#I truly think the progressive era was top 5 most important times in American social and legal history

[goldenstarprincesses]

Honestly, as much as a love the Gilded Age and glitz glamor of the wealth it shows...what has really caught my attention is the plotline unions and mills

I am once again starting my campaign for Hollywood to create a mini series based on the Progressive era

And I want it as dark, gritty, a realistic as possible.

[tcm]

Reframing Films of the Past: An Interview with TCM Writers

All month long in March, TCM will be taking a look at a number of beloved classic films that have stood the test of time, but when viewed by contemporary standards, certain aspects of these films are troubling and problematic. During TCM’s Reframed: Classics in the Rearview Mirror programming, all five TCM hosts will appear on the network to discuss these issues, their historical and cultural context and how we can keep the legacy of great films alive for future generations.

Also joining in on this conversation are four TCM writers who were open enough to share their thoughts on their love of classic movies and watching troubling images of the past. Special thanks to Theresa Brown, Constance Cherise, Susan King and Kim Luperi for taking part in this conversation. Continue the conversation over on TCM’s Twitter.

What do you say to people who don’t like classics because they’re racist and sexist? 

KL: There are positive representations in classic Hollywood that I think would blow some peoples’ minds. I always love introducing people to new titles that challenge expectations. 

That said, anyone who broadly slaps a sexist or racist label on a large part of the medium’s history does a disservice to cinema and themselves. That mindset keeps them ignorant not only of some excellent movies and groundbreaking innovation but history itself. 

I think people need to remember that movies are a product of their time and they can reflect the society they were made into a variety of degrees - good, bad, politically, culturally, socially. That’s not to excuse racism or sexism; it needs to be recognized and called out as such for us to contend with it today. But it’s important for people who say they don’t like classics for those reasons to understand the historical context. In particular, we need to acknowledge that society has evolved - and what was deemed socially acceptable at times has, too, even if sexism and racism are always wrong - and we are applying a modern lens to these films that come with the benefit of decades worth of activism, growth and education.

SK: I totally agree K.L. For years I have been encouraging people to watch vintage movies who keep proclaiming they don’t like black-and-white films or silent films. For every Birth of a Nation (1915) there are beautiful dramas, wonderful comedies and delicious mysteries and film noirs. 

 These films that have racist and sexist elements shouldn’t be collectively swept under the rug, because as K.L. stated they shine a light on what society was like – both good and bad. 

CC: First off, fellow writers may I say, I think your work is amazing. I'm continually learning from the talent that is here, and I am humbled to be a part of this particular company. Similar to the prior answers, for every racist/sexist film the opposite exists. Personally, classic musicals attracted me due to their visual assault, creativity and their unmistakable triple-threat performances. While we cannot ignore racist stereotypes and sexism, there are films that simply are "fantasies of art." There is also a review of evolution. In 20 years, what we now deem as acceptable behavior/conversation will be thought of as outdated and will also require being put into "historical context."  What we collectively said/thought/did 20 years ago, we are currently either re-adjusting or reckoning with now, and that is a truth of life that will never change. We will always evolve.

TB: I would say to them they should consider the times the movie was made in. It was a whole different mindset back then. 

Are there movies that you love but are hesitant to recommend to others because of problematic elements in them? If so, which movies? 

TB: Yes, there are movies I’m hesitant to recommend. The big one, off the top of my head, would be Gone With the Wind (1939). The whole slavery thing is a bit of a sticky wicket for people, especially Black folks. Me, I love the movie. It is truly a monumental feat of filmmaking for 1939. I’m not saying I’m happy with the depiction of African Americans in that film. I recognize the issues. But when I look at a classic film, I suppose I find I have to compartmentalize things. I tend to gravitate on the humanity of a character I can relate to. 

KL: Synthetic Sin (1929), a long thought lost film, was found in the 2010s, and I saw it at Cinecon a few years ago. As a Colleen Moore fan, I thoroughly enjoyed most of it, but it contains a scene of her performing in blackface that doesn’t add anything to the plot. That decision brings the movie down in my memory, which is why I have trouble recommending it.

