Bron Studios, Tiny Giant EntertainmentCast :Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Penelope Ann Miller, Gabrielle Union, Mark Boone Junior, Aunjanue Ellis, Dwight Henry, Esther Scott, Roger Guenveur Smith, Jeryl Prescott, Colman Domingo, Dominic Bogart, Jason Stuart, Katie Garfield, Chiké Okonkwo, Tony Espinosa, Jayson Warner Smith, Kai Norris, Chris Greene, Kelvin Harrison, Steve Coulter, Justin Randell Brooke, Aiden Flowers, Dane Davenport, Ryan Mulkay, Allen Phoenix, Vincent Anthony, Bobby Batson, Damon Bellmon, Gregory Black, Bradley Bowen, Alkoya Brunson, Anthony Bryant, Victoria Budkey, Sheila Cochran, Logan Coffey, Kemuel Crossty, Nicole Davis, Morgen Dukes, Shannon EdwardsCrew :Nate Parker, Nate Parker, Mac Smith, Steven Rosenblum, Jean McGianni Celestin, Henry Jackman, Elliot Davis, Andrea Craven, Craig Fincannon, Lisa Mae Fincannon, Mary Vernieu, Michelle Wade Byrd, Geoffrey Kirkland, James Edward Ferrell Jr., Francine Jamison-Tanchuck, Kevin Turen, Jason Michael Berman, Aaron L. Gilbert, Preston L. Holmes, Nate ParkerVote Average:6.5 Count: 70Overview :Nat Turner, a former slave in America, leads a liberation movement in 1831 to free African-Americans in Virgina that results in a violent retaliation from whites.Keyword :slavery

***Spoiler Alert*** This is not 12 Years A Slave, Birth Of A Nation (1915), or E! True Hollywood Stories: Nat Turner. This is Nate Parker's "The Third of May 1808 (Goya)" ...Acting well done! Cinematography well done! Story well done! Critics look for straight lines and perfect 90 degree angles, while some of us view art for the raw emotion and inspiration. By the way who goes to the MoMA to enjoy Polaroids? Mission Accomplished - I HAVE BEEN DISTURBED & INSPIRED!

By the way who is really surprised that one of the main complaints from the "haters" about the historical inaccuracy in a "120 min Hollywood film shot in 2015 about an enslaved African in the 1800's" were mostly disappointed that it did not visually show precious Pale women and children being killed during the rebellion. Really? That's why you didn't like the film? OK! Even though the film showed a man & WOMAN being killed in bed and also made a point to clearly reference it with a shot of Nat's bible passage "do not spare him; but put to death both man and woman, child and infant, ox and sheep, camel and donkey." So wait that wasn't good enough? You wanted to actually see it?

OH NO! We won't be having that. This is our American hero flick. You will see no Pale saviors or poor innocent victims to feel sorry for. Look! you mythologize your women & child raping, baby killing, heroes like Christopher Colombus, George Washington, Thomas Jefferson (Sally Hemmings An American Love Affair - SMH!), American Sniper Chris Kyle how you typically do and we will celebrate our freedom fighters and heroes in our own reality with no apologies necessary. 

My brothas and sistas go see the movie and be DISTURBED & INSPIRED! 
Greetings again from the darkness. Rarely is a director's feature film debut one that has historical and societal relevance … and certainly few first-timers would dare "borrow" the title of one of the most iconic films in cinematic history (regardless of the irony). But it seems Nate Parker may be no ordinary filmmaker. His 7 year passion project is well made, well acted and worthy of discussion.

Though the films share the title card (right down to the font), there are almost no similarities between Mr. Parker's film and the 1915 D.W. Griffith movie. Griffith's movie (set 30-40 years later) is known as the first blockbuster and historical epic, was the first film screened at The White House (by Woodrow Wilson), and has been studied for its advanced filmmaking techniques. It's also notorious for the despicable portrayal of racism, and has even been credited/blamed for re-energizing the activities of the Ku Klux Klan. Parker's film is neither a remake nor a historical epic – it's more of a biographical portrait of the most famous figure in the 1931 Southampton, Virginia uprising … Nat Turner.

