Natural Women
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
To begin, you won’t find a Two Guys posting from me in the vicinity of October 7, 2021 because I’ll be taking that week off to help my wife, Nina, celebrate her birthday as well as relieve her of cooking duties for 3 additional nights while I concoct my “complex” cuisine of spinach salad, spaghetti, and Chianti in honor of our annual viewing of Francis Ford Coppola’s trilogy of The Godfather (1972, 1974, 1990), postponed from last summer due to the "minor" distraction of me getting a new aortic value inserted in my heart (healing marvelously, thanks). I intend to be back about 10/14/21, though.
Respect (Liesl Tommy) rated PG-13 145 min.
Opening Chatter (no spoilers): I’m still staying away from moviehouses at least until I get my Pfizer booster (this week, so maybe I’ll feel safe enough by the time Daniel Craig finishes up his run as James Bond in No Time to Die [Cary Joji Fukunaga; U.S. premiere on October 8, 2021]), I’ve got a review for you of something streaming (see JustWatch for options) but also in theaters, so, depending on where you live or how you’d prefer to view it, I’ll encourage you to consider this marvelous biopic of part of the life of Aretha Franklin (1952-’72 within this scenario), headlined by the terrific combination of acting and singing displayed by Jennifer Hudson. Yeah, you could just listen to a double-CD of Aretha’s greatest hits (including those coming after 1972) rather than paying to see something essentially already covered by National Geographic’s streaming Genius series earlier this year, but then you’d be missing some great big (or your TV-size)-screen performances not only by Hudson but also Forest Whitaker, Marlon Wayans, Audra McDonald, Mary J. Blige, and others, so I encourage you pay up in some manner to see what I hope will be a strong presence as Oscar (and other) nominations are announced when we swing into awards season. Generally, there’s little point in avoiding spoilers in a biography, but I will note some below just to keep my presentation format consistent. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, ye tedious software!) along with a standardized dose of industry-related-trivia.
Here’s the trailer for Respect:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: Detroit, 1952, where 10-year-old Aretha “Ree” Franklin (Skye Dakota Turner) is often called on at his Saturday night house parties by her father, charismatic pastor Rev. C.L. Franklin (Forest Whitaker)—of the New Bethel Baptist Church—to come downstairs to sing for his guests who often include celebrities like singer Dinah Washington (Mary J. Blige) and the Rev. Dr. Martin Luther King Jr. (Gilbert Glenn Brown). Her sisters, Erma (Saycon Sengbloh) and Carolyn (Hailey Kilgore), live there (as does her brother, Cecil [Leroy McClain], yet he doesn’t factor into this story until much later when he becomes Ree’s manager) along with grandmother Mama Franklin (Kimberly Scott), but the kids only see mother Barbara (Audra McDonald)—a talented pianist/singer—on arranged visits due to her being separated from Dad. We see one such interaction of mother and daughter as Mom encourages her talented offspring to make life decisions for herself, not for what men (including C.L.) expect of her, but such direct advice is short-lived as Barbara dies in 1952, traumatizing Ree who refuses to speak for a few weeks until Dad forces her to sing in church the following Sunday (while we don’t see anything directly of another source of her childhood traumas, it’s clear from one of Dad’s male buddies visiting Ree in her bedroom on one of those Saturday nights when she was 12 that he’s responsible for this child being pregnant [a few years later this same guy impregnated her again, leaving her with 2 little sons—and no help from him—by age 15]).
Then we shift to 1959 where Aretha’s (now played by Jennifer Hudson) a regular vocalist at C.L.’s church as well as traveling to Birmingham, AL where she sings but also talks with Dr. King about joining his next civil rights march, which he objects to, fearing for her safety. Back in Detroit at another of Dad’s house parties she’s approached by local music producer Ted White (Marlon Wayans), who shows a professional—also personal—interest in her, inspiring Dad to throw him out of the house. Later, C.L. surprises Aretha with plane tickets to NYC for her to meet (legendary) Columbia Records exec John Hammond (Tate Donovan) who eagerly signs her up, but after recording a few albums her career barely has a pulse. Aretha gets a jolt, though, when performing one night in 1963 at a club where Ms. Washington’s in attendance; Aretha tries to honor her by singing one of her hits, leading to a horrible outburst as Dinah upends her table in disgust this kid would attempt to sing one of her signature songs. In the dressing room later, Washington’s more helpful, insisting Aretha stop trying to sing numbers to please her father but instead follow her own interests, develop a more personal career rather than trying to emulate famous singers she respects.
