Thanks for your votes in June. The bonus July post will be…
“Toy Story“! That should be a fun re-watch/ugly cry.
Now onto this month’s poll to determine the August bonus post. August happens to be my birthday month, so let’s do something fun; a movie I’ve covered that is either a personal favorite or one that I enjoyed discovering through the blog. And the nominees are…
Airplane!: Arguably the funniest remake of all time.
All That Jazz: It’s Fosse, it’s the Broadway scene of the ’70s, and it’s super morbid. What could be better?
Written by William Goldman. Based on the book by Carl Bernstein and Bob Woodward.
Class of 2010
There is so much to unpack about the Watergate Scandal (or as I like to call it “Watergate-gate”), but this post is focusing on the film itself. Also, this is a revised and updated version of my original “All the President’s Men” post, which can be read here.
The Plot: In June 1972, rookie Washington Post reporter Bob Woodward (Robert Redford) is assigned to cover a minor story about five burglars arrested for breaking into the Democratic National Committee’s D.C. headquarters at the Watergate complex. Upon learning that the five burglars all have CIA connections, Woodward continues to investigate, joined by fellow Post reporter Carl Bernstein (Dustin Hoffman), who is also intrigued by the mystery surrounding this break-in. With support from Post editor Benjamin Bradlee (Jason Robards) and enigmatic informant “Deep Throat” (Hal Holbrook), Woodward and Bernstein’s research leads to President Richard Nixon’s re-election campaign and the biggest political scandal in American history. Well…up to that point.
Why It Matters: The NFR calls the original book the rare source material to be “transformed into a hit film and a cultural phenomenon in its own right.” Pakula’s “taught” directing is also praised. D.C. film critic Mike Canning pens an essay that is mainly an overview of the movie through a series of segmented trivia. What kind of two-bit operation is this?
But Does It Really?: There are good movies, and then there are damn good movies. “All the President’s Men” is a damn good movie. There are a lot of films out there about journalistic integrity and freedom of the press, but “President’s” is the only one that accurately conveys the rush of covering a news story. Part detective noir, part historical reportage, the movie has a wonderful forward momentum as you watch Woodward and Bernstein pull at a thread that quickly unravels. Aided by a first-rate ensemble, wonderful direction, and a screenplay that depicts everyone as grounded people rather than historical deities, “All the President’s Men” has endured as the gold standard for movies about journalism.
Wow, That’s Dated: I honestly don’t know how to contextualize this movie in a post-Trump/”Fake News” America. How do I explain that there was a time when you assumed the President wasn’t corrupt and that all news information came from credible, trustworthy sources? I worry this movie plays more like a Sorkin-esque fantasy nowadays.
Title Track: The title is, of course, derived from the novel “All the King’s Men“, itself taken from the “Humpty Dumpty” nursery rhyme about a great fall and something broken that cannot be fixed. Get it? GET IT?
Seriously, Oscars?: One of the biggest hits of the year, “All the President’s Men” entered the Oscar race with eight nominations, second behind “Network” and “Rocky“. “President’s” lost four of its nominations to these two films, but tied “Network” for most wins of the night with four: Adapted Screenplay, Art Direction, Sound, and Supporting Actor for Robards.
Other notes
Bob Woodward and Carl Bernstein were on the fence about writing a book regarding their experience breaking the Watergate story, but when Robert Redford approached them about buying the film rights, the two were motivated to complete the project. Redford had been fascinated by Watergate since its beginning, and encouraged Woodward and Bernstein to focus on their personal experience rather than a rehash of the events.
William Goldman was hired to write the screenplay, but his draft was rejected by Redford following disapproval from Woodward and Bernstein. Bernstein and his then-girlfriend Nora Ephron took a crack at a draft, which – unsurprisingly – highlighted Bernstein as the real hero and quite the ladies’ man. When Alan J. Pakula came on board to direct, he and Redford threw out the Bernstein/Ephron draft (save for a fictional scene where Bernstein outsmarts a secretary) and conducted their own research. Despite the extensive re-writes, enough of Goldman’s original screenplay was used to warrant him receiving sole credit in the final film.
