Word: ghettoes
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...play, The Dybbuk, is Sack’s version of the script by Julia Pascal. It is about five prisoners in a ghetto who perform a folk play to distract themselves from certain death. Sack says his rendition of the play will utilize “cutting edge ensemble staging techniques...
...Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy for an officer of Hitler’s vicious army to the east. The Pianist...
...protest against America or an indictment of it but as a way for America to live up to its own principles. In stark contrast to Malcolm X, with whom he civilly debated, Rustin emphasized not what white Americans owed blacks or what blacks could do in a separatist ghetto but what blacks could contribute in a truly equal and integrated America. "I believe the great majority of the Negro people, black people, are not seeking anything from anyone," Rustin told Malcolm X in 1960. "They are seeking to become full-fledged citizens." The simplicity of that statement is as impressive...
...collar strivers, scuttling young men on the make and always, always, the police. He discovered the book's themes in himself when he was doing the street research about cops and crack dealers for Clockers. In preparation for that book, he dropped into the lives of people--narcs, druglords, ghetto mothers--who opened up to him. He charmed them. He wowed their kids. He fed their news into his notebooks, then moved on. "I always felt like I was leaving people seduced and abandoned," he says...
...Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy for an officer of Hitler’s vicious army to the east. The Pianist...