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Twitch - I present to you a basic Hollywood reality that should have been recognized long ago but apparently has not been: This is a bad time to be making an Iraq War film. Good film, bad film, big cast, no cast, fiction, documentary, it really doesn’t matter. Whatever the merits of the film in question – and there have been a number of good ones made – if it is about the Iraq War it is destined to fail at the box office as has been proven repeatedly over the last year. The conflict is still far too fresh, still far too much in the news and an audience overloaded by Iraq every night on the six o’clock news simply won’t pay money to see more of the same on the big screen. Too bad for Kathryn Bigelow, then, because with The Hurt Locker she has put together one potent piece of work.
Set in the current Iraq conflict The Hurt Locker tracks a three man unit through the final days of their military service. The threesome has just over a month left, their task: finding and defusing bombs. It’s a job that demands precision and absolute trust, a job that has zero margin for error, but the balance of the group is shattered with the arrival of new team leader Will James. It’s James’ job to actually defuse the bombs while the other pair offer support and protection but James has zero regard for protocol, zero regard for the safety of his team members, constantly rushing in to situations poorly prepared, riding from one wave of adrenaline to the next… [Full Story]
Archive for 2008
TIFF Review: RESTLESS – Twitch
Wednesday, September 10th, 2008
Twitch - Give Amos Kollek’s Restless this much: it may be the most aptly titled film at the Toronto International Film Festival, inspiring more than one viewer to furtively check their watch. Restless aims to be the sort of big, important film that thrives on the festival circuit, the sort of film with limited theatrical prospects that nevertheless deserves support because it addresses important issues. And Kollek has a history of producing exactly that sort of film, winning awards around the globe for his earlier work, but this time out it just feels as though he is trying far too hard and the film ends up crippled by a clumsy script and far too many mediocre performances.
Moshe is a two bit street hustler, an Israeli Jew who fled his country and entered America illegally twenty years ago and is now reduced to hawking low grade junk on the streets while scrawling his bitter, ranting poetry on cocktail napkins and scraps of toilet paper. Back in Israel the son Moshe abandoned in infancy has grow to adulthood, become a sniper in the Israeli army and effectively become an orphan due to the death of his mother – the only parent he has ever known. But that may change now that the exceedingly bitter Tzach – said abandoned son – has discovered his father’s address among his mother’s things… [Full Story]
A Year Ago In Winter – ScreenDaily Review
Wednesday, September 10th, 2008
ScreenDaily - Caroline Link’s first film in seven years is an elegantly-woven portrait of a family in crisis after the suicide of an 18 year-old boy and the steps which occur on their way to healing. Never overly gloomy or downbeat, A Year Ago In Winter is nevertheless a contemplative piece which doesn’t provide easy answers for its characters’ dilemmas.
Unapologetically unhurried in its narrative, the film addresses subjects in addition to grief, such as the restorative power of art and different notions of sexual desire. It is an intelligent human drama going out in a tough market for such fare, Link’s name – she won the Oscar in 2002 for Nowhere In Africa – and the growing fame of young lead actress Karoline Herfurth will help marketing efforts. Limited arthouse theatrical sales should be forthcoming after its Toronto Film Festival world premiere; Germany – where it will be released through Constantin on Nov 13 – will no doubt be its most successful territory.
As she demonstrated in Beyond Silence and Nowhere In Africa, Link’s preoccupations are with people thrust into extraordinary situations. A Year Ago In Winter is no different. It begins with a prologue in which a young man listens to his iPod with eyes closed while dancing in the snow, unaware that his sister is watching him from inside and his mother is filming him. In the next scene his mother is jogging when she hears the gunshot that kills him… [Full Story]
Afterwards – ScreenDaily Review
Wednesday, September 10th, 2008
ScreenDaily - Afterwards requires some serious suspension of disbelief. A man, now a lawyer, who came back from the dead as a boy, meets a doctor with the ability to identify people who are about to die from a white light they emit. That knowledge, imparted solemnly, is intended to bring a new appreciation of life to the characters and the audience.
The stylised parable about living in the present may fly over the heads of US audiences, if it ever reaches beyond the festival-going public. Malkovich is Afterwards’ chief asset there, but audiences are unlikely to warm to the film’s cold palette, its heavy doses of didacticism and its breathy urgency. In Europe, where Romain Duris is also a lure, audiences may have more patience with the style of the film (inspired by a French novel), but could be put off by its pretentious New Age religiosity.
