Word: socially
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Dates: during 1980-1989
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...streets as a city cop and volunteered in a local youth service agency. Over the years he had come to understand that all too often the poor in the inner cities live more like inmates than citizens. Liberty City had health clinics and community centers and every kind of social service agency. But it had no supermarket for 60,000 residents, and no new family housing had been built in 20 years. Liberty City's needs were the needs of any neighborhood: a decent place to live, a grocery store, a barbershop. If young working families regained faith...
...Corp., Inc., now one of the nation's most successful nonprofit community developers. He did not simply want to build nicer ghetto housing; he wanted to build an economy. "It was real new for us," he admits, "because it was an economic approach to solving problems, as opposed to social intervention...
...trivial, and neither is the challenge. At issue is the freedom of a filmmaker -- or any artist -- to twist the facts as they are recalled, to shape the truth as it is perceived. May a movie libel the historical past? And has Mississippi Burning done so? Artistic liberty vs. social responsibility: the stakes are high. The memories are indelible. The battle lines are drawn...
...knew the moment I read it," he says, "that it was a powerful story. What I did was to strengthen the social and political point of view, strengthen the characters, strengthen the overall quality of the film." And once shooting started, Parker took over, as a director will. The Writers Guild strike required that Gerolmo absent himself from the set; Parker apparently concurred in that ruling. Gerolmo's final arbitration: "The screenplay is mine, but the movie is Alan's. That's the way the world works out here...
Mississippi Burning is rooted as firmly in film history as it is in social history. It takes its cue not so much from the buddy films as from Warner Bros. melodramas of the '30s, like Black Legion and They Won't Forget, which seized some social-issue headlines and fit them into brisk, dynamic fiction. % It is movie journalism: tabloid with a master touch. And the master, the suave manipulator, is Alan Parker. By avocation he is a caricaturist, and by vocation too. He chooses gross faces, grand subjects, base motives, all for immediate impact. The redneck conspirators are drawn...