Oscars: Breaking into the Men's Club

OK. I’m gonna put it right out front and center (like Octavia Spencer's prominent seat at the Oscars.) This year there is not one film with a female lead nominated for Best Picture.

The male dominated academy doesn't seem to consider personal female stories of great enough importance to be nominated for Best Picture. They neglected to nominate, “Wild,” the empowering universal story of a woman’s journey for self-forgiveness, while testing herself on a grueling backpacking hike across the Pacific Crest Trail. Yet they nominated, “Whiplash,” the personal story of a young male drummer suffering for his art. “Boyhood,” the favorite to win Best Picture, is a personal story as well. But deserves attention for director Richard Linklater’s audacity in filming over the course of 12 years.

The Academy favors films about the accomplishments of great men – like this year’s inspiring nominees, “The Imitation Game,” and, “The Theory of Everything,” about a mathematician and scientist respectively. But where are women scientists or mathematicians and their world-changing accomplishments?

As a society, we need more biopics about these incredible women. It is important that their accomplishments be recognized. A few examples: Rear Admiral Grace Hopper has a destroyer named after her to honor her accomplishments including inventing the first compiler, and developing the first high level computer language. Rosalind Franklyn was instrumental in discovering the double helix structure of DNA for which her former collaborators Crick and Watson won the noble prize. This is one time I wish I was wrong. But I when I googled, “Women scientists in movies,” I found only lists of fictional scientists in SciFi films. Perusing the Best Actress nominations throughout the history of the Oscars, I found two movies about women scientists: “Madame Curie” (Marie Curie worked with physicist Pierre Curie to discover radium) back in 1943 and “Gorillas in the Mist” about Dian Fossey’s research with Mountain Gorillas in Africa. “Madame Curie,” was nominated for Best Picture, Best Actress (Greer Garson), Best Actor, and Best Cinematography, yet this accomplished biopic didn't win any academy awards. “Gorillas in the Mist,” was nominated for Best Adapted Screenplay and Best Actress (Sigourney Weaver) back in 1988.

Of course, great advancements don’t happen in a bubble. In the 1840s, Ada Lovelace worked on Charles Babbage’s early mechanical general-purpose computer, the Analytical Engine. Her notes on the engine include the first algorithm carried out by the machine. She is often described as the world’s first computer programmer.

Cooperation is one of the themes of, “The Imitation Game.” It took a team sharing their different strengths to break the code of the German Enigma cipher and win the war. It took military strategy, math skills, relationship strengths, and being able to see the whole picture. “Sometimes it is the people who no one imagines anything of who do things that no one can imagine.” Mathematician Alan Turing (Oscar nominated Benedict Cumberbatch) doesn't relate to the world like others do, but it is that difference of perception that allows him to create a machine to crack the enigma. No doubt Turing studied Ada Loveless’ work while at Princeton. That may be how he was able to recognize that Joan Clark’s (Keira Knightley) mathematical strengths would benefit the team. And it is also Joan who taught him to work together with the other team members in order to accomplish their goals.

The “Theory of Everything,” was based on the inspiring story of how Stephen Hawking, (Oscar winner Eddie Redmayne) was empowered and supported by his wife Jane (Oscar nominated Felicity Jones), and postulated the theoretical prediction that black holes emit radiation and researched a unifying theory of relativity and quantum mechanics while suffering from ALS disease that increasingly paralyzed him. While the movie doesn't cover the “Theory of Everything” or even Stephen’s scientific process in any depth, Director James Marsh illuminates the Hawkings' relationship and the world of science with spectacular poetry and wonder.

Now let’s get down to the Oscar snub. “Selma,” one of the best reviewed, most powerful films of the year didn't garner its director, Ava DuVernay, a Best Director nomination. (Read more about this in my previous review.) Like, “The Imitation Game,” it celebrates the accomplishment of a great man. But "Selma," concentrates on the community and collaboration. DuVernay realizes her vision by inviting the audience into the spirit of the Civil Rights movement from the point of view of its black protagonists. The movement (and resulting movie) was bigger than just one man. It was a community working together, and risking their lives, fighting for freedom for generations to come. DuVernay shows women as partners in the cause. Coretta Scott King enabled her husband to be the voice of the movement by supporting him financially while raising their children. Women and men lock arms and march bravely together.

