By Russ Fischer | The Playlist<\/span><\/strong><\/span><\/p>\n Nate Parker<\/b>\u00a0(“Ain’t Them Bodies Saints<\/b>,” “Beyond the Lights<\/b>“) delivers a somewhat ragged but wildly forceful directorial debut with “The Birth of a Nation<\/b>,” based on the story of preacher and slave Nat Turner. The title, taken from\u00a0D.W. Griffith<\/b>‘s diabolically racist 1915 feature, is essentially the director’s mission statement for this version of the story of a Virginia slave rebellion as it flips the phrase’s meaning to confront the intent of Griffith’s feature and echoes of it in the audience. That title, applied to this film, is one of cinema’s most audacious appropriations.<\/span><\/p>\n In script and performance, the film is an articulate howl of anguish and rage given depth by a discerning comprehension of the ways various communities can rely on faith for very different means. In technique, “The Birth of a Nation” aims for the aesthetics of large-scale studio filmmaking, and that ambition is never quite fulfilled, especially in the film’s first half. Still, Parker often crafts urgent, even spectacular shots and sequences that convey fierce passion, belief, and faith.<\/span><\/p>\n In addition to writing, producing and directing, the multi-talented Parker is commanding in the lead role of Nat Turner, a slave owned by the Turner family. Taught to read in childhood by his master’s wife Elizabeth (Penelope Ann Miller<\/b>), Turner becomes a preacher in adulthood, and his faith eventually provides a source of income for his drunk, financially troubled master Samuel Turner.<\/span><\/p>\n The shameful contrast between Nat’s life and Samuel’s, from their youthful camaraderie to adult master\/slave relationship, is the first of many means by which Parker examines the business and horror of slavery. Samuel, played by\u00a0Armie Hammer<\/b>\u00a0in a performance that weirdly parallels\u00a0Michael Fassbender<\/b>‘s work in “12 Years a Slave<\/b>,” is kindly towards Nat, at least when it suits him, but he never musters real compassion for his one-time friend. As an adult, Nat is merely chattel, and like every other slave, fair game for abuse from vicious men like Raymond Cobb, played by\u00a0Jackie Earle Haley<\/b>.<\/span><\/p>\n The only true source of solace for Nat is his community, family, his wife (played by Aja Naomi King), and God. While Nat’s relationships with the women around him are primarily depicted in shallow fashion, his relationship to faith and God is the constantly evolving center of the film.<\/span><\/p>\n “Birth of a Nation”<\/strong><\/span><\/p><\/div>\n<\/div>\n<\/div>\n Initially beatific as he preaches to groups of slaves on his home plantation, Nat’s understanding of the power of scripture as persuasive speech expands dramatically as his master is paid to bring Nat around to other plantations where his sermons might motivate slaves to work harder. The preacher’s brow creases as he considers the co-option of his faith. Parker’s excellent performance allows us to see the very moment he decides to preach subversively, delivering a message of righteous hope to his black audience as white masters look on, not entirely comprehending the meaning of Nat’s words.<\/span><\/p>\n With impeccable control over his own expressions, Parker conveys Nat’s transformation from gentle, possibly even optimistic onlooker to a hardened firebrand convinced that he has been chosen by God to lead his people out of bondage.<\/span><\/p>\n “The Birth of a Nation” follows the lead of “12 Years a Slave” in depicting unfathomably cruel inflictions of violence, as when the teeth of a man on hunger strike are roughly chiseled out so he can be force-fed, but it deploys those images to illustrate specific moments in Nat’s development. Just as powerful are the art direction and costumes, which give the film a grounded space in which to exist, and the small glances and communications between black men and women as they tamp down each other’s anger and agony.<\/span><\/p>\n Some images of violence play into Parker’s depiction of Nat as a Christ figure: We see an overseer’s whip as a snake and Nat’s procession through a mob as reflection of the Procession to Calvary.<\/span><\/p>\n Those are ripe but effective visions; at other times, images and dialogue lean towards mawkish and awkward. Visions of a set of figures are more confusing than mysterious. A stained-glass cross plays heavily in one scene which would potentially have been even more powerful without the distraction of the omnipresent symbol \u2014 by that point we understand and believe in the character’s faith.<\/span><\/p>\n Parker’s big-screen tendencies dominate in the final act, when the spirit of “Braveheart<\/b>” seems to possess the violent explosion of the 1831 rebellion, and there his aspirations are more fully realized. The climax is overtly confrontational, like a version of “Django Unchained<\/b>” with the exaggeration and swagger stripped away. Parker does not question or indict the violence \u2014 these fighting men are like batteries charged with the abuse and oppression that has been inflicted upon them. When Nat’s rebellion ignites, all that stored energy is released at once; the explosion is uncontrollable.