I guess we are back at the Oscar next year
we back baby!
The Birth of a Nation (Official Thread)
- Thread starter BlackMajik
- Start date
we back baby!
Roman Brady
Nobody Lives Forever
it had all those things but failed at one of the very paramount things a movie of this nature should have, a captivating lead you can root for. I rooted for kinte, I rooted for cinque, it's impossible not to have rooted for schindler but you don't feel too bad for Solomon northup and that's a ptoblem
loyola llothta
☭☭☭
"We" never left
BlackMajik
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Go on and explain
What would you call it when you spent going to war against the U.S. Army, only to make an agreement to leave the land THEN to ENLIST to that same U.S. Army to be a spy taking out OTHER Seminoles out that same land???
Dr. Narcisse
Veteran
Sauanaffe Tustunnagee
Banned
link and make sure it's from a reputable source
if i recall correctly i don't think John Horse negotiating with the government to relocate n his own terms and trying to convince other Seminoles to do the same in their best interest makes him a traitor
if John was such a sellout why did Indian Seminoles refuse to turn him in when the government tried to renege on the deal/make black Seminoles slaves and actually provided him/black Seminoles sanctuary and protected them in Mexico?and let's not act like John was the only relevant leader
OG black Seminole Abraham was just one among many whom stood their ground and refused to compromise with Amerikkka
Abraham and Hagan
Date:
Thu, 1787-06-28
The birth of Black Seminole warrior Abraham is celebrated on this date in 1787. He was an African Native American soldier and politician.
Abraham was born in Georgia and for a time he lived in Pensacola, FL, where he worked as a servant for a physician, Doctor Sierra. Abraham joined the British army under Major Edward Nichols during the War of 1812, who promised freedom to any slave who joined him. Abraham had fled the army of Andrew Jackson and helped build the fort at Prospect Bluff in Florida. When Nichols and Upper Creek Chief Joseph Francis set sail for England in 1815, Abraham stayed behind in the Fort, which had become a haven for Africans who had escaped from slavery.
The fort was attacked and destroyed during the first Seminole War (1817-1818); Abraham was one of the few survivors. He made his way to a Suwannee River Town in Florida. Abraham continued fighting during the first Seminole War and he became known as "Sauanaffe Tustunnagee" (Suwannee Warrior). He lived in an African town in Florida called Pilaklinkaha, or Many Ponds, and was adopted as a member of the Seminole Nation. He became the Prime Minister of the Cowkeeper Dynasty and a chief adviser to Micanopy, principle chief of the Alachua Seminole.
Abraham even served as an interpreter for Micanopy in 1826 when a delegation of Seminole Chiefs visited Washington D.C. Later in life, Abraham married a woman named Hagan, the widow of Chief Bowlegs. No details of Abraham’s death are known.
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Have any black people seen the movie and weighed in? I'm taking the reviews with a grain of salt.
I swore 12 Years would be the last slavery movie I'd see but after this I'm done. I wish we'd expand beyond comedies, slavery, and biopics. I'd like to see a black director delve into sci-fi.
I swore 12 Years would be the last slavery movie I'd see but after this I'm done. I wish we'd expand beyond comedies, slavery, and biopics. I'd like to see a black director delve into sci-fi.
I really hope this film is done well, considering the whole "oscars controversy" that's going on. I don't trust these studios.
Ol’Otis
The Picasso of the Ghetto
I'm skeptical about fox buying it
I really hope this film is done well, considering the whole "oscars controversy" that's going on. I don't trust these studios.
Idk brehs
Dr. Narcisse
Veteran
Justin Chang, Variety:
"If '12 Years a Slave' felt like a breakthrough... Parker’s more conventionally told but still searingly impressive debut feature pushes the conversation further still: A biographical drama steeped equally in grace and horror, it builds to a brutal finale that will stir deep emotion and inevitable unease. But the film is perhaps even more accomplished as a theological provocation, one that grapples fearlessly with the intense spiritual convictions that drove Turner to do what he had previously considered unthinkable."
Todd McCarthy, The Hollywood Reporter:
"A labor of love pursued by Parker for seven years, the film vividly captures an assortment of slavery’s brutalities while also underlining the religious underpinnings of Turner’s justifications for his assaults on slaveholders. It’s a film very much in tune with the current state of heightened racial friction and one that will assuredly generate a great deal of media attention, and probably controversy, more for cultural and political, rather than artistic, reasons; creatively, it’s a far cry better than Stanley Kramer, but it’s no 'Son of Saul' either."
Brian Tallerico, RogerEbert.com:
"Most of all, Parker is absolutely phenomenal, portraying Turner as a man whose rage and need for revolution simmered inside him, spurred on not only by what he saw but a Bible that also conveyed the injustice of the world around him. Parker’s take on Turner is more internal than a lot of actors would have gone or a lot of directors would have crafted — he is a man who watches, and the way he uses scripture to convey his increasing rage in the midsection of the film is captivating."
