From the Archives: Filmmaker Stanley Nelson on ‘Freedom Riders,’ the news media, and civil rights

Filmmaker Stanley Nelson on ‘Freedom Riders,’ the news media, and civil rights
November 18, 2010 1:11 PM MST

"What the civil rights movement did,” reflected documentary filmmaker Stanley Nelson, was to force people “to make a choice. You couldn’t ignore it anymore. It was stuff that was on the front page, it was in your face, you had to choose: which way are you going?”

Nelson, whose new film, Freedom Riders, was screened at the Virginia Film Festival in Charlottesville on November 5, made his comments in a panel discussion following the screening.

Other participants in the discussion were civil-rights activists Dion Diamond, Reginald Green, and Joan Mulholland, who were among the original “freedom riders” of 1961. The panel was moderated by Larry Sabato of the UVA Center for Politics.

Effective engagement of the news media

In response to a question from Sabato, Nelson pointed out how the civil rights movement’s strategy of engaging the news media was slow in emerging but eventually “incredibly effective.”

During the 1961 freedom rides, he said, “the media’s role really changed.”

When the freedom rides started in May of that year, “there was no media coverage except the black press,” such as the Washington/Baltimore Afro-American and Johnson Publications (Ebony and Jet), which each had a “representative on the ride.”

The rest of the news media, however, “totally ignored the rides and there was no media coverage at all,” Nelson said, which caused difficulty for him and his team of filmmakers, because there was a dearth of archival material from the early part of the freedom ride phenomenon.

What changed “by the end of the freedom rides,” he explained, was that there were “400 people coming in [and] that was a huge news story, so you had the nightly news and you have all the print journalists and camera people there.”

By mid-summer, the news media was reacting to the civil rights movement’s strategy “to hold the front page” for at least five days at a time, to keep people’s attention on the issue so that it became “impossible to ignore.”

Making a choice

In researching the freedom rides, Nelson explained, “one of the fascinating things that we found making the film was that” in the Deep South (Alabama, Georgia, Mississippi), “there was a very small percentage of people of white people who supported integration -- a tiny percentage [of] 1, 2, 3 percent.”

At the other extreme,he said, “there was another small percentage of people who were violent racists, maybe 10 [or] 15 percent.”

That meant, he explained, that “the rest of the people, 80-85 percent, just were able to kind of go on, and ignore what was going on” – hence his remark that the civil rights movement, in general, and the freedom rides, in particular, forced people to make a choice about which way to go.

How ‘Freedom Riders’ became a film

After the panel ended, Nelson told the Charlottesville Libertarian Examiner that the Freedom Riders project came to him while he “was working on a film for American Experience called Wounded Knee.”

The producers “called and said that they had purchased this book, Freedom Riders by Ray Arsenault, and would I take a look at it [because] they’re thinking of making it into a film.”

Nelson “said yes without even getting the book,” because he “knew a little bit about the story and realized it would be great, so that’s how that happened.”

Making the film took about 18 months from start to finish, Nelson explained. It will be broadcast on PBS as part of the American Experience series in May 2011, “which is the 50th anniversary of the freedom rides.”

Currently, Nelson is showing Freedom Riders at film festivals and also at schools, including a screening at Charlottesville High School earlier this month. In addition, some college students will be recreating the freedom rides next year as part of a fiftieth anniversary commemoration that will also promote the film.


Publisher's note: This article was originally published on Examiner.com on November 18, 2010. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

From the Archives: Moving Picture Institute announces first annual Liberty in Film Awards

Moving Picture Institute announces first annual Liberty in Film Awards
February 19, 2013 4:06 PM MST

Speaking at the Heritage Foundation in Washington on February 19, Adam Guillette of the Moving Picture Institute announced the winners of the first annual Liberty in Film Awards, timed to coincide with the awarding of the Oscars in Hollywood on February 24.

Among the winners he listed:

• Best explanation of what makes charity possible: The Dark Knight Rises. When Bruce Wayne asks Alfred why the Wayne Family Foundation is no longer contributing to the boys’ home, Alfred explains that contributions are made possible by the profits of their company. ”No profits, no charity.”
• Best adaptation of an impossible-to-adapt book: Atlas Shrugged: Part II. The rare sequel that improves upon its predecessor, Atlas Shrugged: Part II does an incredible job of showing both the terrible destruction of big government and the incredible power of the individual.
• Fan Favorite: The Hunger Games. MPI supporters demanded an award for this dystopian tale of an evil centralized government that forces its teenaged citizens to kill each other for sport.

Among the “negative” awards on the list:

• Best performance as a publicist for Arab Oil: Matt Damon in Promised Land. Damon’s anti-fracking film was funded by the government of Abu Dhabi.
• Best propaganda piece for toddlers: The Lorax. The writers of this film turned Dr. Suess’ story about conservation into blatant anti-capitalist propaganda aimed at children.