<\/span><\/p>\n The violence of the open rebellion is visceral, and the aftermath devastating, in part because the brutal official response to the rebellion is so thoroughly anticipated as to be banal. The intensity of the conclusion is overwhelming. But it is the thought behind the script and the consideration of Parker’s realization of the power of Nat Turner’s speech that lingers, demanding consideration and deserving praise. [B+]<\/span><\/p>\n <\/p>\n >via:\u00a0http:\/\/blogs.indiewire.com\/theplaylist\/sundance-review-the-birth-of-a-nation-starring-nate-parker-armie-hammer-aja-naomi-king-jackie-earle-haley-and-more-20160127<\/a><\/p>\n<\/article>\n ____________________<\/strong><\/span><\/p>\n January 25, 2016<\/p><\/div>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n The Birth of a Nation<\/strong><\/span><\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n UPDATE #3: Following the below news from earlier today that Fox Searchlight won the bidding war over Nate Parker’s “Birth of a Nation,” paying what is reportedly a Sundance Film Festival record $17.5 million for worldwide rights,\u00a0Deadline<\/a>\u00a0is reporting that there was an even larger bid for the film that came from an unexpected buyer – Byron Allen! Yes, that Byron Allen and his production\/distribution company,\u00a0Entertainment Studios, who bid $20 million for worldwide rights to the film, $2.5 million above the winning bid made by Fox Searchlight, and matching Netflix’s $20 million offer as well. Who knew Byron Allen was rolling like that? I knew he was doing very well – especially after he bought\u00a0independent film distribution company Freestyle Releasing last October for an undisclosed sum; but even this news of his aggressive bid for “Birth of a Nation” took me by surprise! “Yes, we did make a bid for $20 million and a wide theatrical release for this outstanding film,” Allen said. “Nate Parker made the right decision by going with Fox Searchlight, and we made the right bid. I\u2019m very proud of Nate, and he owes me lunch.\u201d Well Mr Allen, if you’ve got the money to spend like that, there are certainly a few other films you could pick up, or maybe even finance! I assume Mr. Allen will suddenly be on every filmmaker’s short list of potential backers and\/or distributors – if he isn’t already.<\/span><\/p>\n ***<\/span><\/p>\n UPDATE #2: Well, it’s a done deal! Worldwide rights for the\u00a0film have been bought by Fox Searchlight for a whopping $17.5 million! Keep in mind that, as I said in my earlier post below, Fox Searchlight also released “12 Years a Slave” 2 years ago, and saw much success with it, at the box office, and awards received (including a Best Picture Oscar). So this acquisition is certainly fitting for the company.<\/span><\/p>\n ***<\/span><\/p>\n UPDATE: After yesterday’s electrifying premiere (see below for the details),\u00a0Variety is reporting<\/a>\u00a0this morning exclusively that there’s apparently a bidding war for the film, with The Weinstein Company, Fox Searchlight, Sony and Netflix all believed to be in the mix, with bids for worldwide rights exceeding $15 million, which would make it the biggest sale at Sundance this year (so far anyway). So there’s a good chance that a deal might be announced shortly! Once that happens, you will know. In the meantime, if you missed it, read my summary of reactions to the film after yesterday’s world premiere, below.<\/span><\/p>\n ***<\/span><\/p>\n It made its world premiere at the 2016 Sundance Film Festival, ending just a couple of hours ago. I’m unfortunately not at Sundance this year, so no early review of the film from me\u00a0– at least, not until it screens in New York City, which I hope will be sooner than later.<\/span><\/p>\n But while you wait, I thought I’d round up some Twitter reactions from those who were present for the screening this evening, to give you some idea of what’s being said about it thus far. In brief, reactions have been overwhelmingly positive on the film, which is obviously great, and should lead to a distributor pick up. Both Anne Thompson at Thompson on Hollywood and Deadline suggested that there is distributor is interest; “Potential buyers for the film streamed out of the lobby mere minutes after the cast had left the stage post-screening. Some worked multiple cell phones (with assistants standing nearby fielding calls of their own) in what appeared to be fevered discussions about the awards-bait film,” Deadline said in its post-screening report. Thompson’s tweet was similar, further identifying both Fox Searchlight and Roadside Attractions as potential bidders.<\/span><\/p>\n So it may only be a matter of time before we receive news of an acquisition. It would make sense for Fox Searchlight given that they were successful with “12 Years a Slave” two years ago (Nate Parker’s film is, as you might expect, already drawing comparisons to Steve McQueen’s Oscar-winning drama, even if only because of the subject matter\/period). It’s also a film that I mentioned in my 2017 Oscar potentials list, published last week.<\/span><\/p>\n Titled “The Birth of a Nation,” Parker\u00a0wrote, directed and also stars in the film, playing Nat Turner.\u00a0 Joining Parker in front of the camera are Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, and Mark Boone Jr.<\/span><\/p>\n Still no trailer yet; but the stills (above and below), as well as Sundance premiere reactions (all below), should hold you over until then.<\/span><\/p>\n First, a sample of\u00a0what the critics have had to say about the film so far:<\/span><\/p>\n And on, and on, and on… you get the picture! Much enthusiasm for the film after its World Premiere, which may make it a strong contender for the festival’s Grand Jury Prize, although the festival isn’t over yet; another week to go!<\/span><\/p>\n![\"Birth](\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2016\/01\/the-playlist.jpg\")
<\/div>\n<\/div>\n<\/span><\/div>\n<\/div>\n<\/a><\/span><\/div>\n<\/div>\n<\/span><\/div>\n<\/div>\n<\/a>Fox Searchlight Takes<\/strong><\/span><\/h1>\n
Nate Parker’s <\/strong><\/span><\/h1>\n
‘Birth of a Nation’ <\/strong><\/span><\/h1>\n
in $17.5 Million Deal<\/strong><\/span><\/h1>\n
After Electrifying<\/strong><\/span><\/h1>\n
Sundance Premiere<\/strong><\/span><\/h1>\n
(Update: Byron Allen<\/strong><\/span><\/h1>\n
Made a <\/strong><\/span><\/h1>\n
$20 Million Bid)<\/strong><\/span><\/h1>\n
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\n The official synopsis reads: Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher, whose financially strained owner, Samuel Turner, accepts an offer to use Nat\u2019s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom.<\/span><\/p>\n<\/a> <\/a><\/p>\n
<\/a>January 27, 2016<\/p><\/div>\n
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