This advice furthers her break from Dad as Aretha chooses Ted as her manager (they married in 1961). Dropped by Columbia, she ends up at Atlantic Records (1967) after Ted brings her to (also now-famous) producer Jerry Wexler (Marc Maron), who sends her to work with session musicians in Muscle Shoals, AL, an all-White-group Ted’s taken aback by, although Aretha finds a successful working relationship in recording “I Never Loved a Man (The Way I Love You)”; Ted continues to intrude, gets in a fight with studio manager Rick Hall (Myk Watford), so Aretha heads back to Detroit, assuming her career’s at a stalemate. Back home, though, she and her sisters hear Aretha’s recording on the radio, so with this step toward success she works with Carolyn to notably-rework Otis Redding’s “Respect,” heads back South to record it, a huge #1 hit (1967). Professionally, her life continues upward as Dr. King gives her an award from the Southern Christian Leadership Conference, followed by her performance of Carole King and Gerry Goffin’s “(You Make Me Feel Like) A Natural Woman” (another big 1967 hit); personally, though, her life hits the rocks after Ted insists she drop her plans to join with Dr. King at another civil rights event in Memphis to instead meet with Wexler about a European tour, resulting in audience adulation for Aretha but separation from Ted when he’s furious about a TIME magazine cover story, revealing his physical abuse of her.
They divorce, after which she actively takes up with her tour manager, Ken Cunningham (Albert Jones), leading to a 4th child (she had 1 with Ted too), but her emotions are shattered by Dr. King’s 1968 assassination, leading to a break with C.L. as he rails against his daughter/other younger activists not showing the patience of integration leading to social acceptance that King preached. ⇒As we get into the early 1970s Aretha’s a psychological mess, though, depending too much on booze and pills, double-booking herself, pushing too hard to maintain the fame of the “Queen of Soul” status she’s now achieved. Her sisters, recording and stage performers with her, try to intervene but she snaps back it’s her career that supports them, until one drunken night she falls off the stage, so Ken leaves her. She continues drinking, though, until getting a vision from Mom, leading to her sobriety, reconciliation with Ken. To further integrate herself back into “the spirit,” she wants to record a gospel album; Wexler balks at this idea until she agrees to have the performances at L.A.’s New Temple Missionary Baptist Church filmed (during the time of these recordings C.L. attends, privately apologizes for all the pain he’s given her), with the resulting album, Amazing Grace (1972) becoming her all-time-biggest-seller.⇐ Graphics prior to the closing credits enumerate some of the many awards and honors she earned over her lengthy career (died in 2018; if you’d like more extensive details on her life and accomplishments, visit this link along with her official site).
So What? Despite the passing of this musical/cultural/activist-icon, her presence continues to be with us on-screen: first was the Amazing Grace documentary (Alan Elliott [Sydney Pollock uncredited but oversaw the original filming], 2018) constructed from footage Wexler insisted be shot back in 1972 (got 99% positive reviews on Rotten Tomatoes, a 94% average score at Metacritic; I forget why I didn’t review it); then in the spring of 2021 there was an 8-espisode-streaming-series, Genius: Aretha, available from National Geographic and Hulu, starring Cynthia Erivo as Ms. Franklin (that one I liked a lot, follows the same trajectory as Respect but continues well beyond events of 1972—however, Franklin's family doesn't like it at all); followed, recently, of course by Respect, which is one of the best movies I’ve seen in 2021, hopefully will be a strong contender when various awards-giving-organizations make their decisions this coming winter or in spring 2022. I can never say anything definitively this far into the 2021 release-cycle yet, but at this point I’d certainly assume Hudson would be a solid contender for Oscar’s Best Actress (she’s already won one Academy Award, as Best Supporting Actress for her cinematic debut in Dreamgirls [Bill Condon, 2006] a role adapted from the Broadway play of the same name [music by Henry Krieger, lyrics and book by Tom Eyen,1981], inspired by the Supremes’ Florence Ballard, as that whole concept reflected Motown and their most-famous “girl group”) so Hudson’s got experience in such portrayals.