This is the story of Nat Turner, but it's clearly Nate Parker's film. He is producer, co-writer (with Jean Celestin), director and lead actor (as Turner). Previously recognized for his acting (The Great Debaters, 2007), Parker's passion for the story is evident. He takes creative license in some key elements (Turner's marriage, the interracial baptism, the armory battle), but the fundamental truth that Turner was driven by his religious beliefs and visions to fight in order to free slaves is profound and ingrained in each scene.

Supporting work is solid and comes from Armie Hammer as Nat's plantation owner and master, Penelope Ann Miller (The Shadow, 1994) as the plantation matriarch who teaches young Nat to read the bible (not the white man books), Jackie Earle Haley (The Bad News Bears, 1976) as the villainous slave hunting ranch hand, Mark Boone Junior as the scheming Reverend, Gabrielle Union as a rape victim, and Aja Naomi King ("How to Get Away with Murder") as Cherry (Turner's wife).

Nat Turner's uprising lasted a mere 48 hours, and resulted in the slaughtering of dozens of slave owners and their families. Of course, many slaves were also killed and the fallout was that slave owners became more wary of the possible actions of slaves … while it also provided a glimmer of hope, and generational stories, for those who remained enslaved.

Religion was a driving force in Turner's actions, and it's fascinating to see a movie acknowledge conflicting bible verses, and how support can be found for most any action … in this case, slavery AND the battle against it. Turner's sermons to slaves evolve over time from a message of "obey your master" to the point where he is inspiring the uprising – all with words directly from the scripture.

The end for Nat Turner provides the end of the movie, but of course, it's not the end of the story. One need only check today's headlines to know that racial tensions are prevalent and that society still has a ways to go for equality and humanity for all. Nina Simone's "Strange Fruit" is one of the more haunting songs one will ever hear in a movie (originally recorded in 1939 by Billie Holliday), but it's spot-on in its inclusion. A detailed song about lynching grabs our attention amongst the whippings, force-feedings, rape and other torturous mistreatments.

Slavery has been portrayed on screen in such films as 12 Years a Slave, Roots, Django Unchained, and Amistad. Nate Parker's film deserves to be mentioned among these projects, and there is little doubt we will hear and see even more from Parker as a filmmaker (and actor). As a final benefit, the film reminds us to never bring a hatchet to a canon fight.

**NOTE: for those who follow the NBA, you'll notice Michael Finley and Tony Parker are Executive Producers for the film. 
I am of many minds when it comes to this film. On the one hand the historical themes and contemporary commentary strewn throughout The Birth of a Nation have penetrated my consciousness in a way few films have. This film makes me question my values and challenge my thoughts and understanding about slavery, racism and history by virtue of being a story hardly ever told. When we all Remember the Titans (2000) or feel the need to sit through Driving Miss Daisy (1989), we get a version of oppression that's wrapped in cellophane and packaged in friendly trimmings, to give us that warm fuzzy feeling. What's past is past and the backwardness of our ancestors was corrected by the "safe" versions of Frederick Douglass and MLK we remember in Elementary School. The story surrounding Nat Turner's rebellion takes that narrative, throws it out and burns it all to hell.

Nat Turner's slave rebellion started in Southampton County, Virginia in the late summer of 1831. By the time the rebellion was suppressed 3 days later, 55 to 65 white men, women and children were killed, striking fear into the hearts and minds of slaveholding Southerners for nearly a generation. In the immediate aftermath Nat Turner, a slave and literate black preacher was hung along with 56 coconspirators. The State of Virginia promptly banned the practice of teaching slaves to read and concocted ever stricter fugitive slave laws.

That is the official story; a comparatively dry examination when compared to director, producer, writer and star Nate Parker's vision of historical events. Parker has his protagonist the object of prophecy; a figure whose relations to this mortal realm, mixes themes of Christianity and African animism. Coming of age at the estate of the middle-class Turner family, Nat (Parker) is treated comparatively well for a slave. He's not separated by his mother (Ellis) nor his grandmother (Scott) and is even afforded the ability to marry fellow slave Cherry (King) albeit in open secret. Yet when his master Samuel (Hammer) loans him out to other slaveholders so he can preach the gospel to keep other slaves inspired (and happy in bondage), Nat begins to see the scope of slavery and its inherent evil.