While, "Selma," shows the effectiveness of collaboration and non-violent protest; "American Sniper," glorifies Chris Kyle as an indispensable, one-man killing machine. “American Sniper,” was produced to draw attention to the condition of vets returning from the war. That is certainly a noble purpose. But it is also a masterfully crafted propaganda movie (much like John Wayne's Vietnam War film, “The Green Berets," which wasn't nominated for an Oscar.) In, "American Sniper," there is no question that Chris Kyle was justified in killing every Iraqi because nearly every one of them was shown carrying a weapon. The theme of the movie is black and white. It is us against the evil terrorists. But what would you do if your neighborhood was occupied and soldiers were breaking into your house? I found it very disturbing when I started rooting for Chris to kill the evil terrorists. The film has already had its desired effect, as a Facebook friend commented, “We need to kill everyone of those evil bastards.” To me this is a misuse of the power of film.

I’m not ready to give up on the Oscars yet. The top runners for Best Picture: “Boyhood,”, “Birdman or (the Unexpected Virtue of Ignorance)," and, “The Grand Budapest Hotel,” all deserve their nominations.

It is a miracle that Linklater was able to pull off this unprecedented feat of shooting the same actors over the course of 12 years. No theme is imposed on, “Boyhood,” aside from memories projected over the passage of time. There is no big turning point that inspires the characters’ growth, just living through life’s daily struggles. This accumulates into something very moving over the course of the film and their lives.

Wes Anderson creates intricate details in the whimsical, quirky world of, “The Grand Budapest Hotel,” where the melancholy staff try to maintain bygone civility and loyalty amongst a backdrop of brutality, war and loss. The physical comedy is spot on and the action sequences thrilling and fun!

In Oscar-winning Director Alejandro González Iñárritu's, "Birdman (Or the Unexpected Virtue of Ignorance),” a comic book action star struggles to express himself as an artist, to find some relevance in his life, to prove that his life matters. It is a biting satire on the price of fame and how Hollywood clips the wings of its artists in their pursuit of profits.

All three films deserve their Best Picture nominations for brilliantly realizing their directors’ original visions. I just hope that next year the Academy chooses to empower women filmmakers by nominating them into the club.

Oscar blessings!
Jana Segal
www.reelinspiration.blogspot.com

OSCAR UPDATE:

Patricia Arquette won Best Actress for, "Boyhood" and gave an impassioned plea for equal rights for women in America.

The powerful performance of Best Song winner, "Glory," honoring, "Selma," along with the speeches by songwriters Common and John Legend moved many to tears.

Eddie Redmayne won Best Actor for, "The Theory of Everything."

Graham Moor won Best Adaptation for "The Imitation Game."

Alejandro González Iñárritu won Best Director, Best Picture and Best Original Screenplay (along with Nicolas Giacobone, Alexander Dinelaris Jr. and Armando Bo) for, "Birdman."

Congratulations to all the winners! 

Incredible Invisible Women Filmmakers

Women were among the first silent picture directors. Director Alice Guy-Blache is actually credited as the first to develop the art of  narrative structure. But when businessmen created the Hollywood Studio System, women directors seemed to disappear.

Alice Guy-Blache

Motivated by Ava DuVernay’s Oscar snub and the fact that less that 7% of the 250 movies made in the Hollywood studio system this year were directed by women, I decided to find out what happened to all the women filmmakers. I started by scrolling down the movies I had promoted on Reel Inspiration through the years including my annual “Most Inspiring Films” lists. Imagine my delight at discovering that three of the films listed in first place were directed by women. My all-time favorite Reel Inspiration film, “Even the Rain” (from 2010), was directed by Spanish actress/director Iciar Bollain. My favorite inspiring film of 2011, the documentary about horse whisperer “Buck,” was directed by animal advocate Cindy Meehl. Of course, 2013’s Most Inspiring Film “Wadjda” was directed by a Saudi Arabian woman named Haifaa Al-Mansour. This accomplishment is even more incredible because it was the first feature film ever shot in Saudi Arabia. In fact, she directed the first film EVER shot in Saudi Arabia. This accomplishment needs to be celebrated. Scrolling down the labels on my blog, I found other female filmmakers who directed powerful, inspiring films. These women’s names deserve to be known and their voices heard.