Also Smarty (1934), starring Warren William and Joan Blondell, is another movie I don’t recommend because it’s basically about spousal abuse played for comedy, and it did not age well for that reason.

SK: Breakfast at Tiffany’s (1961): Audrey Hepburn is my favorite actress and I love her Oscar-nominated performance as Holly. I adore Orangy as Cat, as well as George Peppard and Buddy Ebsen, who is wonderfully endearing. And of course, “Moon River” makes me cry whenever I hear it. But then I cringe and am practically nauseous every time Mickey Rooney pops up on screen with his disgusting stereotypical performance as Holly’s Japanese landlord Mr. Yunioshi. What was director Blake Edwards thinking casting him in this part? Perhaps because he’s such a caricature no Japanese actor wanted to play him, so he cast Rooney with whom he had worked within the 1950s. 

CC: I cannot necessarily state that I am in "love," but, a film that comes to mind would be Anna and the King of Siam (1946). It is an absolutely beautiful visual film. However, Rex Harrison as King Mongkut requires some explanation. 

Holiday Inn (1942), and the Abraham number...why??? Might I also add, there were many jaw-dropping, racist cartoons.

How did you learn to deal with the negative images of the past? 

KL: I often look at it as a learning experience. Negative images can provoke much-needed conversation (internally or with others) and for me, they often prompt my education in an area that I wasn’t well versed in. For instance, blackface is featured in some classic films, and its history is something I never knew much about. That said, seeing its use in movies prompted me to do some research, which led me first to TCM’s short documentary about blackface and Hollywood. I love how TCM strives to provide context and seeks to educate viewers on uncomfortable, contentious subjects so we can appreciate classic films while still acknowledging and understanding the history and the harmful stereotypes some perpetuated.

SK: It’s also been a learning experience for me. Though I started watching movies as a little girl in the late 1950s, thanks to TCM and Warner Archive I realized that a lot of films were taken out of circulation because of racist elements. TCM has not only screened a lot of these films but they have accompanied the movies with conversations exploring the stereotypes in the films.  

CC: As a Black woman, negative images of the past continue to be a lesson on how Blacks, as well as other minorities, were seen (and in some cases still are seen) through an accepted mainstream American lens. On one hand, it's true, during the depiction of these films the majority of Black Americans were truly relegated to servant roles, so it stands to reason that depictions of Black America would be within the same vein. What is triggering to me, are demeaning roles, and the constant exaggeration of the slow-minded stereotype, blackface. When you look at the glass ceiling that minority performers faced from those in power, the need for suppression and domination is transparent because art can be a powerful agent of change. I dealt with the negative images of the past by knowing and understanding that the depiction being given to me was someone else's narrative, of who they thought I was, not who I actually am.

TB: I’m not sure HOW I learned to deal with negative images. Again, I think it might go back to me compartmentalizing.

I don’t know if this is right or wrong…but I’ve always found myself identifying with the leads and their struggles. As a human being, I can certainly identify with losing a romantic partner, money troubles, losing a job…no matter the ethnicity.

In what ways have we evolved from the movies of the classic era?

KL: I think we are more socially and culturally conscious now when it comes to stories, diversity and representation on screen and behind the scenes, which is a step forward. That said, while there's been growth, there's still much work to be done.

SK: I think this year’s crop of awards contenders show how things have evolved with Da 5 Bloods, Soul, One Night in Miami, Minari, Ma Rainey’s Black Bottom, The United States Vs. Billie Holiday, Judas and the Black Messiah and MLK/FBI. 

But we still have a long way to go. I’d love to see more Native American representation in feature films; more Asian-American and Latino stories. 

CC: There are minority artists, writers, producers, directors, actors with the increasing capacity to create through their own authentic voice, thereby affecting the world, and a measurable amount of them are women! Generally speaking, filmmakers (usually male) have held the voice of the minority narrative as well as the female narrative. I agree with both writers above in the thought that it is progress, and I also agree, more stories of diversified races are needed. 