Afterwards opens with an accidental death, in which young Nathan Del Amico is hit and killed by a car – or at least he seems to be dead – and is then revived. We rejoin a mature Nathan (Duris), now a bearded, humourless lawyer, who settles claims made by the families of people killed in plane crashes… [Full Story]
Live From TIFF: Paris Hilton Takes Toronto (For a Bunch of Fools) – Cinematical
Wednesday, September 10th, 2008
Cinematical - ”With less than one hour to go and no restraining order in place, I feel comfortable now letting you all know that this film was the subject of legal threats and was almost not shown at all here at the festival … This version will probably never be seen again. I am hoping that Paris will see, with the audience tonight, that there is nothing to be afraid of here. And will eventually let the film be distributed … I can guarantee you three things: you may be the only people to ever see this version, you will not be disappointed, and everyone will be asking you if you saw it.”
– William Morris agent Cassian Elwes in a Sept. 9 e-mail to acquisitions and buyers before yesterday’s 6:00 screening of Paris, Not France at the Ryerson.
Any film festival needs some hullabaloo, some hint of scandal, some touch of trouble; this year, at TIFF, it came with word that all but one screening of Paris, Not France, Adria Petty’s documentary about the life and times of Paris Hilton, had been pulled from the schedule with the threat of legal action; Nonetheless, there was one screening of the film left, with Ms. Hilton in attendance. (I encourage you to briefly try and wrap your head around the narcissism and gall it must take to make an appearance on the red carpet for a film you do not want shown.)… [Full Story]
TIFF Review: A FILM WITH ME IN IT – Twitch
Wednesday, September 10th, 2008
Twitch - Though it arrived at the Toronto International Film Festival as little more than a footnote in the massive program guide, a tiny film from Ireland that nobody paid much attention to before the fact, blacker-than-black comedy A Film With Me In It may very well end up departing as one of the fest’s big buzz titles, one of those left field arrivals that catches everybody off guard with it’s wickedly sharp sense of humor. The brainchild of writer-actor Mark Doherty – who stars in the film as a struggling actor named, conveniently enough, Mark – it is the deliciously mordant story of a man struggling to make it through the worst day in the history of all bad days with only the help of his perpetually inebriated would-be-screenwriter friend Pearce, played to perfection by Irish comic Dylan Moran (Shaun of the Dead, Tristram Shandy, Black Books).
We begin with Mark suffering the humiliation of a casting audition that is surely destined to fail. He has only one bit part credit on his resume, that credit coming on a show so small that the director – played by real life arthouse fave Neil Jordan – has never heard of. The director’s only question for the casting agent before turning his back dismissively on the actor is “Does it matter what he looks like?” Clearly this is another failure for Mark, who must carry that weight home with him – home of course being the flat that is slowly crumbling to pieces thanks to landlord neglect; the place where his girlfriend is clearly not pleased to see him; the place where he spends nights sleeping on the floor of his disabled brother David’s – played by Doherty’s actual brother David – bedroom; the place where he has to hide from his landlord and hope that nobody remembers he is three months behind on his rent. Mark’s only allies in this world are his dog – a great, big Irish wolfhound – and his upstairs neighbor Pearce, a shambolic drunk always working on a film script that everybody knows will never actually get finished… [Full Story]
The Secret of Moonacre – Variety.com
Wednesday, September 10th, 2008
Variety.com - Even the most industrious marketing wizards will be hard-pressed to conjure up B.O. magic for “The Secret of Moonacre,” a tepid fantasy-adventure weighed down with annoying swaths of leaden whimsy. Adapted from “The Little White Horse,” Elizabeth Goudge’s enduring 1946 children’s novel, this bland Euro-pudding might have slight appeal for young girls who can identify with the plucky 13-year-old heroine played by Dakota Blue Richards (”The Golden Compass”). But there’s not much here for adolescent boys, and nothing at all for older auds already bored with this sort of hocus pocus. Any potential profit must be mined in homevid.
Left penniless after the death of her improvident father, proper young Maria Merryweather (Richards) must leave her London home and journey — accompanied by her faithful caretaker Miss Heliotrope (Juliet Stevenson) — to the remote country estate of Moonacre Manor. In the stately yet slightly gone-to-seed mansion, Maria is the not-entirely-welcome guest of her uncle, Sir Benjamin Merryweather (Ioan Gruffudd), a sternly sarcastic fellow who warns his niece never to venture into the surrounding woods. It is a warning, of course, she almost immediately disregards.