(UPDATE: "2014 Most Inspiring Films" included, ""Welcome to Me," "McFarland USA," "The Babadook," "Belle," and the film that inspired all those impassioned blog posts, Ava DuVernay's "Selma."  The 2015 list featured "Suffragette," and my number one choice, Deniz Gamze Ergüven's "Mustang." )

Ava DuVernay, Iciar Bollain, Haifaa Al-Mansour

After reading an article about gender inequality in Hollywood that asked, “Where are all the Women Filmmakers?” I conducted my own research to find out if there were, in fact, qualified women filmmakers and why they weren't being hired for high profile studio productions. I started by looking up the women directors mentioned on Indiewire’s best indie films and Sundance breakout hits lists on IMDB to discover which projects were in the works and to see if they were getting the same opportunities as their male counterparts. These lists led to more lists: best horror films directed by women, lesbian filmmakers, documentary filmmakers, spiritual cinema visionaries, showcase films for actresses… The more I looked, the more women directors I uncovered. Yes, there are women directors out there.

Jennifer Lynch

Why hadn't I heard of these women? Why weren't more of them household names? The main reason is that women filmmakers have a difficult time finding enough funding for publicity and are lucky to get even limited distribution. Without proper PR campaigns, they aren't even a blip on most film journalists’ or reviewers’ radar. One bloody example is Jennifer Lynch. After some devastatingly bad press on her first film "Boxing Helena" (when she was in her twenties), Jennifer has gone on to make some of the most intriguing, disturbing serial killer flicks: "Surveillance" and "Chained." Despite getting more PR than most female filmmakers, hardly anyone saw her films. Why? Because they had limited distribution.

Debra Granik

Women with breakout indie films aren't being hired for big studio productions like their male counterparts. A good example of that is “Winter’s Bone” director/co-writer Debra Granik.  Despite making $16 million on her small budget movie, being nominated for four Academy Awards (including Best Picture and Best Adapted Screenplay for Granik) and launching the phenomenal career of Oscar nominee Jennifer Lawrence, Granik has been unable to get a project green-lighted in the studio system. Meanwhile, her male contemporary, Noam Murro (his indie drama “Smart People” made $2 million less) went on to direct the high budget film “300: Rise of an Empire.”

Lexi Alexander

Studio executives use the excuse that female directors either don’t want to direct big action films or can’t handle the job. While directing a horror film is seen as proof that men are prepared to direct an action film, women horror film directors are overlooked. Another example that belies that theory is Academy award-nominated Lexi Alexander. Lexi is uniquely qualified to direct action films. She leveraged her experience as a Karate and kickboxing world champion to write and direct her engrossing Oscar-nominated short about professional boxer “Johnny Flinton.” (Heralded by reviewers as the most authentic depiction of boxing on film.) Her skills as a professional stunt-woman enabled her to orchestrate brutally real and thrilling fight sequences for her film “Green Street Hooligans.” She faithfully followed Hollywood’s formula for success. While Hollywood executives complained that female stories weren't “edgy” enough, her films were edgy. When they demanded sympathetic heroes, she gave them sympathetic heroes. And she made it work. Her films are brilliant. Unfortunately, this story doesn't have a happy Hollywood ending. When she was hired to direct the lesser-known Marvel comic “Punisher: War Zone,” she was promised a $30 million budget, but ended up with $20 million. Executives claimed that investors got nervous because she was a woman. So she had $10 million less to publicize a practically obscure franchise. She gave fans what they wanted by staying true to the source (violence and all). But when the movie wasn't a box office hit, they blamed it on her being a woman.

