Word: blackly
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Dates: during 1990-1999
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...righteous lawyers who passionately rail against the judicial system as well as shady police officers who threaten the three Canadians who decide to rally to Carter's cause. And as if we weren't more than inundated with inspirational themes, we even have a parallel story of another poor black boy Lesra Martin (Vicellous Shannon) who also has to overcome hardships of race, and who becomes a good friend of Carter after reading his book...
...filmmaking, has no choice but to leave out in a movie that is already very long. So we're never given a real reason as to why the ridiculously sinister Depalowski goes out of his way to persecute (and believe me, he really goes out of his way) a black boy out of all the black boys that are in his jurisdiction. Nor are we ever told the process by which the three Canadians (John Hannah, Deborah Unger, Live Schreiber) suddenly become best friends with Carter and decide to move to New Jersey (!) to fight for his release. And because...
...camp after a raid, Lee imposes a layer of complexity on the film, for George Clyde (Simon Baker) has a black slave, Daniel Holt (Jeffery Wright) in his company. Holt serves the confederate cause, and his unique position as a slave torn between loyalty for his master and boyhood friend, Clyde, and his desire for freedom, adds the most intriguing and ironic layer to the film...
...Chiles' death provides the needed pause to prevent the plot and historical subtext from spinning out of control. Lee, who has forgotten about Holt's unique story until now, quickly exploits the uneasy relationship between Southern white women and black male slaves. He also finally allows Holt to express his desire for freedom. Similarly, a Bushwacker sympathizer reveals why he believes the North will win, "They fight because they believe everyone should have liberty and freedom. We fight because we care about ourselves." Lee deserves credit for addressing this astute evaluation of the Civil...
...wrought quality. The artists seem to share a concern for each piece as a made object, for the physicality of their media and for the creation of new effects by the manipulation of materials. Benjamin Cotham's paintings of faces, overglazed many times over by layers of semi-transparent black paint, demonstrate the pay-off of this awareness. His invention of a new way to treat paint allows him to make terrifically eerie pieces; as with a hologram, the image is only visible from certain angles and in certain lights...