Race Film 2008

[Charlesetta Blare]

Raceis a 2016 biographical sports drama film about African-American athlete Jesse Owens, who won a record-breaking four gold medals at the 1936 Berlin Olympic Games.[11] Directed by Stephen Hopkins and written by Joe Shrapnel and Anna Waterhouse, the film stars Stephan James as Owens, and co-stars Jason Sudeikis, Jeremy Irons, William Hurt and Carice van Houten. It is a co-production of Canada, Germany and France.[7]

Principal photography began on 24 July 2014, in Montreal, Canada. Forecast Pictures, Solofilms and Trinity Race produced the film, supported by the Owens family, the Jesse Owens Foundation, the Jesse Owens Trust and the Luminary Group.[11] The film was a commercial success and received mixed to positive reviews, winning four Canadian Screen Awards, including Best Actor for James.

In 1933, Jesse Owens attends Ohio State University; the first in his family to attend college. He faces racial discrimination from some white athletes. Coach Larry Snyder, a former Olympic-level athlete, believes Owens has enormous potential but needs work on his form and technique. When Snyder suggests he is good enough to compete at the 1936 Olympic Games in Berlin, Owens is interested, but hesitant because of racial propaganda in Nazi Germany. The U.S. Olympic Committee is already considering boycotting the Olympics over Germany's discriminatory policies, agreeing to participate only when Nazi official Joseph Goebbels gives assurances that athletes of any race will be allowed compete, as well as promising to rein in their propaganda.

As Owens struggles to support his girlfriend Ruth and young daughter, he takes a job at a service station, upsetting Snyder when his job conflicts with his commitment to training. When Snyder learns Owens has a family to support, he gets him a no-show job, allowing him to focus on running. Owens goes on to break several records, including some of Snyder's and begins a relationship with a flashy woman whose attention he attracts with his newfound fame. When Ruth threatens him with a lawsuit, Owens becomes distracted and loses a race to runner Eulace Peacock. Owens decides to return to Ruth to reconcile, convincing her to marry him. As the Olympics draw closer, the NAACP asks him not to go to Berlin for political reasons. Owens is conflicted, but Peacock, now injured, urges him to compete to defy Nazi racial ideology.

In Berlin, Owens sets a new record and wins his first gold medal in the 100-meter dash. When he is brought by International Olympic Committee member Avery Brundage to receive congratulations from Adolf Hitler, he is told that Hitler has left the stadium early to avoid traffic. Brundage tells Goebbels that Hitler must congratulate all winners, which Goebbels rebuffs.

Owens qualifies for the long jump after the German record holder Luz Long unexpectedly gives him guidance. Owens sets yet another record and wins the gold medal; Luz publicly shakes his hand and joins him for a victory lap, later privately expressing concern about the current state of Germany. Owens wins his fourth and final gold medal in the 4 x 100-meter relay, filling in for two Jewish American athletes cut by Brundage who is convinced by Goebbels to do so to avoid a scandal over a business arrangement Brundage entered with the Nazis before the games. Film director Leni Riefenstahl records Owens' victories despite Goebbels' orders; she asks Owens to repeat his medal-winning long jump to get a few more shots for her next film, Olympia.

Back in America, Owens and Snyder attend a banquet in honor of Owens, but the doorman regretfully tells Owens he must enter through the service entrance. Owens does so despite Snyder's protests, recognized by various awed observers. The elevator operator, a young white male, asks for Owens' autograph before taking him and Ruth up to the banquet.

John Boyega was initially set to star as Owens; however, he eventually dropped out to star in Star Wars: The Force Awakens.[12][13] and was subsequently replaced by Stephan James.[14] German and Canadian distribution was handled by Squareone Entertainment and Entertainment One[15] with Focus Features handling the distribution in the United States.[16]

On February 15, an advanced screening was shown at Mershon Auditorium at Ohio State University, Owens' alma mater. Jesse Owens' two daughters and Stephan James were in attendance and addressed the crowd. The President of Ohio State, Michael V. Drake, also addressed the crowd and spoke briefly about Owens' global impact and life at Ohio State.[20] It was released by Entertainment One in Canada, Focus Features in the United States on 19 February 2016, Eagle Pictures in Italy on 31 March 2016, and SquareOne Entertainment in Germany on 5 May 2016.