In an interview with the Charlottesville Libertarian Examiner after his presentation, Guillette explained that the mission of the Moving Picture Institute is “to promote freedom through film.”

The organization does that, he said, “by supporting films and filmmakers that can make a significant impact, either change laws or change the culture to promote freedom-oriented ideas.”

'Different approach'
The Moving Picture Institute's “strategy is an entirely different approach than An American Carol,” for instance, a Kelsey Grammer-Jon Voight vehicle from 2008 that tried to portray conservative values through a lighthearted comedy/satire.

“What we do” instead, he explained, is to “support rising filmmakers rather than [make] the massive gamble of an expensive film.”

The institute supports young directors and screenwriters by helping them “make short films to pitch their talent to the major studios in Hollywood, which helps get them development deals and representation” to make more movies commercially.

“At the same time,” Guillette continued, “their films made for these purposes end up going viral on line or end up in classrooms being viewed by hundreds of thousands of students.”

Incentives
Whether the Liberty in Film Awards have an impact on thinking in Hollywood relies on old-fashioned incentives, he said.

“Like anything else,” Guillette explained, “you've got to reward good behavior and point out bad behavior. This is an excellent opportunity to point out some of the bad behavior in Hollywood but reward those doing an excellent job promoting freedom.”

To learn about the films produced by or supported by the Moving Picture Institute, Guillette pointed to the organization's web site.

“The easiest way is to go to movingpictureinstitute.org. We have all of our films listed and you can instantly click through to NetFlix, Amazon, or anywhere that film is available. It compiles all of them at one place.”


Publisher's note: This article was originally published on Examiner.com on February 19, 2013. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

'Charlottesville: Our Streets' Premieres as Work-in-Progress at Va. Film Festival

Having its world premiere at the Virginia Film Festival exactly three months after the events of August 12 that it portrays, the Rashomon-like "Charlottesville: Our Streets" appears while psychic and physical wounds are still raw and the political repercussions -- especially for local government -- have not yet been fully played out.

The program notes provided by the Virginia Film Festival are deceptively understated:

A stark look at the devastating events that transpired in Charlottesville in August of this year, there will be much to discuss after this screening. A team of local filmmakers, photographers, and journalists has compiled footage and stills from over 30 cameras, with 20 interviews from first-person witnesses from the fateful Unite The Right rally of August 12th. The country watched as white supremacists’ demonstrations violently escalated, resulting in multiple injuries and the death of Heather Heyer. This feature documentary is an objective observation how the events unfolded, delivering a stark and sometimes brutal telling of individual truths from the perspectives of the people who were there.

Washington Post reporter Joe Heim listed the questions posed by "Charlottesville: Our Streets" in a front-page Metro section story in Sunday morning's editions.

...how that August weekend in Charlottesville will be most remembered is now in the hands of many different storytellers who will shape a shared history. Will it be seen primarily as the place where an ascendant white power movement came out of online nooks and crannies and showed its face to the world? Will it be remembered for those who took to the streets to stand up to the marchers and keep their rally from taking place? Or will it be recalled as a failure of leaders and police to keep the two sides apart and prevent a deadly outcome?

On Sunday afternoon in front of a packed house at the Paramount Theater, the producers of "Charlottesville: Our Streets," Jackson Landers (who also wrote the script) and Brian Wimer (who also directed), participated in a post-screening panel discussion moderated by radio host Coy Barefoot, along with journalist colleague Natalie Jacobsen -- who helped collect and sort the hundred of hours of video clips so they could be reviewed and chosen through a systematic process -- and two interview subjects from the film.

The movie drew both applause and jeers as it featured comments from both the neo-Nazis and Confederate nostalgists who invaded Charlottesville for the so-called "Unite the Right" rally over the weekend of August 11-12, and various counterprotesters from the clergy, antifa, and regular folks opposed to racism and anti-Semitism.

Landers and Wimer endeavored to be as objective as possible, letting the interviews and images tell the story and putting the burden of drawing conclusions on the audience, whose members are intelligent enough to interpret what they see.

Using a combination of talking-head interviews and "found footage" from among hundreds of hours of video taken by dozens of amateur and professional photographers on the scene that day, "Charlottesville: Our Streets" shows the chaos and the violence in a nearly unfiltered manner. Much of the video has not been previously seen by anyone other than those who took it, and one takeaway is that what did make its way to television news programs pulled its punches.

Writing in the Richmond Times-Dispatch on Monday, Tony Farrell described the film as

an astounding feat of bootstrapping journalism: a near-definitive visual chronicle of a day that spun slowly but wildly out of control, told through the mostly dispassionate points of view of countless cameras that captured all sides of the action.