With a little help from a magical storybook left by her father, Maria comes to realize the denizens of the forest — specifically, a surly clan led by the snarling Coeur de Noir (Tim Curry) — have been feuding with the Merryweather family for centuries, the result of a curse pronounced on Moonacre Valley by a beautiful and powerful Moon Princess (Natascha McElhone)… [Full Story]
A Year Ago in Winter (Im wintere in jahr) – Variety.com
Wednesday, September 10th, 2008
Variety.com - By choosing a small-canvas, downbeat drama as her long-awaited follow up to Oscar-winning arthouse goldmine “Nowhere in Africa,” German writer-helmer Caroline Link defies expectations as deliberately as “A Year Ago in Winter’s” rebellious heroine does. The smoothly crafted but not particularly fresh tale of a dysfunctional Bavarian family struggling to move on after the untimely death of a loved one reps something of a marketing and sales challenge. Constantin Film is planning a Nov. 13 release in Germany.
When grieving mother Eliane (Corinna Harfouch) commissions a portrait of dead son Alexander (Cyril Sjostrom) and troubled dancer daughter Lilli (Karoline Herfurth), the painting process ultimately catalyzes emotional healing for mother and daughter — and for conflicted middle-aged artist Max (Josef Bierbichler).
Based on the American novel “Aftermath,” by Scott Campbell, the narrative recalls Robert Redford’s “Ordinary People.” There are the affluent, emotionally cold parents, the sibling left behind who felt threatened by the dead one’s apparent perfection, and feelings of guilt festering beneath the surface that erupt as self-destructive behavior. However, there are also obvious plot mechanics visibly grinding away at every turn… [Full Story]
Paris Hilton finds doc on herself amusing at Toronto film festival – The Canadian Press
Wednesday, September 10th, 2008
The Canadian Press - Hotel heiress Paris Hilton seems to approve of a new documentary about her life.
“Paris, Not France,” from Los Angeles-born filmmaker Adria Petty, dissects the socialite’s celebrity status as it follows the heiress and her tiny dogs around the world and features interviews with the Hilton family and media experts.
Hilton and her rocker boyfriend, Benji Madden, attended a screening of the doc at the Toronto International Film Festival on Tuesday night, bypassing reporters on the red carpet to pose for photos and then head inside the Ryerson Theatre.
Sitting in a reserved section of the public audience, the tabloid target could be seen laughing at her candid moments in the film, like the part where she says she never wanted to go to college because she knew what she wanted to do in life and it didn’t “involve learning much of anything.”
The blond paparazzi favourite – whose empire includes an album, perfume and defunct reality TV show in which she coined the phrase “that’s hot” – confesses in the doc that she has purposely put on a baby voice and dumb demeanour in public as part of her “Paris, the heiress” persona… [Full Story]
Related Articles
• Video: Paris 'Not France' Hilton Hits Toronto - Associated Press
[View all 252 related]
TIFF Review: The Duchess – Cinematical
Wednesday, September 10th, 2008
Cinematical - A sweeping period drama about Georgiana, the Duchess of Devonshire, The Duchess is a bland, largely flavorless story that takes one of the more interesting women in British history and reduces her largely to her relationships with the men in her life. From a purely technical standpoint, there’s nothing bad to say about the filmmaking: The extravagant period costumes are resplendent with detail, the cinematography is gorgeous, the music is soaring, and the acting’s solid but not great, but overall the film left me with the feeling of biting into a cream puff and finding that someone forgot the custard filling, leaving nothing but a hollow pastry and empty air.
Part of what hurts the film is the script, which is based on the autobiography of the same name by Amanda T. Foreman. There are three screenwriters credited to the film (which may be part of the problem): Jeffrey Hatcher, Anders Thomas Jensen, and Saul Dibb, the film’s director. Their script takes the life story of a vibrant woman who was politically active and influential a century before the women’s suffrage movement, and dilutes it to little more than a romantic drama of love triangles and oppression. Which is fine, I suppose, if that’s all you want or expect of a period piece, but I was left with the feeling that there was so much more that was important and interesting about Georgiana’s life that got lost in the focus on making a tragically romantic tale.