Man alive is that a great opening. With the startling crack of a typewriter key mixed with the sound of gunfire, this film tells you exactly what kind of ride you are in for.
One of the cops who busts the Watergate break-in is a pre-“Amadeus” F. Murray Abraham, and one of the burglars is a pre-“Sopranos” Dominic Chianese. Also involved in this scene is Frank Wills, the actual security guard who reported the break-in, playing himself. In fact, the break-in’s attention to detail is impressive, except for the omission of the ping pong player staying at the hotel who called security.
While we’re talking about Watergate, can we please put the kibosh on giving every major scandal the “-gate” suffix? It makes no sense. The word “gate” is not short for scandal, it was the name of the building!
Everybody’s so damn good in this. Redford and Hoffman have their natural charisma of course, but their performances have a drive to them. You get caught up in their unrelenting pursuit of this story. As Jack Warden says later on to Martin Balsam, “They’re hungry. You remember when you were hungry?”.
Speaking of, shoutout to Warden and Balsam, two angry men reuniting as editors Harry Rosenfeld and Howard Simons. You really get the feel that they are old-school journalists who have been on this beat forever. Also great is Jason Robards as Ben Bradlee, with a winning combination of command and approachability. You see Bradlee’s inner fire get reignited by being around Woodward and Bernstein.
Many scenes were filmed on location in Washington D.C., including the Library of Congress, birthplace of the NFR. Interestingly enough, the Library was not happy with the production being there, at one point revoking permission to film and straight up denying its Watergate connection. Fortunately, the production called on Jack Valenti to intervene, and the scenes were shot. Subsequently, very few films have been allowed to shoot inside the Library of Congress.
The identity of “Deep Throat” was not revealed until 2005, when former FBI Associate Director W. Mark Felt divulged his participation as Woodward’s deep background source. The casting of “Deep Throat” for the movie was left up to Woodward, who selected Hal Holbrook from a pile of headshots. And while we’re on the subject: Due to its significance within this scandal, is the 1972 porno “Deep Throat” worthy of NFR recognition? Discuss amongst your group.
My love for single take scenes continues with a beautiful six minute shot of Woodward on the phone with Kenneth Dahlberg as the story inches closer towards Nixon. The scene is covered in a slow zoom, with split focus on both Redford and the background of the newsroom. It’s a wonderfully tense composition, and yet another example of Gordon Willis’ stunning camerawork being snubbed by the Oscars.
Who ISN’T in this movie? In addition to everyone mentioned already, there’s Ned Beatty, Polly Holliday, John McMartin, Penny Fuller, Meredith Baxter, Robert Walden, and so on. Making the most of their limited screentime is Jane Alexander, who earned an Oscar nomination for playing Judy Hoback, Nixon’s re-election campaign bookkeeper who helped Woodward and Bernstein follow the money.
Washington Post publisher Katharine Graham was originally to appear as a character in one scene, and names like Lauren Bacall and Geraldine Page were considered. Graham, however, requested the scene be removed from the screenplay, and no one was ever officially cast. Graham later regretted this decision.
The best part about this movie is that with the exception of the opening break-in, no information is revealed until Woodward and Bernstein learn about it. You get the sense of discovery alongside them, and like the two, you don’t really get what it’s all about until they start putting the pieces together, only realizing how big it is when you take a step back.
Legacy
“All the President’s Men” premiered in April 1976, and played well into the fall, though Warner Bros. claimed this was not a deliberate attempt to influence the 1976 presidential election. While some critics were disappointed in the lack of character development for Woodward and Bernstein, both of their real-life counterparts approved of the final film.
While this may have been Alan J. Pakula’s peak as a film director, he certainly left behind an impressive filmography. Between this, “Klute”, and “The Parallax View”, choosing Pakula’s best film is a real “Sophie’s Choice”, which he also directed.