Let’s examine the excuse that women don’t want to direct action films. First, many of the 250 big studio productions aren't action films. The list includes comedies and dramas. All but three of the so-called “chick flicks” and “weepies” were directed by men. It is true that Oscar winner Kathryn Bigelow, the first woman ever to win a Best Director Oscar (for the war film“The Hurt Locker”), declined offers to direct the latest big action franchises. But it is absurd to think that this acclaimed director would choose to direct the latest Marvel Comic flick or big action sequel. Hasn't she earned the opportunity to direct a film that reflects her own vision – like the previous Oscar winners? (In all fairness, many renowned directors have found it so difficult to finance their vision in today’s corporate-run movie industry that they have started working in television.)

Scarlett Johansson

The recent success of female driven films PROVES that there is a market for films with female leads:

• Jennifer Laurence beat the competition, grossing $335,123,000 in “The Hunger Games, Mockingjay, Part 1.” 
• Angelina Jolie was “Maleficent” (penned by Linda Woolverton) at 8th place ($241,410,378).
• “Interstellar” blasted off to 16th place featuring a strong woman astronaut and scientist ($186,666,000) originally conceived by producer Lynda Obst with Professor of Theoretical Physics Kip Thorne.
•  “Gone Girl” Rosamund Pike slayed as the unhappy wife in 18th place ($167,628,577) while retaining author/screenwriter Gillian Flynn’s vision.
• “Lucy” captured 23rd place ($126,663,600) on Scarlett Johansson’s star power.
• Shailene Woodley shined in at 24th ($124,872,350) in “Fault in Our Stars.”
• Meryl Streep’s bewitching presence conjured up 25th place ($124,388,000) for “Into the Woods.” 
• “Tammy” showed off Melissa McCarthy’s strengths as a comedian/writer to earn 38th ($84,525,432). 
• Nappy-haired little girl “Annie” (starring Quvenzhane Wallis and co-written by Aline Brosh McKenna) found a home at 39th ($84,452,781). 
• “If I Stay,” starring Chloe Grace Moretz and adapted by Shauna Cross from the novel by Gayle Forman, hung in at 52nd ($50,474,843). 

While this list shows progress for lead actresses, it must be noted that NONE of these movies were directed by women. Why aren't more movies starring women, directed by women? Why are so few of the best-selling novels written by women, adapted to the screen by women?  Six of the movies on the list above were written (or co-written) by women. But keep in mind that this list was taken from the top 52 hits from Box Office Mojo's list of 100 movies (as of  2/16/15).

Kathryn Bigelow

While it’s good to show that women can excel at directing high budget genre movies (Angelina Jolie joined the ranks in 26th place at the box office with the war film “Unbroken”), I don’t think female directors should have to direct male-centric movies in order to get funding. They should be able to make movies that reflect their vision. Many female directors, such as Debra Granik, are opting to produce their own low budget shorts or documentaries while awaiting studio deals. It is important for the health of our nation (even the planet) that women’s voices be heard. I am proud of Kathryn Bigelow for forgoing financial gratification to create projects that reflect her own vision and benefit our planet. She is currently collaborating with Megan Ellison of Annapurna Pictures (who also worked on “Zero Dark Thirty”) on an adaption of Anand Giridharada’s bestseller, “The True American.” She leveraged her clout to produce the animated PSA “Last Days,” drawing attention to the connection between elephant poaching and terrorism. Bigelow elaborated, “For me it represented the diabolical intersection of two problems of great concern – species extinction and global terrorism. Both involve the loss of innocent life, and both require urgent action.” Bigelow announced on January 30, 2016 that her next film would be a drama about the 1967 Detroit Riots.

Where are all the other female directors? Women are making films....

Jennifer Yuh Nelson

Despite the fact that the first animated film EVER was created by a woman, Lotte Reiniger, women are finally breaking into the "boys' club" of animation. Brenda Chapman became the first woman to direct an animated feature at a major studio (Dreamworks) with "Prince of Egypt" in 1998. She went on to co-direct the Oscar winning "Brave" in 2012. Storyboard artist Vicky Jenson directed "Shrek." Jennifer Lee parlayed her scripts "Wreck It Ralph" and "Frozen" into a directing gig for "Frozen." Jennifer Yuh Nelson was the first female to be sole director of an animated feature (the mega-hit "Kung Fu Panda 2.") She is currently working on "Kung Fu Panda 3."

