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Keagan 2022-02-17 08:02:24
Malcolm X being heroized: a questionable political orientation
The current movie competition is almost only whether the subject matter is remote enough and tricky. In this sense, the theme of "One Night in Miami" is quite predictable---- On the evening of February 25, 1964, the boxing that has not changed its name Wang Ali won his first heavyweight title....
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Ladarius 2022-02-17 08:02:24
[Film Review] The Forty-Year-Old Version (2020) and One Night in Miami… (2020)
Amid the all-the-rage Afrocentric cinema, here are two resounding directorial feature debuts from two African-American female hyphenates. THE 40-YEAR-OLD VERSION is playwright-actress-rapper-comedienne Radha Blank's semi-autobiographical account of her career struggle , whereas ONE NIGHT IN MIAMI…...
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Joelle 2022-03-25 09:01:18
Four people have played, and they have experienced the same indifference and ridicule. Whether you are a boxing champion, a hit singer, or a football star, you believe you have a certain status and money. In the eyes of white people, all are worthless, Malcolm It's not easy to turn the celebration banquet into a reflection meeting, and use the talk time and time again to pull the three brothers to the road of anti-white.
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Fabian 2022-02-17 08:02:24
Although there are still elements of correcting dodging and beautifying interpretations, it is still the best and most three-dimensional African-American racial film after "Green Book", "BlacKkKlansman" and "Sorry to Bother You". It is by no means blindly creating a confrontation between skin color and class, but a dialectical thinking from top to bottom from the inside out with the head of one's own camp. The root causes of the scourge of racism in the past were complex and multi-faceted due to differences in personal circumstances. So is the color politics, which is the main trend in Hollywood's "Cultural Revolution", really so simple and correct under collectivism?
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Malcolm X: [Quoting Bob Dylan's "Blowin' in the Wind"] 'How many roads must a man walk down before you call him a man?'
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Malcolm X: What kind of message are you sending, though, by doing one show for white folks and a completely different show for black folks, Sam?
Sam Cooke: [laughing in contempt] Ha.
Malcolm X: No, listen to me, you're performing in places where the only black people not on stage are the ones serving the food.
Sam Cooke: Don't you think I know that? I can't tell you how many times I wanted to reach out and punch somebody.
Malcolm X: Then, then, then, then strike with the weapon that you have, man: your voice! Black people, we, we standing up! We, we speaking out!
Sam Cooke: Umm hm.
Malcolm X: Sam, you have possibly one of the most effective, beautiful outlets of us all. You're not using it to help the cause, brother
Sam Cooke: The hell I'm not! I got the masters to my songs. I started a label, I'm producing tons of black artists. Don't you think my determining my own creative and business destiny is every bit as inspiring to people as you standing up on a podium trying to piss 'em off?