“All the President’s Men” still gets referenced with some regularity in pop culture, though mainly because of the title and the historical events depicted. There are, however, the occasional references to “Follow the money”, a line written specifically for the film.
One of the film’s more faithful parodies is this classic “Simpsons” episode, right down to Woodward and Bernstein’s dad waiting in the car reading Archie Comics.
A few other film projects have some shared DNA with “All the President’s Men”. The 1989 TV movie “The Final Days” is an adaptation of Woodward and Bernstein’s follow-up book about Nixon’s resignation. 2015’s “Spotlight” covers the Boston Globe’s takedown of Catholic priests, and features Ben Bradlee Jr. as a major character. The film’s parallels to “President’s” were highlighted frequently in its ultimately successful Oscar campaign. 2017’s “The Post” stars Tom Hanks and Meryl Streep as, respectively, Ben Bradlee and Katharine Graham during their controversial decision to publish The Pentagon Papers. The film even concludes with the Watergate break-in.
I’m gonna go ahead and reserve this space now for the inevitable movie made about the Trump presidency. We’ve gotten “The Comey Rule“, but we’re still waiting on the Oscar-bait, “Hindsight is 20/20” one that focuses on the journalists and their fight for freedom of speech.
Further Viewing: Nixon’s “I’m not a crook” speech, which, and I can’t stress this enough, was delivered at the Contemporary Resort at Walt Disney World. Remember the magic!
Further Further Viewing: The 2012 documentary “All the President’s Men Revisited”. Come for the reflections on Watergate upon its 40th anniversary, stay for Ben Stein crying during his interview.
The Plot: As the title suggests, “A Bronx Morning” is…well, a morning in the Bronx. Jay Leyda chronicles an average day in New York’s fourth largest borough, as its businesses open up and all walks of life travel across its sidewalks. But Leyda is also quick to note the effects the Great Depression has started to have on the Bronx, with several businesses closing or having fire sales, and several residents now living on the streets.
Why It Matters: Well someone likes “Bronx Morning” over at the NFR. They call it a “renowned city symphony”, praising the “sensational and stylish use of European filmmaking styles.” There’s also an essay from film expert Scott Simmon, cribbed from his liner notes for the film’s DVD release.
But Does It Really?: Oh sure. I’m always willing to give a pass to documentaries, short films, or avant-garde pieces from influential filmmakers, and “A Bronx Morning” is all three! That being said, studying Leyda led to the kind of artsy film critique that makes my eyes glaze over (if I see Leyda’s filmmaking style described as “European” one more goddamn time…). Jay Leyda is an important figure in film history, and while his contribution to film study has overshadowed his actual film output, one of his movies should be on the NFR, and “A Bronx Morning” is the right choice.
Everybody Gets One: Not a lot of information out there about Jay Leyda before “A Bronx Morning”, other than he was born in Detroit, grew up in Ohio, and moved to New York in 1929. An accomplished still photographer, Leyda used the money from various gigs to buy a movie camera and film. Just so we all feel bad, Jay Leyda was 21 when he made “A Bronx Morning”.
Wow, That’s Dated: Obviously, the film’s Depression era setting is on full display. Also, look for a few shots from the Bronx El train, part of which would be destroyed two years later by a giant stop-motion ape.
Other notes
For starters, a reminder that the Bronx sits on Lenape land.
Named after Swedish and/or Faroese farmer Joseph Bronck, the Bronx became part of New York City in stages: the land west of the Bronx River in 1873, and the land east of the river in 1875. The Bronx became one of the five boroughs when New York City officially consolidated its land into the City of Greater New York on January 1st, 1898. Like most of New York, the Bronx saw an immigrant boom in the early 20th century, with immigrants arriving from Europe and the Caribbean (as well as African-Americans emigrating from the South).