TB: One important way we've evolved from the movies made in the classic era by being more inclusive in casting. 

Are there any deal-breakers for you when watching a movie, regardless of the era, that make it hard to watch? 

KL: Physical violence in romantic relationships that's played as comedy is pretty much a dealbreaker for me. I mentioned above that I don't recommend Smarty (1934) to people, because when I finally watched it recently, it. was. tough. The way their abuse was painted as part of their relationship just didn’t sit well with me.

SK: Extreme racist elements and just as KL states physical violence. 

Regarding extreme racist elements, D.W. Griffith’s Birth of a Nation (1915) is just too horrific to watch. I was sickened when I saw it when I was in grad school at USC 44 years ago and it’s only gotten worse. And then there’s also Wonder Bar (1934), the pre-code Al Jolson movie that features the Busby Berkeley black minstrel number “Goin’ to Heaven on a Mule.” Disgusting.

I also agree with KL about physical violence in comedies and even dramas. I recently revisited Private Lives (1931) with Norma Shearer and Robert Montgomery based on Noel Coward’s hit play. I have fond memories of seeing Maggie Smith in person in the play when I was 20 in the play and less than fond memories of watching Joan Collins destroying Coward’s bon mots.  

But watching the movie again, you realized just how physically violent Amanda and Elyot’s relationship is-they are always talking about committing physical violence-”we were like two violent acids bubbling about in a nasty little matrimonial battle”; “certain women should be struck regularly, like gongs”-or constantly screaming and throwing things.  

There is nothing funny or romantic about this.

KL: I try to put Birth of a Nation out of my mind, but S.K. did remind me of it again, and movies featuring extreme racism at their core like that are also dealbreakers; I totally agree with her assessment. I understand the technological achievements, but I think in the long run, especially in how it helped revive the KKK, the social harm that film brought about outdoes its cinematic innovations.

CC: Like S.K., Wonder Bar immediately came to mind. Excessive acts of violence, such as in the film Natural Born Killers (1994). I walked out of the theatre while the film was still playing. I expected violence, but the gratuitousness was just too much for me. I also have an issue with physical abuse, towards women and children. This is not to say I would not feel the same way about a man. However, when males are involved, it tends to be a fight, an exchange of physical energy, generally speaking, when we see physical abuse it is perpetuated towards women and children.

TB: I have a couple of moments that pinch my heart when I watch a movie. It doesn’t mean I won’t watch the movie. It just means I roll my eyes…verrrrry hard.

-Blackface…that’s a little rough; especially when the time period OF the movie is the ‘30s or ‘40s film.

-Not giving the Black actors a real name to be called by in the film (Snowflake…Belvedere…Lightnin’). I mean, can’t they have a regular name like Debbie or Bob?

-When the actor can’t do the simplest of tasks, i.e. Butterfly McQueen answering the phone in Mildred Pierce (1945) and not knowing which end to speak into. What up with that?

Are there elements they got right that we still haven’t caught up to? 

KL: I don't know if the pre-Code era got sex right (and sensationalism was definitely something studios were going for) but in some ways, I feel that subject was treated as somewhat more accepted and natural back then. Of course, what was shown onscreen in the classic era was nowhere near the extent it is today, but the way the Production Code put a lid on sex (in addition to many other factors) once again made it into more of a taboo topic than it is or should be.

One thing I particularly hate in modern movies is gratuitous violence, and it perplexes and angers me how America weighs violence vs. sex in general through the modern ratings system: films are more likely to get a pass with violence, mostly landing in PG-13 territory and thus making them more socially acceptable, while sex, something natural, is shunned with strictly R ratings. Obviously, there are limits for both, but I think the general thinking there is backwards today.

CC: The elegance, the sophistication, the precision, the dialogue, the intelligence, the wit. The fashion! The layering of craftsmanship. We aren't fans of these films for fleeting reasons, we are fans because of their timeless qualities.