He added:

Landers and Wimer also conducted 32 interviews with people who took part in or witnessed the violence that day — pastors, peace activists, Charlottesville residents and even members of the white supremacist groups that descended on the city for the long-planned Unite the Right rally to protest the removal of a Robert E. Lee statue in the center of town.

Landers and Wimer, longtime area residents unacquainted before Aug. 12 but both witnesses to the day’s brawling and mayhem, connected in the weeks after the violence and saw the value in documenting events they felt had been incorrectly reported or misrepresented through rumor-mongering and conspiracy theories.

In a report for public radio station WCVE, veteran Charlottesville journalist Hawes Spencer sampled the opinions of audience members at Sunday's screening. He found three widely different reactions:

Militia member Daniel Bollinger appears in “Our Streets” and attended its premiere. “It’s almost undescribable because it brings back so many memories from that day.”

Filmgoer Jim Hingeley says the picture succeeds. “It pulled it all together in a coherent way.”

However, transgender activist Emily Gorcenski finds the film unfair. “This drive towards objectivity is just enabling the side that wants to kill all Jewish people.”

Speaking of local journalists, a few of them are interviewed on screen.  Chris Suarez of the Daily Progress and Lisa Provence of C-VILLE Weekly both describe what they saw that Saturday morning.  (WCHV radio host Joe Thomas is seen arguing with a protester in a video clip.)

One thing I learned from the film was that the violence on August 12 was much worse than I had thought, based on the TV news reports I had seen; "Our Streets" shows clearly how the local and state police failed to intervene when the street fights began, standing at a distance and observing without taking action. As former Charlottesville Mayor Dave Norris says in an interview in the film, anyone who asserts there was no "stand-down" order is being "deceitful."

I earlier referred to "Charlottesville: Our Streets" as Rashomon-like, and this is borne out by its multiple points of view. One of the things that struck me was how, in almost every shot, there were several other cameras making their own recordings of the same scene from different angles. What those photographers captured could well compose another movie from which entirely different conclusions could be drawn.

"Charlottesville: Our Streets" does not yet have a distributor, but the producers hope to take it to other film festivals and to college campuses around Virginia and beyond. A "pay-what-you-can" screening is tentatively planned for next month. The filmmakers' aim is to return Charlottesville's name to what it was before it became a hashtag.

Full disclosure: Jackson Landers and I, along with Shaun Kenney, are weekly guests on Coy Barefoot's radio program on 94.7 WPVC-FM in Charlottesville, where we discuss local, state, and national politics for an hour beginning at 5:00 o'clock each Monday afternoon. The events of August 12 have been a frequent topic of our conversation since even before they occurred.  On November 13, with Jeff Lenert substituting for Shaun Kenney, we spent more than an hour in a panel discussion about the panel discussion.  Listen to the podcast.

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Note: This post is adapted and expanded from a previous article on Bearing Drift by the same author.

From the Archives: 'Our Nixon' producer Brian Frye recalls discovery of White House 'home movies'

'Our Nixon' producer Brian Frye recalls discovery of White House 'home movies'
November 17, 2013 7:16 PM MST

Forty years ago today, on November 17, 1973, President Richard Nixon declared “I am not a crook” before a nationwide television audience. Less than a year later, he had resigned in disgrace rather than face impeachment as a result of a cluster of scandals remembered as “the Watergate affair.”

Earlier this month at the Virginia Film Festival in Charlottesville, film maker Brian L. Frye spoke about his new documentary, Our Nixon (co-produced by Penny Lane, who also directed). Frye participated in a panel discussion after a screening of the film with former Virginia Governor Gerald Baliles and Miller Center scholar Ken Hughes.

Our Nixon, which has been aired by CNN in addition to having a limited theatrical and film-festival release, is built upon a treasure-trove of Super-8mm “home movies” shot by top Nixon aides H.R. “Bob” Haldeman, John Ehrlichman, and Dwight Chapin.

The films – which include footage of Nixon's historic trip to China and visits to the White House by foreign dignitaries, as well as more quotidian events – were preserved by the National Archives as part of a cache of potential evidence in the Watergate investigation but did not come to light until about ten years ago, when Frye learned of their existence.

After the screening, Frye – who teaches law at the University of Kentucky in addition to writing film criticism and producing movies – spoke with the Charlottesville Libertarian Examiner about how he came into possession of home movies from the Nixon White House and the process of turning that material into a cohesive documentary film.