This year 36% of the films at Sundance were directed by women. So what became of the female directors who had breakout hits in the past? Gina Prince-Bythewood shines a light on celebrity with "Beyond the Lights." Amma Asante overcame daunting challenges to get her black heroin "Belle" on screen. Some have feature films coming out in 2015. "Twilight's" Catherine Hardwicke helmed "I Miss You Already" and is set to direct the $50 million dollar epic "Loulan." Patricia Riggen ("Under the Same Moon") directed the true story of  "The 33" miners trapped underground. Andrea Arnold ("Fish Tank") is filming "American Honey." Oscar winner Sofia Coppola ("Lost in Translation") is in post production on "A Very Murray Christmas." "Whale Rider's" Niki Caro directed Disney's "McFarland USA" and is currently shooting "The Zookeeper’s Wife." Celine Sciamma ("Tomboy") has "Ma vie de courgette" coming out in 2016.  Amma Assante is currently shooting the provocative racial drama "A United Kingdom." Some have produced their own short films while seeking funding for feature projects (Mira Nair, Lynne Ramsay, Mary Harron). This plan has proven successful for Mary Harron  who announced on February 1, 2016 that she is collaborating with "American Psycho" scribe Guinevere Turner on the Manson-Followers film "The Family."

Darnell Martin

MANY acclaimed female directors have found better opportunities in television including: Darnell Martin, the first black woman to direct a studio production ("I Like It Like That"). Oscar winner Jane Campion ("The Piano") co-created the thriller masterpiece "Top of the Lake." Lesli Linka Glatter, Jill Soloway, and Lisa Cholodenko swept the TV categories at the DGA awards this year. Happily, actress-turned-director Lake Bell ("In a World") is currently in pre-production for "What's the Point?" after directing television. Other qualified women directors are choosing to make documentaries or low budget indies to stay true to their vision (Kelly Reichardt, Marjane Satrapi, and Julie Dash to name a few.)

The problem is that the films made outside the studio system aren't being seen because they don’t have money for marketing and distribution. Right now, Hollywood is run by a handful of giant corporations that are only interested in testosterone-driven megahits that have international appeal to show a huge profit to stockholders. Businessmen are running the show. So they keep regurgitating the same tired formulas that have worked in the past. As a result, movie attendance has gone down.

Recent box office receipts prove that there is a demand for female driven films. Why not put some of that money back into smaller films with a fresh perspective? From a business standpoint, they cost less to make, so they are less risky.  "Winter's Bone," independently financed by the filmmakers when their investor fell through, was produced for just $2 million and earned $14 million above that. That's 7 TIMES its budget. That's just good business. 

"Winter's Bone" by Debra Granik

How do we encourage studios and investors to finance and distribute films by female directors? First, do a little research and discover your favorite women directors. Seek out their films. Then send Hollywood a message by attending them on opening weekend. Share them with your friends. Repeat.

Meanwhile, I will continue writing articles on the subject and seeking out female filmmakers to promote on Reel Inspiration. Look for my reviews celebrating two women making new strides in horror: Ana Lily Amipour ("A Girl Walks Home Alone at Night") and Jennifer Kent ("The Babadook.") PLEASE, SHARE! 

Check out the many strong female characters in my "Most Inspiring Films 2015."

Movie blessings!

Jana Segal
www.reelinspiration.blogspot.com

For more information on Women Filmmakers:

The best and bravest article I've found clarifying the issue: The Women in Hollywood Speak Out.

Watch the video: "Celluloid Ceilings: Women Directors Speak Out"

 "10 Female Directors Who Deserve More Attention from Hollywood."

"100 Women Directors Hollywood Should Be Hiring"

Research that proves Hollywood is still a "man's club."  

Ava DuVernay expands distribution cooperative for women filmmakers and filmmakers of color.

This year a writers lab for women over 40 was established. 

"Why 2015 Film and Television Was a Major Win for Feminism"

"Watch: A Celebration of the Top-Grossing Women-Directed Films of 2015"

Stephanie Allain, who champions films from directors of color, speaks out. 

