Hattie McDaniel

Reviews

Blog Posts

Features

Thumbnails 6/28/16

Aziz Ansari blasts Trump; Communal magic of Filmfront; Scorsese on "King of Comedy"; Brexit's impact on British film; Anthony Hemingway on "Underground."

Features

Thumbnails 10/21/2013

The aesthetic politics of filming black skin; saving Memphis; a Richard Linklater retrospective; "Fisher King" commentary; bankrupting emergency care.

TV/Streaming

Margaret Mitchell: Her own brand of rebel

PBS's "American Masters" presents "Margaret Mitchell: American Rebel" and "Harper Lee: Hey, Boo," back-to-back documentaries about two white American women who won Pulitzer Prizes for their first and only best-selling novels, Monday, April 2 beginning at 9 p.m. (Check local listings.) Both will be available via PBS On Demand and are currently on DVD.

If you're hoping for the whirling of petticoats, a colorful Virginia reel and the coquettish fluttering of lashes on the old plantation, you might be surprised by American Master's "Margaret Mitchell: American Rebel." By rebel, director Pamela Roberts doesn't just mean Johnny Reb. On the other hand, if you hope that the author of Gone With the Wind is burning in hell for conjuring up a romantic fantasy of slavery and antebellum plantation life, you might be surprised. Mitchell was a wild young woman who did some shocking dances in her day, but eventually settled down and did good in ways that benefited the citizens of her hometown Atlanta and beyond.

What could be rebellious about a woman who romanticized a plantation lifestyle in which women were raised to be pretty ornaments and good wives in her 1936 novel of the Old South, "a civilization gone with the wind..."? Today, millions of women still live out their Scarlett O'Hara fantasies at their weddings with hoop-skirted bridal gowns, and through Civil War or Southern ball re-enactments. Not so many line up to portray slaves. The documentary uses many clips from the blockbuster 1939 movie, contrasted with photographs of Mitchell in her own wild youth. Even as one might enjoy the sweeping romance of the motion picture epic and attempt to ignore the racism, I suspect most people are more politically sympathetic with Alice Randall's 2001 parody The Wind Done Gone, which re-imagined Mitchell's story from the slaves' point of view.

Festivals & Awards

No pain for "Hurt Locker," Bigelow

HOLLYWOOD — "The Hurt Locker," a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of "Avatar" — and her former husband — cried all the way to the bank.