And honestly, how many period dramas do we need to see where the entire focus of the film is on the ways in which women in earlier centuries were abused and oppressed? From a historical perspective, of course that’s not unimportant, but this isn’t a documentary, it’s a drama. Yes, Georgiana’s husband was probably a controlling, unemotional man who did whatever he wanted while imprisoning her within the marriage. Yes, her choices as a woman during that time period were limited. But we already know those things, so tell us what we don’t know, show us something different, and most importantly show us more about the ways in which she rose above the oppression of the era, rather than the ways in which her wings were clipped by it… [Full Story]
TIFF Review: RESTLESS – Twitch
Wednesday, September 10th, 2008Twitch - Give Amos Kollek’s Restless this much: it may be the most aptly titled film at the Toronto International Film Festival, inspiring more than one viewer to furtively check their watch. Restless aims to be the sort of big, important film that thrives on the festival circuit, the sort of film with limited theatrical prospects that nevertheless deserves support because it addresses important issues. And Kollek has a history of producing exactly that sort of film, winning awards around the globe for his earlier work, but this time out it just feels as though he is trying far too hard and the film ends up crippled by a clumsy script and far too many mediocre performances.
Moshe is a two bit street hustler, an Israeli Jew who fled his country and entered America illegally twenty years ago and is now reduced to hawking low grade junk on the streets while scrawling his bitter, ranting poetry on cocktail napkins and scraps of toilet paper. Back in Israel the son Moshe abandoned in infancy has grow to adulthood, become a sniper in the Israeli army and effectively become an orphan due to the death of his mother – the only parent he has ever known. But that may change now that the exceedingly bitter Tzach – said abandoned son – has discovered his father’s address among his mother’s things… [Full Story]
A Year Ago In Winter – ScreenDaily Review
Wednesday, September 10th, 2008ScreenDaily - Caroline Link’s first film in seven years is an elegantly-woven portrait of a family in crisis after the suicide of an 18 year-old boy and the steps which occur on their way to healing. Never overly gloomy or downbeat, A Year Ago In Winter is nevertheless a contemplative piece which doesn’t provide easy answers for its characters’ dilemmas.
Unapologetically unhurried in its narrative, the film addresses subjects in addition to grief, such as the restorative power of art and different notions of sexual desire. It is an intelligent human drama going out in a tough market for such fare, Link’s name – she won the Oscar in 2002 for Nowhere In Africa – and the growing fame of young lead actress Karoline Herfurth will help marketing efforts. Limited arthouse theatrical sales should be forthcoming after its Toronto Film Festival world premiere; Germany – where it will be released through Constantin on Nov 13 – will no doubt be its most successful territory.
As she demonstrated in Beyond Silence and Nowhere In Africa, Link’s preoccupations are with people thrust into extraordinary situations. A Year Ago In Winter is no different. It begins with a prologue in which a young man listens to his iPod with eyes closed while dancing in the snow, unaware that his sister is watching him from inside and his mother is filming him. In the next scene his mother is jogging when she hears the gunshot that kills him… [Full Story]
Afterwards – ScreenDaily Review
Wednesday, September 10th, 2008ScreenDaily - Afterwards requires some serious suspension of disbelief. A man, now a lawyer, who came back from the dead as a boy, meets a doctor with the ability to identify people who are about to die from a white light they emit. That knowledge, imparted solemnly, is intended to bring a new appreciation of life to the characters and the audience.
The stylised parable about living in the present may fly over the heads of US audiences, if it ever reaches beyond the festival-going public. Malkovich is Afterwards’ chief asset there, but audiences are unlikely to warm to the film’s cold palette, its heavy doses of didacticism and its breathy urgency. In Europe, where Romain Duris is also a lure, audiences may have more patience with the style of the film (inspired by a French novel), but could be put off by its pretentious New Age religiosity.
Afterwards opens with an accidental death, in which young Nathan Del Amico is hit and killed by a car – or at least he seems to be dead – and is then revived. We rejoin a mature Nathan (Duris), now a bearded, humourless lawyer, who settles claims made by the families of people killed in plane crashes… [Full Story]
Live From TIFF: Paris Hilton Takes Toronto (For a Bunch of Fools) – Cinematical
Wednesday, September 10th, 2008Cinematical - ”With less than one hour to go and no restraining order in place, I feel comfortable now letting you all know that this film was the subject of legal threats and was almost not shown at all here at the festival … This version will probably never be seen again. I am hoping that Paris will see, with the audience tonight, that there is nothing to be afraid of here. And will eventually let the film be distributed … I can guarantee you three things: you may be the only people to ever see this version, you will not be disappointed, and everyone will be asking you if you saw it.”