The Best Films About Women in 2014

"Beeban Kidron: The Shared Wonder of Film"

"Everything You Need To Know About The Hollywood Pay Gap"

"Celebrating Women in Classic Film: The Silent Directors."

"The History of Women in Animation. The Mothers of a Medium."

Women Documentary Filmmakers

The Director List (including women indie, documentary and television directors.)

 "85 Films By and About Women of Color."

"Female Directors Make History at the 2015 Tribeca Film Festival."

"Attention Filmmakers! Apply for the HBO fellowship for women and diversity"

"Hollywood Sets Up Its Lady Superheroes to Fail"

"Two women-led media companies are committing greater resources to funding and distributing films made by women".

"Diversity doesn't just happen': Six women in film discuss the challenges ahead

ArcLight Cinemas Spotlights "Exceptional" Women-Directed Docs in Summer Series

"Heroines of Cinema: These 10 Female Filmmakers Prove Why Hollywood Studios Should Change Their Tune"

"Guide to Cult Female Filmmakers"

"Female Directors Pick Their Favorite Films Made by Women"

The Long March to Freedom

The unwarranted controversy around Ava DuVernay's depiction of President Johnson in, "Selma," got me thinking about the challenge of writing a movie about historical figures. Being a writer, I know how difficult it is to write about a real person - especially someone who is as well-known and beloved as Martin Luther King or Nelson Mandela. The sheer scope of their life stories is daunting. What do you include and what do you leave out? How do you capture the life of a person in two hours? As an artist, you hope to capture a glimpse of their spirit. A writer attempts to create meaning out of life events. That is a tall order for men who meant so much to so many people. A friend of mine admitted that he didn't want to see, "Mandela: Long Walk to Freedom," because writer William Nicholson chose to include Mandela cheating on his first wife and endangering his family. Similarly, writer Paul Webb and director Ava DuVernay included this same weakness in their portrait of Martin Luther King. I believe that the writers showed great courage in sharing these great men's weaknesses. Illuminating the real men behind the legends is what makes these movies so powerful!

In both movies, their wives are portrayed as partners in the fight for civil rights. "Selma," makes it clear that Coretta enabled Martin Luther King to be the face of the civil rights movement by supporting him financially and caring for their children at home. The film concentrates on a shorter period in history to take a more personal look at Martin's and Coretta's relationship and the effect the struggles of the civil rights movement had on them. They risked their lives walking side by side at the peaceful demonstration in, "Selma" 

In, "Mandela: Long Walk to Freedom," Nelson’s story is contrasted with Winnie's tragic tale. While Mandela was in jail, it was his wife Winnie who led the Apartheid and Free Mandela movements. The movie captures her growing hatred as she witnesses violence towards her people and she endures torture at the hands of their white oppressors. When Mandela is finally released from prison, Winnie demands that he use his power to overthrow the white government. But the visionary Mandela finds the strength and wisdom to transcend the urge for revenge or justice. He has learned that the only way for Africa to be whole again is through cooperation and forgiveness.

What makes these movies so inspiring is that their subjects weren't perfect, but they accomplished great things. These flawed men and women sacrificed everything to bring freedom to their people.

Movie blessings! 

Jana Segal

reelinspiration.blogspot.com

OSCAR UPDATE:

"Selma," was honored with a Best Song Oscar for, "Glory," by songwriters Common and John Legend.

Celebrate Martin Luther King Day with, "Selma"

I went away from the screening feeling empowered to write an inspiring review of Best Picture Nominee, “Selma.” I was deeply moved by the image of marchers from diverse religions, black and white, standing together against injustice and inhumanity. These people risked their lives for the rights we enjoy today. And the themes are still so relevant in this time of racial discord and disillusionment with those in power. 

After a two hour bus ride home, I was struggling to remember what I was going to write. I knew I wanted to include an excerpt from Martin Luther King’s closing speech at Montgomery, so I googled it. I was shocked to find that it wasn't King's actual words. I was appalled that the African-American filmmakers (including Oprah!) couldn't get the rights to use the speeches because of copyright laws. Doesn't Martin Luther King's legacy belong to all of us? The rights had been sold to a rich white man. Steven Spielberg will probably do justice to Martin Luther King’s life as he did with, “Schindler’s List.” But the symbolism is still disheartening – a rich white man buying up intellectual property for his vision of Martin Luther King. I was so thrown that I couldn't face writing this for days. 