If nothing else (although her acting is superb), Hudson should be honored for her ability to recreate beloved tunes by one of the most celebrated vocalists of our time when it would have been easy enough to simply have her lip-synch Aretha’s recordings (as Jamie Foxx mostly did when portraying Ray Charles in Ray [Taylor Hackford, 2004]—winning him a Best Actor Oscar—as that unique voice is not one to even try to be imitated) whose intonations are so well known that Hudson’s aural-presence might have been condemned as an insult to the Queen had not her own talent been so strong as to nullify any such objections. In fact, after seeing Hudson in Dreamgirls, along with her Broadway role in The Color Purple (music and lyrics by Brenda Russell, Allee Willis, Stephen Bray; book by Marsha Norman; 2005), Franklin requested that Hudson would portray her on-screen, even worked with her in preparation for the role, but, sadly, as with Ray Charles and Ray, she didn’t live long enough to see this finished product. Most of the rest of the cast is quite effective as well, although I can’t say that Brown as Dr. King hits me as being the appropriate actor cast for this part, as I’ve seen several others in this crucial role who seemed to me to be more-commedable-representations of this civil rights crusader, including David Oyelowo in Selma (Ava DuVernay, 2014).
As has been the case with some of my reviews lately, though, the critical establishment and I are in disagreement about the worth of this film (more details in the next section of this review), with me finding it much better than many of them did (although I’ll note that as I rummaged through the 170 Rotten Tomatoes reviews [at the time of this posting], looking to see what the complaints are about, most of the critics whom I read on a fairly regular basis and respect [consistent agreements or not] are in support of Respect so many of those naysayers are folks I’ve never even heard of [same situation of them toward me I’m sure] so maybe those who didn’t care for it are people I might not give much credence to anyway), leading me to look for some insight in why some critics are so dismissive. Of voices I often listen to, one who lambasted this film is Katie Walsh of the Tribune News Service who piles on thusly: "Though Hudson of course excels musically, her performance of Aretha is a bit stiff, too focused on nailing the odd voice and accent she’s chosen. It’s an unnatural performance, rendering the character a bit alien among everyone else, and frustratingly enigmatic, even as the script insists upon, over and over again, the ways in which Aretha was disrespected, before she learned to demand her own respect. […] But what makes watching ‘Respect’ jarring is the wild swings of the emotional pendulum from scene to scene. There’s no modulation in the transitions, resulting in emotional whiplash and tonal dissonance. Themes and issues are clumsily threaded throughout, especially Aretha’s alcoholism. It’s almost impossible to get into a proper groove with ‘Respect,’ especially as it keeps cutting from the songs, denying what we came to see. […] Sometimes the biopic just can’t match the charisma of the real person at the center of it all, which is sadly the case with ‘Respect.’ " A less-than-“respect-able”-opinion to which I fully disagree.
Many others, such as Richard Roeper of the Chicago Sun-Times, however, are more supportive overall: “Hudson kills it in the performance numbers (where she’s singing live), she kills it in the recording and writing sessions, and we would be remiss to overlook her strong dramatic work as she portrays Franklin from a teenager filling a Baptist church in Detroit with the sound of her once-in-a-generation voice through her slow climb to stardom to her struggles with alcoholism and abusive relationships, to her triumphant comeback, which brought her full circle back to church. […] This film never shies away from the turmoil and the messiness that plagued Aretha in her personal life. […] but an old-fashioned show-business biopic such as this rises and falls on the talents of the lead, and it’s hard to imagine anyone in the world doing more justice to the legacy of Aretha Franklin than Jennifer Hudson.” Clearly, I am more in line with this argument than ones who dis-respect Respect.