Not a lot to say about “A Bronx Morning”, other than it is artsy, and not without its ironic humor: a title card stating “The Bronx does business” is followed by a store sign reading “Lost Our Lease”.
For anyone interested in an NFR film festival: “A Bronx Morning” would make a good companion piece with “In the Street“, the Levitt/Loeb/Agee short about 1948 Spanish Harlem. Both would pair well with “On the Bowery“, Lionel Rogosin’s 1956 docudrama about the titular Manhattan neighborhood.
Looks like someone learned how to intercut. Several of this film’s shots cut back and forth between each other. If there’s some layer of symbolism Leyda’s trying to convey I ain’t catchin’ it.
Anyone looking for the Eisenstein influence on Leyda can spot it in a lingering shot of an abandoned baby carriage. Of course, it’s easy to assume that any baby carriage in a movie is a reference to “Battleship Potemkin“…or “Naked Gun 33 1/3“.
This is where film stock makes all the difference. Presented in black-and-white, the Bronx of “A Bronx Morning” appears even drabbier than it would in real life (even the sky is gray). You can’t help but wonder how different this film’s tone would be if the exact same shots were in color.
Like many a documentary before and after, “Bronx Morning” closes with shots of children at play, including two kids putting the “rough” in roughhousing. They’re fighting on concrete! There is something about kids being kids that appeals to anyone trying to capture natural life on film.
Legacy
“A Bronx Morning” was screened primarily at various New York art galleries, and Jay Leyda included the film when he applied to Sergei Eisenstein’s directing course at the Moscow State Film School. Leyda was accepted, and worked with Eisenstein on many of his projects.
Following his return to America in 1936, Leyda did…pretty much everything. Over the ensuing decades he was assistant film curator at the Museum of Modern Art, wrote extensive biographies of Herman Melville and Emily Dickinson, wrote the first English book about Chinese cinema, and taught film studies at several universities, including Yale. Jay Leyda died in 1988, just three days after his 78th birthday.
The Bronx as seen in “A Bronx Morning” was the beginning of a new era for the borough, one defined by an economic decline brought on by the Depression and World War II. Like most of New York, the Bronx spent the mid-20th century in urban decay, with crime rates skyrocketing. The good news: the quality of life has improved in the Bronx in recent years. The bad news: It’s because of gentrification.
On a less depressing note, the Bronx has given so much to American culture; from Off-Off-Broadway to the creation of Hip-Hop, and even the Bronx Cheer. But the greatest piece of pop culture associated with the Bronx: “Leave the Bronx. You are ordered to leave the Bronx.”
Written by Helen Deutsch. Based on the novel by Enid Bagnold.
Class of 2003
The Plot: In the small town of Sewel in Sussex, England in the late 1920s, young Velvet Brown (Elizabeth Taylor) becomes infatuated with a gelding she nicknames Pie (King Charles). After the Brown family wins Pie in a raffle, Velvet forms a close bond with the horse, and is convinced he could win the Grand National steeplechase. With the support of her parents (Donald Crisp & Anne Revere), and former jockey Mi Taylor (Mickey Rooney), Velvet and Pie make it to the Grand National. But will this horse run the course in a tour de force? Of course, of course.
Why It Matters: The NFR calls it an “enduring family classic” and gives shoutouts to the main cast.
But Does It Really?: What a lovely surprise “National Velvet” is. Most wartime era films need an explanation or introduction for a modern audience to appreciate it, but “Velvet” holds up on its own and still strikes the appropriate chord of sincerity without crossing over into sentimental or syrupy. “Velvet” is a sweet, genuinely heartfelt movie with a timeless story and a strong lead performance from 12 year old Elizabeth Taylor. I’m glad the NFR found a place for “National Velvet”.