The race film or race movie was a genre of film produced in the United States between about 1915 and the early 1950s, consisting of films produced for black audiences, and featuring black casts. Approximately five hundred race films were produced. Of these, fewer than one hundred remain. Because race films were produced outside the Hollywood studio system, they were largely forgotten by mainstream film historians until they resurfaced in the 1980s on the BET cable network. In their day, race films were very popular among African-American theatergoers. Their influence continues to be felt in cinema and television marketed to African-Americans.

The term "race film" is sometimes used to describe films of the period aimed at other minority audiences. For instance, the 1926 film Silk Bouquet (also known as The Dragon Horse) starred the Asian-American actress Anna May Wong and was marketed to Chinese-American audiences.[1]

African Americans produced films for black audiences as early as 1905, but most race films were produced after 1915.[2] As many as 500 race films were produced in the United States between 1915 and 1952.[3] As happened later with the early black sitcoms on television, race movies were most often financed by white-owned companies, such as Leo Popkin, and scripted and directed by whites. But one producer, Alfred N. Sack, made some films written and directed by black talent such as Spencer Williams. Many race films were produced by white-owned film companies outside the Hollywood-centered American film industry, such as Million Dollar Productions in the 1930s and Toddy Pictures in the 1940s. One of the earliest surviving examples of a black cast film aimed at a black audience is A Fool and His Money (1912), directed by French emigree Alice Guy for the Solax Film Company.[4] The Ebony Film Company of Chicago, created specifically to produce black-cast films, was also headed by a white production team.[5]

The race films vanished during the early 1950s after African-American participation in World War II contributed to the starring of black actors in lead roles in several Hollywood major productions. Many of these focused on the serious problems of integration and racism, such as Pinky with Ethel Waters; Home of the Brave with James Edwards; and Intruder in the Dust, all in 1949; and No Way Out (1950), which was the debut of the notable actor Sidney Poitier. The last known race film appears to have been an obscure adventure film of 1954 called Carib Gold.[citation needed]

In the South, to comply with laws on racial segregation, race movies were screened at designated black theaters. Though northern cities were not always formally segregated, race films were generally shown in theaters in black neighborhoods. Many large northern theaters segregated black audiences by requiring them to sit in the balconies or by attending later showtimes.

While it was rare for race films to be shown to white audiences, white theaters often reserved special time-slots for black moviegoers. This resulted in race films often being screened as matines and midnight shows. During the height of their popularity, race films were shown in as many as 1,100 theaters around the country.[7]

The films were produced primarily in northern cities, where the target audience consisted primarily of poor southern blacks and southerners who had migrated northward. Many race films, particularly those produced by white studios, expressed middle-class urban values, especially education and industriousness. Common themes included the "improvement" of the black race, the tension between educated and uneducated blacks, and the tragic consequences in store for blacks who resisted liberal capitalist values. The most famous race movie, The Scar of Shame, incorporated all of these themes.

Race films typically avoided explicit depictions of poverty, ghettos, social decay, and crime. When such elements appeared, they often did so in the background or as plot devices. Race films rarely treated the subjects of social injustice and race relations, although blacks had been legally disenfranchised in the South since the turn of the century, and suffered discrimination in both the North and South.

According to film historian Donald Bogle, some of the earliest race films were "quite frankly, terrible".[6] Spying Like the Spy (1917) was an example of a film produced by a white-owned company that was "almost as stereotypical as any Hollywood product".[6]

Other race films avoided many of the popular black stock characters found in contemporary mainstream films, or else relegated these stereotypes to supporting roles and villains. Micheaux depicted his protagonists as educated, prosperous, and genteel. Micheaux hoped to give his audience something to help them "further the race".[citation needed]

Black comedians such as Mantan Moreland, who had played supporting comedy roles in mainstream Hollywood films, reprised his character as the lead in such films as Professor Creeps and Mr Washington Goes To Town. Some black entertainers, such as Moms Mabley or Pigmeat Markham, starred in their own vehicles. Mabley and Markham did not appear in mainstream entertainment until the late 1960s, when both were featured on Laugh-In on American television.

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