Lanre Bakare, The Guardian:
"[M]ostly, the film is heavy-handed, with subtlety nowhere to be found. The horrors that Turner endures are signposted with soaring music. The focus on Turner is all-encompassing, with other characters, including his wife (Aja Naomi King) and other rebels, feeling thin and unconvincing. When the revolt does come — a rebellion that saw five dozen slave owners and their families killed — Parker doesn’t leave anything to the imagination. Heads are crushed, stoved in and chopped off. Bodies are burned, teeth are broken. It’s a cathartic blood-letting that recalls the huff and puff of "Braveheart," but instead of Mel Gibson splattering the English, it’s Parker hacking at the slave owners."
Sandy Cohen, The Associated Press:
"'The Birth of a Nation' is a beautiful, painful and powerful film that juxtaposes pastoral settings with inhumane violence. Elliot Davis' cinematography captures the ethereal natural settings of the American south and the heartbreaking brutality of slavery... Parker embodies Turner's compassion and heart, on both sides of the camera. As Turner, his eyes communicate a deep understanding of human nature. As the writer, director and producer of the film, he channels that understanding into a moving work of art."
Eric Kohn, Indiewire
Regardless of the mawkish tone, "Birth of a Nation" lays out the talent of a filmmaker in full control of his material. Among the many impressive images is the shot of a nude Turner opposite his wife, shortly after he rescues her from a vicious auction, their bodies lit only by the candlesticks between them. Much later, Turner's camera roams through hordes of black bodies hanging from trees, set to a moving cover of "Strange Fruit." And the final montage, when Turner's fate merges with an otherworldly vision of the future, bring the drama's full strength to the foreground.
"If '12 Years a Slave' felt like a breakthrough... Parker’s more conventionally told but still searingly impressive debut feature pushes the conversation further still: A biographical drama steeped equally in grace and horror, it builds to a brutal finale that will stir deep emotion and inevitable unease. But the film is perhaps even more accomplished as a theological provocation, one that grapples fearlessly with the intense spiritual convictions that drove Turner to do what he had previously considered unthinkable."
Todd McCarthy, The Hollywood Reporter:
"A labor of love pursued by Parker for seven years, the film vividly captures an assortment of slavery’s brutalities while also underlining the religious underpinnings of Turner’s justifications for his assaults on slaveholders. It’s a film very much in tune with the current state of heightened racial friction and one that will assuredly generate a great deal of media attention, and probably controversy, more for cultural and political, rather than artistic, reasons; creatively, it’s a far cry better than Stanley Kramer, but it’s no 'Son of Saul' either."
Brian Tallerico, RogerEbert.com:
"Most of all, Parker is absolutely phenomenal, portraying Turner as a man whose rage and need for revolution simmered inside him, spurred on not only by what he saw but a Bible that also conveyed the injustice of the world around him. Parker’s take on Turner is more internal than a lot of actors would have gone or a lot of directors would have crafted — he is a man who watches, and the way he uses scripture to convey his increasing rage in the midsection of the film is captivating."
Lanre Bakare, The Guardian:
"[M]ostly, the film is heavy-handed, with subtlety nowhere to be found. The horrors that Turner endures are signposted with soaring music. The focus on Turner is all-encompassing, with other characters, including his wife (Aja Naomi King) and other rebels, feeling thin and unconvincing. When the revolt does come — a rebellion that saw five dozen slave owners and their families killed — Parker doesn’t leave anything to the imagination. Heads are crushed, stoved in and chopped off. Bodies are burned, teeth are broken. It’s a cathartic blood-letting that recalls the huff and puff of "Braveheart," but instead of Mel Gibson splattering the English, it’s Parker hacking at the slave owners."
Sandy Cohen, The Associated Press:
"'The Birth of a Nation' is a beautiful, painful and powerful film that juxtaposes pastoral settings with inhumane violence. Elliot Davis' cinematography captures the ethereal natural settings of the American south and the heartbreaking brutality of slavery... Parker embodies Turner's compassion and heart, on both sides of the camera. As Turner, his eyes communicate a deep understanding of human nature. As the writer, director and producer of the film, he channels that understanding into a moving work of art."
Eric Kohn, Indiewire
Regardless of the mawkish tone, "Birth of a Nation" lays out the talent of a filmmaker in full control of his material. Among the many impressive images is the shot of a nude Turner opposite his wife, shortly after he rescues her from a vicious auction, their bodies lit only by the candlesticks between them. Much later, Turner's camera roams through hordes of black bodies hanging from trees, set to a moving cover of "Strange Fruit." And the final montage, when Turner's fate merges with an otherworldly vision of the future, bring the drama's full strength to the foreground.
last movie I was this hyped about seeing was It Follows. Damn I can't wait to get my hands on this film.
loyola llothta
☭☭☭
Netflix offer him 20 million