Everybody Gets One: Grandson of Man o’ War and first cousin of Seabiscuit, King Charles was cast as Pie at the age of 7. Allegedly, King Charles was a holy terror to everyone on set, except for Elizabeth Taylor, who bonded with her new co-star both on and off-screen (though Taylor developed lifelong back problems after being thrown off of King Charles). After filming wrapped, Taylor received King Charles as a birthday present, and took care of the horse for the rest of his life.
Title Track: Until this viewing, I assumed “National Velvet” was the name of the horse.
Seriously, Oscars?: “National Velvet” premiered in New York in December 1944, but didn’t play its Oscar-qualifying run in Los Angeles until January 1945. “Velvet” received five 1946 Oscar nominations and won two: Anne Revere for Best Supporting Actress (beating out her on-screen daughter Angela Lansbury for “Dorian Gray”), and Robert J. Kern for film editing. Among its losses: Clarence Brown lost the fourth of his eventual five unsuccessful bids for Best Director.
Other notes
A film adaptation of the 1935 novel “National Velvet” had been in some form of development for almost a decade. Delays were caused when the project moved from Paramount to RKO to MGM, and further delayed by World War II. An extensive search took place to find the right young actor to play Velvet, and MGM contract player Elizabeth Taylor was passed over for being too young and too short. Determined to land the role, Taylor grew three inches before production began, and won the part.
Also making an early film appearance is Angela Lansbury, playing Velvet’s sister Edwina, and somehow looking 19 and 40 at the same time. It’s a shame this movie does little to demonstrate what a big star Lansbury would soon become.
Look closely in early scenes for walk-on cameos by Howard Taylor (Elizabeth’s brother) and Moyna MacGill (Angela Lansbury’s mother).
The last time Liz Taylor showed up on the blog, I admitted that I was distracted by her future celebrity and couldn’t fully appreciate the performance. Thankfully, no such problems here: Liz successfully carries the whole movie on her back with her naturally endearing performance. This is a star turn in the making, and you root for Liz/Velvet all the way.
Most of the cast are doing a “Reverse Leslie Howard“: non-English actors making no effort to do an English accent. Even the actual Brits in this movie sound Americanized!
It didn’t occur to me until watching “National Velvet” just how similar the careers of Mickey Rooney and Elizabeth Taylor were. Both were MGM child stars, both had long careers where their fame ebbed and flowed, both were regular targets of the tabloids, both turned to theater and television when their movie careers waned, and both lived long enough to parody themselves on “The Simpsons”. And between the two of them, they were married 16 times to 15 different people!
I’m enjoying the performances from Donald Crisp and Anne Revere. Their Mr. and Mrs. Brown can be strict in their parenting, but also know when to let loose and have fun with the kids. It’s an enjoyable dynamic from two seasoned pros.
Well, we found Anne Revere’s Oscar clip. The scene where Mrs. Brown tells Velvet about swimming the English Channel is a heartwarming moment, and Revere delivers a powerful, yet understated monologue. I was ready to give her the Oscar then and there.
It wasn’t until Mi got drunk and gave away Velvet’s money that I realized just how invested I was in this movie and its characters. Damn you, Mickey!
I’m always on the lookout for classic movies that can be introduced to children without having to give them a context lecture or apologizing for racial insensitivities. “National Velvet” is a strong candidate: it’s sweet natured, with a bright Technicolor palette, and a lot of scenes with the horse. All that’s left is determining if kids today can sit through a two-hour movie.
By virtue of appearances by Reginald Owen, Arthur Treacher and Angela Lansbury, “National Velvet” is one of the rare films with cast members from “Mary Poppins” and “Mary Poppins Returns”.
And now the real meat and potatoes of this movie: the climactic steeplechase. The wonderful thing about minor classics is that the endings are not common knowledge, so I was genuinely on edge as I watched the outcome of this race. Forget “Ben-Hur“, you want a heart-stopping horse race, look no further than “National Velvet”. No spoilers, but the ending is kind of a mix between the ending of “Rocky” and the opening of “Rocky II”.
“Would you like to go to America and act in the cinema?” A little meta, but I’ll allow it.