In the public domain
“Haldeman, Ehrlichman, and Chapin,” he explained, “were receiving free Super-8 film from the Naval Photographic Center and also free processing and printing. I'm pretty sure that what was happening was Haldeman was distributing the films and after they were shot, he was collecting them, dropping them off at the Naval Photographic Center and then providing prints to all of his friends, so he probably got three prints of everything, more or less.”

When Ehrlichman, the president's domestic policy advisor, resigned as a result of the Watergate investigation, “he left in his office prints of the Super-8 films -- second- and third-generation prints,” said Frye. “Those were confiscated and ultimately became part of the Watergate investigation collection that went to the National Archives, so they were placed into the public domain in that way.”

The movies remained far from public view, however, because “they don't really relate to the abuse of power issues that people are most interested in. They were relatively low priority on the preservation ladder” for archivists.

Frye learned of the films' existence shortly from the film preservationist who “told me about his preservation work and showed me one of the reels, which I thought was fascinating but I didn't have the resources to make a transfer at the time. These were preserved but there weren't access copies available.”

After writing an article about the newly discovered movie reels for the film journal, Cineaste, Frye met his eventual producing partner, Penny Lane, in 2008.

They decided to collaborate on a documentary based on the movies but they did not know what the entire content was. Taking a risk, they invested $20,000 to have the films transferred to video so they could examine them in detail.

Novel and compelling
Once they had a chance to look at all 25 hours of film, “we realized right away that the movie that we saw in those home movies was the story of the Nixon presidency as experienced by Haldeman, Ehrlichman, and Chapin,” Frye said. “That just struck us as a kind of an interesting, novel, potentially compelling way to look at the nature of a president.”

He analogized his film to how “people say you can learn a lot about a person by the way they talk to the waiter. Maybe you can learn something about the president from the way that he talks to his staff members.”

Of the three principal characters in the film, only Dwight Chapin is still alive. He has seen Our Nixon and appeared on a panel with Penny Lane after a screening at the AFI Docs festival in Washington earlier this year.

“As you might expect,” Frye recalled, Chapin is “critical of some aspects of the film. He feels like it focuses too much on Watergate and negative things about the president” and that it “doesn't reflect enough of Nixon's good qualities.”

At the same time, he added, “I hope he recognizes that we intended this to be a human, empathetic portrait of him and his friends, the people he worked for and with in the White House, and so, hopefully he can see that the film is a balanced and considered portrait of the administration.”

Goat testicles
Frye and Lane have intriguing projects that they are working on to follow up Our Nixon.

Lane, he said, “is working on a new film called Nuts, which is the story of [John R. Brinkley,] a quack doctor from the 1920s who claimed to cure impotence by transplanting goat testicles into men's scrotums” who also “went on to invent border radio [and] win the governorship of Kansas only to have it stolen away from him by the Kansas attorney general.” Brinkley “ultimately died penniless after being crushed by the predecessor of the FCC.”

Frye is working on two different projects on his own, a “documentary history of the representation of the gay rights movement” and a narrative film about the relationship of Andy Warhol and his mother.

Our Nixon will soon be available on DVD and is still being screened on the film festival circuit.




Publisher's note: This article was originally published on Examiner.com on November 17, 2013. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

From the Archives: 30 years on, Swedish scholar revisits Friedman’s ‘Free to Choose’ in new film

Publisher's note: This article was originally published on Examiner.com on April 30, 2011. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

30 years on, Swedish scholar revisits Friedman’s ‘Free to Choose’ in new film
April 30, 2011 10:54 PM MST

Beginning in August, PBS television stations around the country will have the opportunity to broadcast a new documentary film, Free or Equal, presented by Swedish free-lance writer and Cato Institute senior fellow Johan Norberg.

Free or Equal revisits and distills some of the ideas found in Milton Friedman’s 10-part documentary series, Free to Choose, originally produced in 1980, focusing on the Nobel laureate’s views about the struggle between freedom and equality. Its release also coincides with a yearlong run-up to the centenary of Friedman’s birth.

In an interview with the Charlottesville Libertarian Examiner on Friday, April 29, after a special preview screening of Free or Equal at the Cato Institute's Hayek Auditorium, Norberg said that “I was an admirer of the [Free to Choose] series. When I was developing my own ideas on some different subjects, I was quite impressed by this.”


Still relevant after 30 years
As the 30-year anniversary approached, Norberg explained, “we thought, ‘How can we update this and show that these ideas are extremely relevant to the kind of discussion that we’re having [today] about spending, taxation, debts, bailouts, stimulus packages, all those things?'”

Compressing the ten hours of Friedman’s original series into the sixty minutes of Free or Equal required some creativity on the part of Norberg and the producers.

“I really had to skip most of our ideas to be able to do that, but we figured that it’s important to just get it out there and try to touch upon those important principles,” he explained. “Then if people are interested, we’re doing other things and a lot of other people are doing great things on expanding these ideas and getting them out there.”