Birth of a Nation builds itself as an important film and due in large part by its radicalism, it largely succeeds. Unlike the similarly themed 12 Years a Slave (2012), this is not the story of a victim forced into an unnatural and hellish nightmare but a person born into that very nightmare. It is only through the passages of biblical teaching that Turner begins to fathom liberation; a concept seemingly encrypted in every sermon he makes. Of course within the context of the story it takes a little more than a fugitive father and a tour of Southampton County to bring him to the brink. His wife is raped and severely beaten by Raymond Cobb (Haley), a principle antagonist we pin most of our animosity towards. It's a thread that gives the peak of the rebellion a satisfactory arc but by comparison a fairly tame one.

What's more muddled and, depending on whom you ask more necessary is the relationship between Turner and his slave master Samuel. When compared to other slaveholders Samuel's warmth as well as that of his mother Elizabeth (Miller) seems almost enlightened. I dare say that those inclined to scuttle slavery's effect on modern culture may even find a warped justification in the tortured eyes of Armie Hammer's struggling farmer. Furthermore, when communication breaks down between slave and slaveholder, the power struggle between them can be trivially compared to a testy employee biting the hand that feeds because a Type-B manager couldn't keep a tight grip. Yet I remind you that even the most benevolent of tyrants are still tyrants. If viewed by more critical lenses Samuel is a much stronger exhibition of the banality of evil than Michael Fassbinder in 12 Years a Slave ever was. He hints that he's sympathetic to their plight but is cajoled by social and economic pressures to have slaves and keep them working. Some movies may parse systems and people, as a way of having their cake and eating it too. Nate Parker seems to be saying, in the eyes of the victims, there is no difference.

On the other hand, The Birth of a Nation is not completely beyond reproach. There are quite a few expressionistic asides meant to appease art house sensibilities, yet strain under constraints of budget and directorial inexperience. There are also some clunky attempts to place the story within a continuum of American history and the occasional Christ-like tableau that's just far too obvious. Also when compared to other films highlighting the same evils, the staging feels less like an evocation than a form of self-censorship so as not to alienate political organizations, church groups and the odd AP U.S. History class. Viscerally, the film is less Roots (1977) and more The Autobiography of Miss Jane Pittman (1974).

I am of many minds when it comes to this film. Much like Do the Right Thing (1989), white audiences and black audiences are likely to have drastically different experiences at the theater. The title itself is an incendiary callback to a film that's simultaneously considered one of the best American films of all time and one of the most racist. I don't know what history will say about The Birth of a Nation but Birth of a Nation sure has quite a lot to say about history. While being a well-paced character study, erupting in an apex of Braveheart (1995)-level zeal, Birth of a Nation argues that the past isn't as dead as we sometimes believe it to be; it's not even past. 
It is truly a breath of fresh air to watch a film that revises history, to include the truth about the enslaved, in America. It would seem that some would feel disturbed by what they see on the screen, but the script, now a film by Nate Parker, is not merely a "get whitey" get revenge narrative. It is a coming of age-reluctant hero-love story.

Nat Turner finds himself in an untenable condition, continuing to ignore what he sees, just to survive, but in the end, when he decides to end the untenable, he puts his faith forward to live.

The sound mix on the film, the edit and the cinematography-- shot for shot-- is classic storytelling. The acting, the motivated lighting, and how it accents the exterior and interior design of the sets, the costumes on the actors, and 'the unspoken' by the actors-- elements seldom recognized-- drives the plot as much as the spoken words and actions of the actors.

This is truly, forget Oscar-- NAACP, BET Honors, Stellar Awards, etc., worthy, and then once it receives all of the Black awards, then and only then should Nate Parker even think of giving Oscar the blessing of the cast, the crew and himself at the academy awards.

What's the greatest advance brought by Nate Parker's The Birth of a Nation? It is the Black lead character does not need the help of a munificent white character that is the "great savior" of Black people in bondage. Like films that have come before it, "Boss Ni@@er" (1975), "Shaft" (1970); lately, "Django Unchained" (2012), and "The Magnificent 7" (2016)-- the lead actor is a strong-in thought and deed-hero, whom everyone, no matter what race he or she is, can relate to.

We need more heroes on the big screen representing the Black experience, which is anyone's experience who loves movies about the underdog triumph. 