Legacy
“National Velvet” was a hit with audiences and critics (it has a 100% on Rotten Tomatoes), and made a star out of Elizabeth Taylor. Looking back on her career in her memoir, Taylor called the film “still the most exciting film I’ve ever done.”
Mickey Rooney would go on to play another horse trainer 35 years later in future NFR inductee “The Black Stallion“.
MGM would adapt “National Velvet” for a television series that ran for 2 seasons on NBC in the 1960s. Most of the episode titles sound like lost “Seinfeld” episodes: “The Raffle”, “The Barbecue”, “The Swindle”.
Determined to ring out every last cent from its IP, MGM made a belated sequel in 1976. “International Velvet” saw Tatum O’Neal as Velvet’s niece traveling to England and competing in the Olympics’ horse event. British actor Nanette Newman filled in for Velvet when Elizabeth Taylor turned the part down.
Perhaps its NFR induction was inevitable: when the Library of Congress started their film collection in 1945, “National Velvet” was one of the first films selected, in recognition of showcasing “the contemporary life and tastes and preferences of the American people”.
The Plot: In 1984, young Tre Styles (Desi Arnez Hines II) is sent by his mother Reva (Angela Bassett) to live with his father Furious (Laurence Fishburne) in South Los Angeles’ Crenshaw District. Seven years later, a grown-up Tre (Cuba Gooding Jr.) is a responsible young man with college aspirations. His friend Doughboy (Ice Cube) has joined the Crips gang and has been in and out of jail, while Doughboy’s older brother Ricky (Morris Chestnut) is a promising athlete hoping to get a football scholarship. All three young men face the day-to-day struggles of living in a neighborhood largely run by gangs, and witness the dangers of being Black in a White system. Despite the film’s violence, “Boyz” asks its audience to “Increase the Peace”.
Why It Matters: The NFR calls the film “thought-provoking” and praises the “strong supporting performances” from the cast. The write-up also cribs from Roger Ebert’s review, calling the film “an American film of enormous importance.”
But Does It Really?: As a White male, I am vastly under qualified to meet this movie at the complex level it deserves to be seen at, but from my vantage point we still have one outstanding movie. In the hands of lesser talent, the film’s plea for peace would come across as maudlin, but thanks to John Singleton’s vision, “Boyz” is a realistic, sincere movie with a strong message. The best movies show us (and help us to empathize with) a viewpoint other than our own, and “Boyz” is the epitome of that moviegoing experience for me. With a confident Singleton at the helm and a cast of newcomers that can’t be beat, “Boyz n the Hood” is a natural choice for the NFR.
Everybody Gets One: Born and raised in South Central LA, John Singleton was inspired to become a filmmaker after seeing “Star Wars” as a kid. After graduating from USC, Singleton interned at Columbia, and pitched his semi-autobiographical screenplay “Boyz n the Hood”. Columbia was interested in the script (they wanted their own “Do the Right Thing“-style hit), and offered Singleton $100,000 if he sold the script and “walked away”. Singleton declined the offer, determined to make his directorial debut with his own script, and Columbia eventually acquiesced. “Boyz” is also the sole NFR appearance for most of the cast, including Ice Cube, Angela Bassett, Cuba Gooding Jr., and Regina King.
Seriously, Oscars?: “Boyz n the Hood” was a hit upon release, and John Singleton received both of the film’s Oscar nominations: Best Director and Best Original Screenplay. Although he lost both to, respectively, “The Silence of the Lambs” and “Thelma & Louise“, Singleton became the first African-American nominated for Best Director, as well as the category’s youngest nominee (24!).
Other notes
This film sets itself up perfectly in the first few moments. Following on-screen text about one out of every 21 African-American males being murdered, there is a scene of children walking to school and talking about last night’s shooting. You know exactly what kind of ride you are in for.