This documentary, he added, is "in a way, a teaser.”

Vantage points
Norberg and his crew traveled to three continents and several different countries both to do research and to film on location, sometimes from the same vantage points that Friedman used in Free to Choose three decades ago.

“The most important stops along the way,” Norberg said, were the United States, Sweden, and Hong Kong, “because we thought that we should pick some sort of extremes in the way we’re thinking of political/economic alternatives.”

Free or Equal is not Johan Norberg’s first film.

“I have made films before,” he noted, “but mostly they’re based on my books. I’ve written a book on globalization and I made a documentary about that [Globalisation Is Good]. I wrote a book on the financial crisis, and I made a documentary about that [Overdose].”

It is a challenge, Norberg added, to make a documentary film, which requires a different sort of process than writing a book does.

“The processes are different,” he explained, because "what you’re doing when you’re writing is constantly expanding on your subjects and finding different things that you have to explain. Then you write a chapter about that, you do more research and so on.”

In contrast, "it’s really the opposite when you’re doing a documentary,” Norberg continued. “You have the ideas and then you’re trying to narrow it down, you’re trying to simplify it as much as possible, and make sure that you try to cover as much as [you can] in very, very little time.”

There is, he said, “almost nothing left of a book when it’s on the screen for an hour.”

Teenage anarchy
Norberg came to libertarian ideas after a period as an adolescent anarchist in his native Sweden.

“I started out as an anarchist in high school, neither left nor right, just generally opposed to authority and big things, big government, and big business,” he said.

He chuckled and explained:

“What made me more interested in classical liberal and libertarian ideas was my meetings with other anarchists and realizing that a lot of them really thought that, ‘Yeah, we want freedom for everything but not if people really start a factory or employ people because then we’re going to go over there and punch them.’”

At that point, he thought, “'Hmm, that’s not really according to my principles.'”

He was reaching for other ideas and, in a time before the World Wide Web and the Internet, he found them in the library.

He first discovered “the Manchester liberals -- Cobden and Bright -- and Adam Smith,” and then he found “modern libertarians” like Friedman and Nozick, as well as Ayn Rand, “slowly and steadily realizing that I probably agree more with them.”


Ask PBS
In the months between now and August, when Free or Equal hits people’s homes, Norberg will be lecturing about the ideas in the film and about Milton Friedman himself, and also will be releasing clips from the movie and “sending them around the world.”

While Free or Equal has been made available for PBS stations to broadcast, “it’s up to individual stations around the country” to choose to use it, Norberg explained.

If people are interested in seeing the film on TV, he said, they should call or email their local PBS program directors and request that they schedule Free or Equal for broadcast in their communities.

“That will help to get it out,” Norberg said.


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From the Archives: Va. Film Festival to feature politicians from Goldwater & LBJ to Nixon & Bush

Publisher's note: This article was originally published on Examiner.com on October 7, 2014. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site was scheduled to go dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

Va. Film Festival to feature politicians from Goldwater & LBJ to Nixon & Bush

Actors Jenna Elfman, Jasmine Guy, Hal Holbrook, Frank Langella, Richard Roundtree, and Patrick Wilson; novelists David Baldacci and Adriana Trigiani; directors Victor Levin, Barry Levinson, and Scott Teems; producers Katie Couric, Julie Lynn, and Paul Junger Witt; and political figures Andrew Card, Marlin Fitzwater, Barry Goldwater, Jr., and Skip Humphrey – these are among the filmmakers and celebrities who will appear at the 2014 Virginia Film Festival in Charlottesville to discuss their works and careers.

Festival director Jody Kielbasa announced this year's program at an October 7 press conference held at the historic Jefferson Theater. After the formal announcement, he spoke with the Charlottesville Libertarian Examiner about documentaries and other films that will be screened during the weekend of November 6-9 at a variety of venues in downtown Charlottesville and on the grounds of the University of Virginia.

Holbrook/Twain
Among the documentaries, Kielbasa singled out “Holbrook/Twain: An American Odyssey, which I think is an incredible documentary.” Hal Holbrook, who has been performing as Mark Twain for 60 years, will offer a special performance of his award-winning one-man show, Mark Twain Tonight, and also offer comments about the documentary film.

Kielbasa also mentioned that “41 on 41 is coming in as part of the Berlin Wall series in association with the Miller Center.” That film, he said, looks at “41 different people who comment on our 41st president, George H.W. Bush. Obviously,” he added, “some of that discussion will wrap around the Berlin Wall, as well.”