Bottom Line Final Comments: Now, on to the specifics from the CCAL, borderlining into OCCU territory, as those surveyed by Rotten Tomatoes have come up with just 66% positive reviews while those over at Metacritic are (as is usually the case) a bit lower with a 62% average score. In general, critics included in these 2 review-accumulation-sites who skew negatively often complain the structure is too clichéd in terms of a protagonist triumphing over adversity (although from what I know of Ms. Franklin from biographical summaries and the events of that Genius series the plot here seems to me to be largely-factually-based) and/or that Jennifer Hudson—despite her talent—just can’t replicate what we’d get in a dazzling 2-hour-documentary of Aretha’s mesmerizing presence on stage.* Of course, Jennifer Hudson’s not a mirror-image of Aretha Franklin any more than Joaquin Phoenix or Reese Witherspoon were perfect substitutions for Johnny and June Carter Cash in Walk the Line (James Mangold, 2005), but all of them have done admirable work in these movies (including an Oscar nom for Phoenix as Best Actor, an Oscar win for Witherspoon as Best Actress), yet if Franklin herself wanted Hudson in this role (even, though, sadly she didn’t get to see the result) who are we to question her choice, especially when it works so terrifically as it does here.
*Full—highly-embarrassed—disclosure: I missed my only chance (at least that I can remember, not having a full schedule since the late 1960s available of every concert she ever did in a city where I was close enough to attend) to see Aretha Franklin live when she came to Oakland, CA on August 19, 2015, not being attentive enough to Nina’s interest in the event (I can’t remember the reason for my lackadaisical response back then, maybe the high ticket prices), saying something to the effect of “Let’s catch her next time she’s in town” (although she hadn’t been out this way for decades, performing mostly in train-distance to locales close enough to home due to a fear of flying). Well, of course, she died in 2018, allowing no “next time,” but at least Nina still speaks to me (what she says sometimes is another matter), despite her (and my) disappointment at missing this great opportunity; one guy who didn’t miss it is Jim Harrington, a local San Francisco Bay-area music critic whose recap helped fill Nina and me in on what happened at the Oakland Oracle Arena that eventful night.
Given that Respect’s been in theaters for 7 weeks—opening in 3,207 domestic (U.S.-Canada) venues (but it’s now down to 457), earning 24 million domestic dollars in that time (worldwide $31.2 million)—you still might have a chance to catch it on the big screen if that fits your COVID-response-strategy or you can join me in streaming options of which there are several at rental prices from $11.99 (DIRECT TV) up to $19.99 (VUDU and others); I chose Amazon Prime for $14.99 as we’re already paying for that subscription. So, to wrap up these comments before taking leave of Two Guys postings for a little bit, I’ll offer the easiest Musical Metaphor choice I’ve had to make for I don’t know how long, simply directing you to https://www.youtube.com/watch?v=J5umK25gRcM (6:46) where you get Ms. Hudson doing a medley-tribute to Ms. Franklin (who’s in the audience; no Dinah Washington-fury here) with “Rock Steady,” “Think,” “Day Dreaming,” “(You Make Me Feel Like) A Natural Woman,” and “I Never Loved a Man (The Way I Love You).” OK, it’s more literal than a Metaphor, but it can’t get much better or more appropriate than this. However, for those who insist on hearing the authentic Queen of Soul, here’s Aretha herself, doing her own honors for Carole King at the marvelous 2015 Kennedy Center Awards with her show-stopping version of "... Natural Woman" (recorded versions by Franklin on her 1967 album Lady Soul, King on her 1971 Tapestry). With that, I wish you well until we meet again, leaving you with a hearty encouragement to see Respect (you can’t miss with any of the Godfather films either)—but if you just need something to further occupy your time until I’m back you might check out my 6 (so far) permanent additions to a collection of my favorite tunes, found at the very end of this posting down much, much farther below.
SHORT TAKES
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Friday October 1, 2021
3:00 AM King Kong (Merian C. Cooper and Ernest Schoedsack, 1933) Original tale of a huge ape on a secluded island with natives and dinosaurs, taken away by an entrepreneurial filmmaker as an NYC stage attraction until all hell breaks loose. Marvelous stop-motion-animation by Willis O’Brien of the island’s creatures (racist stereotypes of the natives, though), culminating with Kong’s capture of Fay Wray, carrying her with him to the top of the Empire State Building for the (sad) grand finale.