My main takeaway from this film is that Angela Bassett had her screen persona down pat from the very beginning. Reva Devereaux is the first in a long line of strong, no-nonsense women that make up Bassett’s filmography.
Laurence Fishburne is a fountain of knowledge in this movie. Fun Fact: Among John Singleton’s early jobs in Hollywood was as a P.A. and security guard at “Pee-wee’s Playhouse”, hence how Fishburne learned about the movie.
During the 1984 prelude, I was all set to make a bunch of “Stand By Me” jokes. Turns out “Stand by Me” was one of Singleton’s influences while writing this screenplay, which explains why these kids walk along the railroad tracks and go see a dead body.
Furious briefly mentions his time serving in Vietnam. His main piece of advice: “Never get out of the boat.” Absolutely goddamn right.
This is the film debut for Ice Cube, Cuba Gooding Jr., and Regina King! Shoutout to Singleton and casting director Jaki Brown for discovering pretty much every breakout African-American star of the 1990s.
“Domino, motherfuckers.”
In addition to acting, Ice Cube performs a few songs on the film’s soundtrack. Some of these songs are featured in the film diegetically, which begs the question: Does Ice Cube exist in the same universe as Doughboy?
I love when movie characters say what decade it is. “Rick, it’s the Nineties. Can’t afford to be afraid of our own people anymore, man.”
Furious’ speech about gentrification in Compton is a powerful moment. Among the crowd that gathers while Furious is talking is Whitman Mayo, aka Grady from “Sanford and Son”.
One noticeable detail: the constant sound of police helicopters in the background. You are always aware of how dangerous living in South Central is.
“Boyz” brings up many important social issues, including police brutality, Black on Black violence, gang warfare, and systemic racism. My question: has anything actually changed in 30 years? “Boyz” feels like it could have been made yesterday, and that’s not necessarily a compliment.
It’s so easy to remember Cuba Gooding Jr. just for “Show me the money!“, but “Boyz” reminds you what a great actor he is. Tre’s breakdown after his confrontation with the Bloods and the police is a masterful performance from Gooding.
Look closely: John Singleton has a brief walk-on as the mailman that delivers Ricky’s SAT score.
Oh man, the last 20 minutes of this movie are brutal. It’s a draining viewing experience, but an important one for people like me that have never experienced the “eye for an eye” mentality of gang violence. In a movie filled with great lines, Doughboy delivers the final impactful message: “Either [the media] don’t know, don’t show, or don’t care about what’s going on in the hood.”
Among the many people and organizations thanked in the credits is the Nation of Islam, whose disciplinary wing the Fruit of Islam helped provide security for the movie during its on-location filming in South Central.
Legacy
“Boyz n the Hood” was released in the summer of 1991 amidst critical praise and good box office, but not without its controversy. Before its release, the Coalition Against Media Racism in America called for a boycott of this and similar films that the organization feared were “launching the second era of Blaxploitation”. Unfortunately, at least nine gang-related shootings were reported near or at theaters playing “Boyz” in its first month of release, with three killed and thirty-five wounded. Theaters threatened to pull the film, which Singleton called “an act of ‘artistic racism'” adding, “I didn’t create the conditions under which people shoot each other”.
John Singleton’s next film was 1993’s “Poetic Justice” with Janet Jackson. Although his filmography doesn’t have another film as well received as “Boyz”, Singleton directed a variety of film, television, and music videos throughout his career. Sadly, John Singleton died in 2019 at age 51 following complications from a stroke.
“Boyz n the Hood” still gets referenced quite a bit, though mainly for its title. “Boyz” was also the catalyst for other “hood films” of the era, such as “Menace II Society” and “South Central”, all of which are parodied in the Wayans Brothers’ “Don’t Be a Menace to South Central While Drinking Your Juice in the Hood”.
And of course, everyone in this movie got a major career boost. Bassett and Fishburne are household names, as are Oscar winners Gooding and King. Even Ice Cube became a movie star (and producer/screenwriter)!
The Horse's Head 