– William Morris agent Cassian Elwes in a Sept. 9 e-mail to acquisitions and buyers before yesterday’s 6:00 screening of Paris, Not France at the Ryerson.
Any film festival needs some hullabaloo, some hint of scandal, some touch of trouble; this year, at TIFF, it came with word that all but one screening of Paris, Not France, Adria Petty’s documentary about the life and times of Paris Hilton, had been pulled from the schedule with the threat of legal action; Nonetheless, there was one screening of the film left, with Ms. Hilton in attendance. (I encourage you to briefly try and wrap your head around the narcissism and gall it must take to make an appearance on the red carpet for a film you do not want shown.)… [Full Story]
TIFF Review: A FILM WITH ME IN IT – Twitch
Wednesday, September 10th, 2008Twitch - Though it arrived at the Toronto International Film Festival as little more than a footnote in the massive program guide, a tiny film from Ireland that nobody paid much attention to before the fact, blacker-than-black comedy A Film With Me In It may very well end up departing as one of the fest’s big buzz titles, one of those left field arrivals that catches everybody off guard with it’s wickedly sharp sense of humor. The brainchild of writer-actor Mark Doherty – who stars in the film as a struggling actor named, conveniently enough, Mark – it is the deliciously mordant story of a man struggling to make it through the worst day in the history of all bad days with only the help of his perpetually inebriated would-be-screenwriter friend Pearce, played to perfection by Irish comic Dylan Moran (Shaun of the Dead, Tristram Shandy, Black Books).
We begin with Mark suffering the humiliation of a casting audition that is surely destined to fail. He has only one bit part credit on his resume, that credit coming on a show so small that the director – played by real life arthouse fave Neil Jordan – has never heard of. The director’s only question for the casting agent before turning his back dismissively on the actor is “Does it matter what he looks like?” Clearly this is another failure for Mark, who must carry that weight home with him – home of course being the flat that is slowly crumbling to pieces thanks to landlord neglect; the place where his girlfriend is clearly not pleased to see him; the place where he spends nights sleeping on the floor of his disabled brother David’s – played by Doherty’s actual brother David – bedroom; the place where he has to hide from his landlord and hope that nobody remembers he is three months behind on his rent. Mark’s only allies in this world are his dog – a great, big Irish wolfhound – and his upstairs neighbor Pearce, a shambolic drunk always working on a film script that everybody knows will never actually get finished… [Full Story]
The Secret of Moonacre – Variety.com
Wednesday, September 10th, 2008Variety.com - Even the most industrious marketing wizards will be hard-pressed to conjure up B.O. magic for “The Secret of Moonacre,” a tepid fantasy-adventure weighed down with annoying swaths of leaden whimsy. Adapted from “The Little White Horse,” Elizabeth Goudge’s enduring 1946 children’s novel, this bland Euro-pudding might have slight appeal for young girls who can identify with the plucky 13-year-old heroine played by Dakota Blue Richards (”The Golden Compass”). But there’s not much here for adolescent boys, and nothing at all for older auds already bored with this sort of hocus pocus. Any potential profit must be mined in homevid.
Left penniless after the death of her improvident father, proper young Maria Merryweather (Richards) must leave her London home and journey — accompanied by her faithful caretaker Miss Heliotrope (Juliet Stevenson) — to the remote country estate of Moonacre Manor. In the stately yet slightly gone-to-seed mansion, Maria is the not-entirely-welcome guest of her uncle, Sir Benjamin Merryweather (Ioan Gruffudd), a sternly sarcastic fellow who warns his niece never to venture into the surrounding woods. It is a warning, of course, she almost immediately disregards.