The Berlin Wall series – marking the 25th anniversary of the fall of the Berlin Wall and the beginning of the collapse of the Soviet Empire – includes five films, a mix of fiction and non-fiction. The five are Dr. Strangelove, a 1964 Academy Award nominee directed by Stanley Kubrick; Red Army, a documentary about Soviet ice hockey players; Walesa: Man of Hope, Polish director Andrzej Wajda’s biopic about Nobel laureate Lech Wałęsa; German director Wim Wenders' fanciful Wings of Desire; as well as 41 on 41.

“For people out there who are not aware,” Kielbasa explained, “this year the University of Virginia was loaned four original panels of the Berlin Wall. They're encased in glass in front of the Alderman Library. I'm also responsible for a series of programs over an eight-day period leading up to the 25th anniversary” of the wall's destruction, “which actually happens on November 9, the last day of the Virginia Film Festival.”

Presidents and Elections
In conjunction with the UVA Center for Politics, the festival will present the premiere of Bombs Away: LBJ, Goldwater and the 1964 Campaign That Changed It All, followed by a panel discussion featuring former California Congressman Barry Goldwater, Jr., and former Minnesota Attorney General Skip Humphrey. The film, Kielbasa said, takes “a fascinating look at Goldwater and LBJ and that incredible election and everything that was going on leading up to 1964.”

The Miller Center for Public Affairs is sponsoring a screening of Frost/Nixon, Ron Howard's film of the award-winning play about the interviews of Richard Nixon conducted by British TV host David Frost. Afterward, Frank Langella, who played Nixon in the film, will talk about his experience with historian Ken Hughes.

Kielbasa, now in his sixth year as festival director, also pointed to two major films made in Virginia that will be shown at the festival.

Big Stone Gap
“Our world premiere, the opening night film,” he said, is “Big Stone Gap, which was filmed entirely on location in Big Stone Gap, Virginia, and is about that community.” That screening will include a panel discussion with writer/director Adriana Trigiani as well as several of the stars of the film.

The other high-profile made-in-Virginia film, he added, “is Wish You Well, based on the novel by David Baldacci.” Baldacci will be on hand to discuss the film, which is a coming-of-age story set in 1940s Virginia.

Kielbasa is also excited that director Barry Levinson will be at the Festival to discuss his latest film, The Humbling (starring Al Pacino) as well as his 1989 film, The Natural (starring Robert Redford).

“I know that film gets played a lot,” he explained, “but to able to listen to Barry Levinson talk about the making of that film should be extraordinary and, quite frankly, people consider it one of the best sports movies ever made.”

The 27th annual Virginia Film Festival will also screen a number of likely Oscar contenders, including The Imitation Game, Foxcatcher, Wild, and Mr. Turner.

“These are incredibly high-profile films,” Kielbasa said, “and in most cases we'll be screening them anywhere from two weeks to two months in advance of their general release.”

SUGGESTED LINKS

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Filmmaker Stanley Nelson on ‘Freedom Riders,’ the news media, and civil rights
Virginia Film Festival to include documentaries on Kennedy, Nixon, Santorum
Jody Kielbasa previews political movies in 2012's Virginia Film Festival

Original URL: http://www.examiner.com/article/va-film-festival-to-feature-politicians-from-goldwater-lbj-to-nixon-bush

From the Archives: Virginia Film Festival features classics, documentaries, and Larry Kramer

Publisher's note: This article was originally published on Examiner.com on September 29, 2015, about one month before the Virginia Film Festival opened in Charlottesville.  The Examiner.com publishing platform was discontinued July 1, 2016, and its web site is scheduled to go dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

Virginia Film Festival features classics, documentaries, and Larry Kramer

America's civil rights movement is the focus of several documentary films that will be screened at the 2015 Virginia Film Festival, while festival director Jody Kielbasa is pleased to host “change agents” among the event's speakers and panelists.

Kielbasa spoke to the Charlottesville Libertarian Examiner on September 29, after announcing this year's festival program at the Jefferson Theater. The 28th Virginia Film Festival will take place over the weekend of November 5-8.

This year's documentaries make up “a really interesting mix,” Kielbasa said, ranging from Selma: The Bridge to the Ballot, presented in partnership with the UVA Center for Politics, to “films that are made by film makers here, like Monroe Hill,” which looks at local Charlottesville history, and Polyfaces, a documentary about Virginia farmer-activist Joel Salatin, “made by two Australian film makers – go figure!”

“The fascinating thing about the documentaries that we screen,” Kielbasa added, “are the opportunities to engage with the local populace on topics and subject matter that really resonate and are important to this community.”

Civil rights chronicle
Another film with a civil-rights theme is Stanley Nelson's recent release, The Black Panthers: Vanguard of the Revolution.