I'm going to sound like a sentimental sap here, ladies get ready. I think they got the institution of family right. Yes, I do lean towards MGM films, so I am coloring my opinion from that perspective. Even if a person hasn't experienced what would have been considered a "traditional family" there is something to be said about witnessing that example. Perhaps not so much of a father and a mother, but to witness a balanced, functioning, loving relationship. What it "looks like" when a father/mother/brother/sister etc. genuinely loves another family member.

I was part of the latch-key generation, and although my parents remained together, many of my friends' parents were divorced. Most won't admit it, but by the reaction to the documentary [Won't You Be My Neighbor?, 2018], the bulk of them went home, sat in front of the TV and watched Mr. Rogers tell them how special they were because their parents certainly were not. We don't know what can "be" unless we see it.

[the-telegraph-sport-yahoopa-blog]

'3pm Saturday is rugby time, don't mess with it' - your responses to The Rugby Debate 

Champions Cup 2016 Getty Images

This week, Mick Cleary complained that Champions Cup kick-off times are ruining the experience for rugby fans.

European kick-off times, spread out across the entire weekend - morning, noon and night. It's a dog's dinner and a disservice to rugby followers, be they in the ground (some chance at certain times) or at home...

We invited you to have your say, too. Here's what you had to say:

  Derek McBride

Commercial management by the major teams and the Six Nations RFU's has been crass and very short term.

In pursuit of the money, the greedy Blazers have given away TV rights to  the best rugby in Europe to niche companies.  The enthusiasts are ignored and, slowly, they will give up paying large sums of money just to watch several big games crammed into weekend slots. At the same time the greedy Unions are fixing International Test games  all over the place.

Good players need a seasonal rest, but the money talks and the headaches continue to haunt overpaid players with no consequences for the game's management

I've lost all respect for the Blazers that control rugby union at all levels. Not that I had much to begin with.

  Mark Austen

The same is true of the 6 Nations when England v France is due to start at 16.50. How is this good for the game or the broadcasters?

  Alasdair Fergusson

Racing 92 play at 20:45 on Saturday, we're an hour ahead - we get messed about just the same for Top14 matches but that late for a 'dead' match will make for a dead atmosphere. As the ground is a bit remote from most of the fans this means back home at midnight. For those of us who buy season tickets and go to games this is just being taken for granted.

  Gaius King 

Just because you stagger games doesn't mean you/we are more likely to watch when played live.  I would be happily watch the replay on TV whenever at my own convenience (or when the kids are in bed or watching it too).  Thats what fans do!

3pm, Saturday... is Rugby time!  Don't mess with it.

  E TO

TV broadcasting rights, led by SKY are poisoning sport and killing the fan base - football has soulless crowds as they are the only ones who can afford it - rugby will go the same way if it's not careful.

  Douglas White

Agree the times are not good but for many of us 2 subscription services is a bigger issue. Same tore cause Rugby no longer looks after the fan. 

  Ed Stacey 

It's called life and it sucks. And frequently it [life] gets in the way of the truly important stuff like watching sport. My own predicament, for example, means missing Munster v Glasgow because of a long-planned family get together! Now should I complain to the tournament organisers for putting their corporate interests before my social calendar or simply accept my cruel fate, set sky+ to record and be a man about it?

There is way too much negativity in the English media right now about rugby when we should be celebrating a golden era for this great sport. There are undoubtedly issues to be dealt with; concussions, consistency of refereeing etc. certainly all need addressing, but the media is obsessed with trivializing the game in the way it has with football by focusing purely on negative off-field stuff. You can't please everyone all the time. Journalists should know this better than anyone! Give it a rest now please.

  Robert Reynolds 

Sky extra room is great service to help marital bliss.So long as clubs & Unions chase the TV £££s this will happen. Can't see bums on seats paying even the current high ticket prices compensating for loss of TV broadcasting rights.Now if northern hemisphere rugby season moved to more spring/summer fixtures who would complain about trips to France ,Italy,or even Belfast & Galway?

  Roger Cheesman

For us in Bordeaux, not a bad time this weekend.  However the point needs to be made that here, as in the UK, there is a core of fairly solid support who'd prefer to watch a match rather than catch it on TV and this will cost us more.  Please don't mess us around.