With a little help from a magical storybook left by her father, Maria comes to realize the denizens of the forest — specifically, a surly clan led by the snarling Coeur de Noir (Tim Curry) — have been feuding with the Merryweather family for centuries, the result of a curse pronounced on Moonacre Valley by a beautiful and powerful Moon Princess (Natascha McElhone)… [Full Story]
A Year Ago in Winter (Im wintere in jahr) – Variety.com
Wednesday, September 10th, 2008Variety.com - By choosing a small-canvas, downbeat drama as her long-awaited follow up to Oscar-winning arthouse goldmine “Nowhere in Africa,” German writer-helmer Caroline Link defies expectations as deliberately as “A Year Ago in Winter’s” rebellious heroine does. The smoothly crafted but not particularly fresh tale of a dysfunctional Bavarian family struggling to move on after the untimely death of a loved one reps something of a marketing and sales challenge. Constantin Film is planning a Nov. 13 release in Germany.
When grieving mother Eliane (Corinna Harfouch) commissions a portrait of dead son Alexander (Cyril Sjostrom) and troubled dancer daughter Lilli (Karoline Herfurth), the painting process ultimately catalyzes emotional healing for mother and daughter — and for conflicted middle-aged artist Max (Josef Bierbichler).
Based on the American novel “Aftermath,” by Scott Campbell, the narrative recalls Robert Redford’s “Ordinary People.” There are the affluent, emotionally cold parents, the sibling left behind who felt threatened by the dead one’s apparent perfection, and feelings of guilt festering beneath the surface that erupt as self-destructive behavior. However, there are also obvious plot mechanics visibly grinding away at every turn… [Full Story]
Paris Hilton finds doc on herself amusing at Toronto film festival – The Canadian Press
Wednesday, September 10th, 2008The Canadian Press - Hotel heiress Paris Hilton seems to approve of a new documentary about her life.
“Paris, Not France,” from Los Angeles-born filmmaker Adria Petty, dissects the socialite’s celebrity status as it follows the heiress and her tiny dogs around the world and features interviews with the Hilton family and media experts.
Hilton and her rocker boyfriend, Benji Madden, attended a screening of the doc at the Toronto International Film Festival on Tuesday night, bypassing reporters on the red carpet to pose for photos and then head inside the Ryerson Theatre.
Sitting in a reserved section of the public audience, the tabloid target could be seen laughing at her candid moments in the film, like the part where she says she never wanted to go to college because she knew what she wanted to do in life and it didn’t “involve learning much of anything.”
The blond paparazzi favourite – whose empire includes an album, perfume and defunct reality TV show in which she coined the phrase “that’s hot” – confesses in the doc that she has purposely put on a baby voice and dumb demeanour in public as part of her “Paris, the heiress” persona… [Full Story]
Related Articles • Video: Paris 'Not France' Hilton Hits Toronto - Associated Press [View all 252 related]
TIFF Review: The Duchess – Cinematical
Wednesday, September 10th, 2008Cinematical - A sweeping period drama about Georgiana, the Duchess of Devonshire, The Duchess is a bland, largely flavorless story that takes one of the more interesting women in British history and reduces her largely to her relationships with the men in her life. From a purely technical standpoint, there’s nothing bad to say about the filmmaking: The extravagant period costumes are resplendent with detail, the cinematography is gorgeous, the music is soaring, and the acting’s solid but not great, but overall the film left me with the feeling of biting into a cream puff and finding that someone forgot the custard filling, leaving nothing but a hollow pastry and empty air.
Part of what hurts the film is the script, which is based on the autobiography of the same name by Amanda T. Foreman. There are three screenwriters credited to the film (which may be part of the problem): Jeffrey Hatcher, Anders Thomas Jensen, and Saul Dibb, the film’s director. Their script takes the life story of a vibrant woman who was politically active and influential a century before the women’s suffrage movement, and dilutes it to little more than a romantic drama of love triangles and oppression. Which is fine, I suppose, if that’s all you want or expect of a period piece, but I was left with the feeling that there was so much more that was important and interesting about Georgiana’s life that got lost in the focus on making a tragically romantic tale.
And honestly, how many period dramas do we need to see where the entire focus of the film is on the ways in which women in earlier centuries were abused and oppressed? From a historical perspective, of course that’s not unimportant, but this isn’t a documentary, it’s a drama. Yes, Georgiana’s husband was probably a controlling, unemotional man who did whatever he wanted while imprisoning her within the marriage. Yes, her choices as a woman during that time period were limited. But we already know those things, so tell us what we don’t know, show us something different, and most importantly show us more about the ways in which she rose above the oppression of the era, rather than the ways in which her wings were clipped by it… [Full Story]