“When you look at the work that [Nelson has] done,” Kielbasa explained, including films like “Freedom Riders and then last year's Freedom Summer and now The Black Panthers,” one can see how Nelson has been “chronicling the history of the civil rights movement in our country. It's extraordinary to be able to screen these films.”

The Virginia Film Festival will also screen Bound: Africans versus African Americans, directed by Kenyan-born Peres Owino, and Aviva Kempner's Rosenwald, which will be presented as a tribute to civil-rights leader and former University of Virginia professor Julian Bond, who died this summer. Director Kempner, poet Rita Dove, and Bond's widow, Pamela Horowitz, will speak on a panel following the film's screening.

“We lost Julian Bond this past year,” Kielbasa noted, “and we have a film that focuses on his having gone through one of Julius Rosenwald's schools as a young man [and] the impact that that had on his life.”

The film also includes figures like Washington Post editor Eugene Robinson and other individuals who were educated in Rosenwald schools “and the impact that that's had on their lives,” he added.

“To me,” he said, “that's really significant.”

In addition to these documentary films, the Virginia Film Festival will include screenings of The Maltese Falcon and D.W. Griffith's Birth of a Nation, curated by special guest Leonard Maltin. There will also be appearances by actress/director Meg Ryan, director Oliver Stone, and novelist/playwright Larry Kramer.

'Change agents'
Kielbasa described Kramer as one of the “change agents” whose appearances on the Virginia Film Festival stage make the festival nearly unique.

Kramer, he said, is “a gentleman who started screaming at the top of his lungs in the early 80s when nobody would pay attention to the AIDS crisis. He wrote this phenomenal play [The Normal Heart] that suddenly made it, somehow, almost acceptable to care and accessible to an audience out there. Suddenly the dynamic began to change, entirely through his kind of activism, his 'angry man' kind of activism – but at that point somebody had to get the attention of our country and the world. And he was responsible for a lot of that.”

Kielbasa also pointed out how both the quality and quantity of films made in the Commonwealth or by Virginia film makers have improved over the past six years that he has been the festival's director.

He said “the number of high quality films that are coming to us all the time that were made here or made by Virginians is extraordinary.”

Featuring over 100 films, the 2015 Virginia Film Festival will include screenings at several new venues, including the Violet Crown cinemas on the downtown mall and the former Vinegar Hill theater. Tickets go on sale through the film festival's web site on Friday, October 2.

SUGGESTED LINKS

Gov. Terry McAuliffe touts Virginia film industry at Charlottesville movie fest
Library of Congress collects pornographic films, violent video games
Porn king Larry Flynt defends free speech in Charlottesville
Filmmaker Stanley Nelson on ‘Freedom Riders,’ the news media, and civil rights
Va. Film Festival to feature politicians from Goldwater & LBJ to Nixon & Bush

Original URL: http://www.examiner.com/article/virginia-film-festival-features-classics-documentaries-and-larry-kramer

Gay Equality Protest at Independence Hall - July 4th, 1968

A year before the Stonewall riots sparked what's become known as the modern gay-rights movement, pioneering advocates for gay equality -- sorry, "LGBT equality" -- marched in front of Independence Hall in Philadelphia.

The day these pioneers chose was the Fourth of July, knowing that tourists would be celebrating the Independence Day holiday at the site where the Declaration of Independence was drafted, debated, and adopted in 1776.  Their aim was to spread the word among middle Americans that in the phrase "all men are created equal," all means all.

One of the protesters for gay rights was Lilli Vincenz, who also brought along her own movie camera to record the event.  Could she have known that, 46 years later, we would be celebrating gay equality rather than begging for it?

The Library of Congress has preserved Vincenz's film about that picket line (which includes an interview with the late Franklin Kameny, a well-known agitator who coined the phrase, "Gay Is Good.").  Mike Mashon wrote on the Library's "Now See Hear!" blog on June 5:

The Library’s moving image collections are large (1.4 million film reels and videotapes with more arriving every day) and almost unimaginably diverse. We may not have every film or television show ever produced, but it’s a rare occurrence when Moving Image Research Center staff can’t help a patron find at least a little something related to their inquiry.

Every so often a precious jewel emerges from this mountain of content. I admit when I first heard that the Library was in the process of acquiring the collection of gay rights pioneer Lilli Vincenz I had no idea who she was. Not long before the official announcement, Dr. Vincenz’s representative Charles Francis—who was also instrumental in the Library’s acquisition of the Frank Kameny Papers in 2006—paid a visit to the Packard Campus and brought with him a copy of two of her films. The Second Largest Minority documents the “Reminder Day Picket” at Independence Hall, Philadelphia, on July 4, 1968, while Gay and Proud is about the first Christopher Street Liberation Day Parade held in New York City, June 28, 1970. We watched them together.

The films were revelatory.