I suggest all matches k/o early afternoon Sat or Sun (depending on home side) and the TV boys chose which game to screen with highlights of others to follow so we can watch in the bar. Clubs can divvy up TV rights equally whatever is broadcast.

  P Saunders

They say that live performances are judged b Bums on seats. So the powers that are looking at progressing the game have got to take that into consideration. At present it is just going for the money like some other game.  You will kill what Rugby is all about.

  Paul Brannigan

How bad is 5-30 pm on a Sunday for Ulster travelling fans who have to get back to Belfast on Sunday night for work on Monday morning?

In addition the actual times for all of the games this weekend was only settled after the tickets were bought.  So, Ulster fans travelling to Exeter had to plan ahead not knowing which day or time they needed to get to Sandy Park and then home again.  Flights just got more expensive as they were booked last minute.

Fair play to Flybe for removing the additional cost of transferring to different flights for those who had tickets and guessed the wrong match time.

The fans, especially those hard core travellers are the losers!

  Peter Martin

It would seem to me that as previous correspondents have said,it is all about money.I think that the biggest issue is that the game has sold itself to sport subscription TV channels thereby taking it out of reach of a vast number of fans.Moving the start times all over the place has just compounded things.

The professional game is a niche sport. Look what has happened to cricket when the game was sold to Sky?

  Roger Hale

As an armchair viewer I have little to complain about - all the aforementioned progs can be recorded but not live sport. All I have to juggle is watching televised horse racing as well and of course my home clubs fixtures (Hornets RFC).

  Simon Grant

If you're watching it on screen, Mick, either tell the wife she can't watch strictly, or watch it on another screen and another feed... For travelling fans, it's really not great.

  Peter Godfrey

Perhaps the only benefit of the late start times is that a lot of top rugby is now shown live on tv in the USA.   I have watched several games here in Minnesota and they are popular with a very limited audience .  Someone is getting paid for this .... who and how much?

  Haydalis Whitehead

Nail on head. Money talks. And you have smelt the same global sized rat correctly. You hear people complain about the evil Imperialist Britain; well the world has a bigger digital version of the monster an nobody says anything. The USA runs the show the world over. I live in Latin America now and it's the world over - what American corporations want, they get. Money talks. Reminds me of the airheaded bully who although not smart, could knock out any smaller kid out with one punch, as that was the only weapon of respect he had. Uncle Sam he's called now he's grown up.

Sport media has been ruined. I wish for the pre-sport-on-television days some days, when I could head down the The Wreck of a Saturday afternoon, to see 'amateur' rugby Union at its best.

You know, the greatest problems we humans have is believe everything we are told by politicians and the media - if they say something is as it is, we simply believe them. The truth is, our lives haven't really been improved. Something is missing  - including our sport!

  Paul Strong

I was a season ticket holder for 17 years at Northampton Saints and gave it up this season because of the crazy match times. Completely agree that TV rules and the game is going corporate.

  Ian Frizzell

I'm off to Exeter this weekend to support Ulster against Chiefs.

This is the second game in a row that Ulster have played on a Sunday afternoon meaning travelling home on Monday and losing a day at work. 

  Alastair Brown 

Last year I took a punt and went to Paris in Jan for the stade game. Friday and Saturday night. Announced ko time late December, Sunday afternoon. I was coming home then. Still got the tickets.

This year wrote to EPCRugby, who said. We wait for the last round to be played so we can maximise TV exposure. Sod the fans in a nutshell

I cannot afford to wait, price for trains in advance half the price. Same for hotels. You can get away with one night if you know when the match is, gamble on two (as above), or guarantee by booking three nights.

EPCRugby should be ashamed for the disservice they show to away fans.

  Hurricane Jack

Just another step along the way of professionalism becoming corporate takeover. It has ruined the football experience for football fans; matches on a Friday evening getting in the way of a game of darts in the pub.

  Christopher Toole

Yes, 5.30pm ko on a Sunday for the Exeter Chiefs vs Ulster Rugby is shocking for the away fans.