Nate Parker's The Birth of a Nation Is Worth The Ticket Price; so get your crew of family, friends, boyfriends, girlfriends together, and see this film again, again and again. 
The Birth of a Nation provokes right in the title; taking on the racist bile in the technical landmark of Griffiths notorious epic, this will mostly be a point of value for people who 101 years on have heard of the Griffith film. Some frankly wont, and this is also by design by Nate Parker Im sure: taking as the story of Nat Turner, preacher turned avenger for slaves by leading a slaughter of 60 whites, this was the start of a country, drenched in blood and pain while seemingly to be a place where "all men are created equal" (hell, Jefferson is quoted in the very beginning). So if nothing else this has the best 'title' of any major release I can think of this year.

If only the rest of the film could quite meet up to the provocation of the title. I think anyone seeing this has to go in on a slight curve: this is a debut directorial effort for actor Nate Parker (also writer and producer), so its a passion project that took years to make. A great story to be sure. Does this mean one can give a pass to any flaws (small or not so small)? It depends how much slack to cut a first timer going after something THIS ambitious (and put aside Parkers outside past stuff from looking at the film in front of us, for right now).

Heres the deal: it surprised me how this made such a splash at Sundance when it is very much a conventionally told story. This doesn't mean Parker shies from show much of the horror and anguish Turner witnessed in his slave years (both as a kid and when things kept mounting for him until his breaking point), it certainly goes where it has to in showing not just the whipping and (off screen) rape, but also mutilations like force-feeding slaves when locked up. Its harsh. But the way Parker constructs his narrative is irksome, full of obvious hero/villain dynamics (ie Jackie Earle Haleys character who is even given a final 'battle' showdown that feels like its from a BS action movie), and to how simplistic Turner comes off.

I don't even mean that so much in how it treats faith- I get that Turner was a preacher and that aspect of his life was paramount, to the point he thought he was chosen by God Himself to do his task against the whites (to the point of coincidentally going to Jerusalem!) - I mean how Turner, as a character in this *film*, has no real arc. After a childhood where he gets told he is destined for greatness (thanks three bumps on chest!) and is told this in a heavy handed moment by his father about to run away, as an adult he sees slavery is bad and upsetting, over and over, and the breaking point of his wife being sodomized turns him further, but there's no real great change or revelation for him. Or, maybe 'arc' is the wrong word: the dimension is not really there. If there's any moments of joy they're telegraphed and kind of odd (right after Turner gets married a shot showing he and his wife naked looking at each other is posed to an unsettlingly self conscious degree).

If anyone has a compelling character and some change to see its Armie Hammers Samuel Turner. He is the one who gets broken down by the slavery society around him, at first content to be a slave owner in his family tradition but not a terror about it. And yet through the course of his story he has to reckon with the institution that has given him everything hes got, and it makes him eventually a completely miserable person. Hammer really sells this change too and it happens gradually; its semi ironic to me that I left the film thinking the truly award worthy turn is by the white actor(!)

Parker as an actor, by the way, is more convincing than Parker the director or writer. And I must stress he is not bad in the way thats incompetent; hes done his homework as far as making a historically alive setting that makes the feeling of dread and danger ready to pop any moment palpable. But strangely enough Parker makes his own character too one dimensional so hes only given so much to play... Actually thats not totally true, he also is given moments to be a Jesus Christ figure rising up in the middle of the night after being tied down for a whipping surrounded by candles, or in other moments that scream remember, I was flaied and died for YOUR sins.'

And its important to remember that for Parker the main inspiration is not the actual history (far as can be legitimately documented) of Nat Turner and his life and revolt, but Braveheart. To him Mel Gibson is his ideal, and if you go in knowing the real details (going on a quick Wikipedia search like I did after the movie will open your eyes as to how much Parker changed many many details, some small and some crucial) it may affect your viewing. For me, not knowing the true story and seeing it as just a *movie* unto itself, there are good things about it and the whiff of BS at points. Or not even that but little 1st year film school stuff for a first movie, imagery that Parker puts in of angels and at one point himself and child actor Turner in make up for... Some oblique allegorical purpose.

At the end of the day it cant hold up to the gauntlet thrown down by McQueen and 12 Years a Slave or even the crazy satire of Django Unchained. Its a hard safeness if that makes any sense. 

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Posté le: Mer 11 Jan - 16:26 (2017)
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