Even apart from the subject matter, The Second Largest Minority is a tight little time capsule of life in the 1960s -- the clothes, the hairstyles, the manner with which people carried themselves.

Portions of this short, made by Lilli Vincenz on July 4, 1967, have been excerpted in other documentary films, such as Before Stonewall, but until recently only a few lucky people have seen the entire 7-minute record of this historic event.

Now you can see it, too:

Mashon continues:

The images are striking. First, there are the immaculately groomed, polite-but-persistent participants in the Philadelphia event. While a picket reading “Homosexuals Ask for Redress of Grievances” may not be the most soul-stirring call to arms, let’s also not forget the bravery of these pioneers, who faced much open hostility. Contrast this with the more defiantly celebratory attitude of the Christopher Street marchers just two years later. The Philadelphia pickets are still in evidence, but the operative word now is “pride.” It’s one thing to read about how the gay rights movement was catalyzed by the Stonewall Inn riots of June 1969, but quite another to see that tonal shift illustrated so vividly in these bookend films. Powerful movements can begin and be sustained in unlikely places, and how fortunate we are that Lilli Vincenz was there to record this one.

For my 2010 interview with Frank Kameny about the early days of the gay rights movement, see Part I here and Part II here. For his reminiscences of his military service in the Second World War and the movement to repeal "Don't Ask, Don't Tell," look here. For my look back at the Stonewall riots of 1969, check out these posts: "Four Decades After Stonewall" and "41 Years Ago Today, the Queers Fought Back." The 12-minute film, Gay and Proud, which documents the first "gay pride" parade in New York City in 1970, can also be viewed on the Library of Congress' "Now See Hear!" blog.

Kennedy and Nixon at the 2013 Virginia Film Festival

Wesley Buell Frazier (left) and Larry Sabato

Tomorrow is the 50th anniversary of John F. Kennedy's assassination in Dallas, Texas, on November 22, 1963. Television, radio, and newspapers are full of remembrances, with witnesses, historians, conspiracy theorists, and political commentators weighing in on that momentous event.

Earlier this month at the Virginia Film Festival, there was a screening of a new documentary film about JFK's legacy from the Center for Politics at the University of Virginia, called The Kennedy Half-Century, which is tied to a book by the same name by UVA political scientist Larry Sabato (The Kennedy Half-Century: The Presidency, Assassination, and Lasting Legacy of John F. Kennedy).

There was also a screening of a new documentary film about Kennedy's 1960 presidential election campaign rival, Richard M. Nixon.

That film, called Our Nixon, features never-before-seen behind-the-scenes "home movies" from the first four years of the Nixon administration.

Gerald Baliles (left) and Brian L. Frye

The amateur movies were made with Super-8mm cameras by White House aides H.R. "Bob" Haldeman, John Ehrlichman, and Dwight Chapin.

 All three men were later convicted of crimes connected to the Watergate Affair, which also brought down Nixon himself, when he became the first (and, so far, only) U.S. President to resign his office.

Each screening featured a three-person panel discussion.

The panel discussion that followed The Kennedy Half-Century focused on the Kennedy assassination itself, which is only briefly covered in the movie, because the film's focus is largely on how Kennedy's legacy has been treated by the presidents who followed him into the White House, from Lyndon Johnson to Barack Obama.

Larry Sabato moderated a discussion with two witnesses to the JFK assassination: Tina Towner Pender, who at the time of the murder was the youngest person who photographed the event; and Wesley Buell Frazier, a co-worker of Lee Harvey Oswald at the Texas School Book Depository, who drove the assassin to work the morning of November 22.

After the panel discussion, I interviewed both Pender -- who has written a memoir called Tina Towner: My Story as the Youngest Photographer at the Kennedy Assassination -- and Frazier, who was manhandled by the Dallas Police and accused of being an accomplice of Lee Harvey Oswald or co-conspirator in the assassination.

Here is video of that panel discussion, which took place in the Culbreth Theater on Saturday, November 9:

The next day, November 10, Our Nixon was shown at the Newcomb Hall Theater. The screening was followed by a panel discussion moderated by former Virginia Governor Gerald Baliles, now director and CEO of the Miller Center at the University of Virginia, and featuring Brian L. Frye, co-producer of Our Nixon and a law professor at the University of Kentucky, and Miller Center scholar Ken Hughes.

After the panel, I spoke to Frye and asked him about how he found the long-lost Super-8mm footage that makes up the bulk of his film, how it was preserved, and what his next film projects are.

Here is the video of the Our Nixon panel with Baliles, Frye, and Hughes:

Our Nixon has been aired by CNN and shown at several film festivals (in addition to the Virginia Film Festival in Charlottesville) and it will also be available on DVD in January 2014.