3:45 PM Freaks (Tod Browning, 1932) A very disturbing horror film (pre-Hays Code when movies had minimal restrictions) about a circus trapeze artist who plans to marry a dwarf only to collect his huge inheritance, so she pretends to buddy up with all the sideshow folks who sport various physical abnormalities even though privately she can’t stand these people. What happens to her must be seen to be believed, although the original cut was too unnerving for audiences of the time so it was edited, didn’t do well at the box-office, but has since become a classic of unrelenting social critique.
Saturday October 2, 2021
10:45 PM Being There (Hal Ashby, 1979) Marvelous satirical exploration of the concept of cognitive dissonance as various self-absorbed characters encounter a man with mental limitations, a gardener (Peter Sellers) whose vague statements lead them to interpret him as a newly-emerged genius with political agendas sought to be implemented by high government officials, even putting him in line for the Presidency. Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard Dysart, Richard Basehart (Oscar for Best Supporting Actor [Douglas], Sellers nominated for Best Actor). Ends on a great shot.
Tuesday October 5, 2021
11:15 AM Rebel Without a Cause (Nicholas Ray, 1955) Iconic James Dean role, a strong contender for best of his 3 powerful cinematic appearances (before his untimely death), as he plays a troubled teen whose independent streak just brings more difficulties from adults (including his parents) and a local gang, even as he tries to distance himself from his problems, escape from all of this hostility into a new life with his new friends (Natalie Wood, Sal Mineo), but further crises swirl around them.
7:00 PM La Strada (Federico Fellini, 1954) Cinema masterpiece, shows Fellini’s roots in Neorealism as he moves toward the realm of Lyrical Realism (before his full shift into Modernism). Story of a brutish strongman circus performer (Anthony Quinn) who buys a woman (Giulietta Masina) from a poor family to be his assistant, treats her badly, is violent toward a tightrope walker (Richard Basehart) who tries to befriend her. Superb acting. Won the Oscar for Best Foreign Language Film
Wednesday October 6, 2021
5:15 AM 2001: A Space Odyssey (Stanley Kubrick, 1968) Sci-fi spectacular, on my All-Time Top 10 list, lots of mysterious, difficult interpretations back then (since clarified with a novel and sequel) about a powerful object enhancing human evolution, with astronauts to Jupiter aided/thwarted by super-computer HAL 9000 as the lone human fights for survival, encounters a transformation. “Star Gate” scene at the end visually-groundbreaking for its time, still impressive; Oscar for Best Special Visual Effects. Followed at 7:45 AM by the helpfully-explanatory sequel, 2010 (Peter Hyams, 1984).
If you’d like your own PDF of the rating/summary of this week's review, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: Extra items you might like: (1) Marvel sues to retain character copyrights including Spider-Man, Iron Man, Thor, Black Widow, Captain Marvel, Ant-Man, Doctor Strange; (2) Argument that Dune shouldn't be released simultaneously in theaters and on HBO Max. As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder to search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
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Here’s more information about Respect:
https://www.unitedartistsreleasing.com/respect/ (click on the 2 little bars in the upper left corner or the arrow in the lower left to see more)
https://www.youtube.com/watch?v=JnTg4pHgQL8 (7:05 photos of many cast members and the real-life-people they portray in this movie) and more depth at https://www.youtube.com/watch?v=gCNOWS9MuCk (41:17 interview with director Liesl Tommy and actor Jennifer Hudson about the making of their film [ads interrupt at about 1:00, 9:45, 20:20, 32:00; also, sound levels drop and rise at various times during this video so be prepared to adjust or just click on the captions—CC—button on the lower right of the video screen])
https://www.rottentomatoes.com/m/respect_2021
https://www.metacritic.com/movie/respect
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
But, while I’m at it, I should also include another of my top favorites, from the night before
at Desert Trip, the Rolling Stones’ "Gimme Shelter" (Wow!), a song always “just a shot
away” in my memory (along with my memory of the great drummer, Charlie Watts; RIP).
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