As folks who follow me on social media can see by now, I spend a *ridiculous* amount of time each week watching #JohnCampea, #GraceRandolph, #ScreenCrush, #NewRockStars and others to get my TV/movie superhero news fix. Because of this act of kindness, I will no longer feel guilty about the two hours I spend with Campea almost every damn weekday! #TJCS #TheJohnCampeaShow
Waaayyyy too long. So when I finished it, I started it again. 🙂
I have no doubt that Al Letson poured his heart and soul into this investigation. His rage contained but explained, he and the other investigative journalist connected the dots well to the veteran Black police investigator who, for whatever reason, put cuffs on himself, who decided not to go the extra mile. Even in the “woke” era, no one dares the individual neck weight-pressure of the historic foot but those who will also risk being marginalized, un-alphabetized (ABC, MSNBC, and on)–and these Mississippi gunshots raced into history before then. This was a rare case because of the complete set of uncovered facts–the results of “hundreds of thousands of dollars,” “dozens of staffers” and “three years,” went Leston’s refrain throughout the almost two months. The sad sum was silences old and new. So now what? The public-radio medium’s constraints needed–and got–Letson’s Broadway showmanship to be powerfully pulled into the servicing of Billey Joe Williams. There could have been angrier, more sardonic ways to end Reveal’s report, but such a stand would not help anyone directly involved and perhaps instead only create national psychic reverb, causing dainty cups and saucers to smash, destroying a good brunch in the den or the Saturday-afternoon soccer-practice drive. More cuffs. 😦
The show, the after-party, the hotel: metaphorically busting up American hotel rooms in his youth, before he “grew up”
Muhammad Ali always made this reviewer laugh out loud, but this may be the first time that open cackle is the result of a very serious Ali documentary. Ken Burns, in filmmaking combo Blackface and cross-dress, takes the role of Black church grandmother with the big hat, waiting for her grandson Cassius to give up that Panther mess and return to their neighborhood AME.
To Burns, Sarah Burns and David McMahon, Muhammad Ali is a Buddy Holly figure who got to live and grow old. He’s an Elvis-type who didn’t die suddenly on his toilet, a living, breathing hula hoop and frisbee, the dark fifth Beatle. Making a Third World activist who was a borderline revolutionary–someone who even Burns said was encouraging Afghan guerillas to overthrow the Soviet Union in his later years–into Jack Armstrong, The All-American Boy took some skillful, involved work. The trio accomplishes this by using every rock-star convention, trope and cliche–the innocence, the power, the excess, the decline, the fall. There’s Ken Burns’ and Co.’s forced narration–aptly provided by Keith David–and then there’s Ali’s actual narration, so the socio-political-cultural tension is always there: Burns keeps trying to win the bout, the most prominent examples being that the Nation of Islam is treated like some sort of annoying cult-fad that Burns patiently waits to burn out, and Ali’s calls for Black/African/non-white solidarity just a phase of his–a step toward human consciousness (which only comes through illness and the subsequent white, matured sympathetic gaze, according to this tale), not the call for self-determining power.
Proving once again that PBS can put a pale frame on anything, this future award-winner can start with this writer’s mental tropies for chronological detail, where to put the episode cliffhanger, effective use of Digable Planets 🙂 and the proper poignancy, particularly at the close. If this presentation is the “white” Ali and The Trials of Muhammad Ali and When We Were Kings are respectively the political and Pan-African Ali, that means the only Ali story left to tell is one about his relationship to religion. At his best, Burns at least comes close to that–chronicling how the sinner who, now humbled, learned to ask for forgiveness. Ali had a lot to atone for–he was cruel to his opponents, the doc repeatedly says; the Black interviewees keep reminding the viewer that he took public umbrage to those Blacks who proudly represented America during the time of a worldwide Movement. That story is not emphasized here enough (although Burns would vehemently disagree), and the rationale for that lack of emphasis is that, for the purpose of this narrative, this Ali first peaks and, later, begins his denouncement at the Olympics, symbolically draped in Burns’ Love, Americana Style.