Then there was the unwarranted controversy around the accuracy of the film's depiction of President Lyndon Johnson as a deterrent to the march at Selma. Personally, I feel that filmmakers have a responsibility to be truthful in capturing important historical events. I listened to director Ava DuVernay‘s explanation that, "Selma," was her artistic vision. She suggested that people research it for themselves. I took up the challenge and found that President Johnson's involvement was not black and white. He was first and foremost a Southern politician. While he may have intended to pass the civil rights law, he was cautious not to lose too many voters. I believe that the movie is DuVernay's honest take on the events. Her vision is to invite the audience into the spirit of the movement from the point of view of its black protagonists. Yes, protagonists - plural. It was greater than just one man. It was a community coming together to figure out the best way to accomplish their civil rights objectives.

The movie shows how African-Americans were humiliated, threatened with losing their jobs, beaten or even killed for attempting to vote in the South. A group of civil rights activists, including Martin Luther King (David Oyelowo), decide that the best course of action is to fight for the unobstructed right to vote. King meets with President Johnson (Tom Wilkinson) to request that he pass the Voting Rights Act. But the president’s goal is to keep a handle on the civil rights movement and he is interested in uncovering King’s next course of action. He claims that there is too much on his plate, including fighting poverty, to pass a Voting Rights Act.

The activists decide to bring attention to the issue by holding a non-violent demonstration in Selma, Alabama. As the protesters kneel down before Sheriff Jim Clark, a police officer strikes an elderly man who has difficulty kneeling. When two protesters intervene to protect the man, the police respond with a vicious attack. The protesters flee, but the policemen are unrelenting in their pursuit. One young man helps his family escape into a restaurant, where they pretend to be eating. The policemen track them down and shoot the young man in cold blood. Spurred on by this tragedy, the community rallies together. They organize a non-violent march from Selma.

Governor Wallace commissions Sheriff Jim Clark to teach them a lesson. When the peaceful marchers reach the end of a Edmund Pettus Bridge, Sheriff Jim Clark is waiting. He sics his armed state troopers on them. The nation watches, horrified, as the marchers are savagely beaten as white citizens cheer from the sidelines. Martian Luther King sends out a call to his fellow clergy to stand with him when they march again. Moved by the inhumanity, they come to show their support. It is inspiring to see black and white people from all religions joining arms and standing together.

 

The reason I wanted to include the excerpt from 

his Montgomery speech is that it still rings true today. Martin Luther King educates the nation on how after the emancipation, the Southern aristocracy was afraid of the freed slaves organizing with the poor whites for better working conditions, so they passed the Jim Crow segregation laws to separate them. The inherent message was no matter how low the white man was, the blacks were lower. (This is similar to the way our current politicians use undocumented immigrants as scapegoats, blaming them for causing the recession by taking the poor man’s jobs. Eighteen billion dollars was spent last year on immigrant enforcement. In Arizona, they passed a law that takes away our rights. Policemen can stop us on the street to ask for our papers. Of course, it is only brown-skinned people that they stop. Arizona has also disregarded the Voting Rights Act by requiring identification in order to vote.)

Witnessing the inhumane treatment of the marchers in Selma created more understanding of the plight of African Americans - which allowed President Lyndon Johnson to finally pass the Voting Rights Act in 1965. I hope that witnessing these events in, "Selma," will remind us of the difficult battle that was waged to achieve these rights, so we won’t allow them to be taken away.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

Fueled by Ava DuVernay's treatment, I wrote, "Incredible Invisible Women Filmmakers." Read more about it in Scott Mendelson's excellent article, "Why Ava DuVernay's "Selma" Oscar Snub Matters."


OSCAR UPDATE:

"Selma," was honored with the Best Song Oscar for, "Glory," by songwriters Common and John Legend. They made the most of the opportunity with this powerful rendition at the Oscar ceremony.