To see at the cinema


* * * *
(1950s true story of racial crime)

We were in high school and college in the 1950s when racial prejudice was rampant in the United States, especially in the South.

“Till,” the true story of the young Chicago boy who is violently murdered while vacationing with his cousins ​​in Mississippi, is brought to the big screen with scenes that are sometimes hard to watch but must be watched. see to show us how far we have come, and remind us how far we still have to go.

If this is the story of Emmett Till, it is ultimately the story of his courageous and determined mother, Mamie Till-Mobley, interpreted with gripping emotion by my Danielle Deadwyler.

Emmett’s body was so mutilated it was unrecognizable. Grandma insisted he be “shown to America” ​​so everyone could see what happened to this poor, innocent black boy.

And it was.

It was a tough decision, as we’re sure with the filmmakers choosing, as quietly as possible, to include the heartbreaking scene in the film.

The film begins with a happy but cautious black Chicago family living their lives with care and caution (“knowing their place” in a white-dominated society.)

Grandma explains how life in Mississippi will be different and how her son needs to act differently.

Emmett makes the big mistake of whistling at a white grocery store clerk, showing her his new wallet, with a picture of a white girl (I remember having one when I was young).

He is kidnapped, beaten, lynched and left in a stream.

The NAACP comes to Mamie’s aid, along with Medgar Evers, and the trial begins before an all-white male jury.

The judge is indifferent. The girl is lying. The verdict is in.

For those of us who have forgotten or are yet to be born, we learn what happened to the murderers and others involved.

It’s a hard lesson.

The film is rated PG-13 due to the disturbing scenes and overt racism, but anyone 13 and older should see it and act on it.

* * * 1/2
(The world of Lydia Tar, composer/conductor)

It takes two hours and 28 minutes to tell us a bit about the life and character of one of the greatest composers/conductors in the world, Lydia Tar.

Brilliantly played by Cate Blanchett, Tar is an indulgent and unkind person.

She is also a genius in her world of classical music. She hears every sound, which is often a distraction for her.

Tar is the first woman to conduct a major German orchestra. Her time is in high demand, as she rushes from interviews to leading guests, lectures and teaching masterclasses.

The film opens with his interview with the New York Times classical music writer; giving us a good perspective of his views on conducting, composition and classical music in general.

We then see her devastate a student in front of his classmates to the point where he gathers his music and storms out of class calling her some very bad names.

Then we see her at home with her wife whom she dominates and her daughter whom she adores.

No doubt, Lydia Tar is a very complex character.

We follow her through rehearsals, meetings, selections of interviews with musicians, and we watch her manipulate people.

She treats her assistant horribly until she fights back.

Tar suddenly discovers she’s gone too far and finds herself sidelined from a profession she could have taken to new heights.

The film is quite artsy at times, including lots of discussions about the music and short pieces by great composers during rehearsals. While some will find it a bit long and wandering, classical music lovers won’t want to miss a single note.

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