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Toni Morrison: The Pieces I Am - Deleted Scenes (2019)
Deleted Scenes well worth watching
This "Deleted Scenes" DVD Extra is the delightful, polar opposite of the kind that leave you thinking, "No wonder *those* got chopped and dropped to the cutting room floor."
Viewing this additional material, one might wonder why the filmmakers cut any of it, especially some of the more personal and laugh-provoking anecdotes. I submit it's a reasonable and educated guess that Director Timothy Greenfield-Sanders and Editor Johanna Giebelhaus found it tough to turn these segments into outtakes. Most likely, no one involved in crafting "Tony Morrison: The Pieces I Am" thought it would viable as a 2-hour-and-19-minute documentary, so *something* had to go.
These deleted segments provide further worthwhile insights into Morrison, her friendships and her family. Some bring out more of her lighthearted humor. Yet, her deeply serious commitment to the craft of writing and its role in fostering justice comes to the fore in the final segment, "Toni and Toni." Who is the other "Toni," and what connected her with Morrison in ways advancing literature and equity? Discover by viewing all of this well-worth-watching DVD special feature.
The Picture of Dorian Gray (1973)
"Dark Shadows" Connection Amused (& Distracted) Me
Within the first 5 minutes of watching this version of "The Picture of Dorian Gray," I knew it had to be by the same people who had done "Dark Shadows" (DS)! I'm going on 49, and my "Younger-Slice-of-the-Baby-Boom" credentials are solid regarding having been addicted to DS. I laughed out loud when confirmation of the DS connection arose from hearing "Angelique's Theme," and another DS melody I recognizedused as music being performed at gatherings of London's elite. All such DS touches amused but also distracted me, I must say. Another distraction was the use of several key story changes used in the 1945 MGM version. Noting these changesalong with the feeling that the bits of dialogue preserved from Wilde's novel (i.e., Lord Henry's clever sayings) were those that were in the MGM version, made me wonder if the writer had read the original work at all or had just worked from the MGM screenplay! Finally, in the 2 weeks prior to viewing this, I'd watched a 1976 BBC adaption (w/ Sir John Gielgud marvelous as Lord Henry), the MGM film & read the novel for the 1st time. One thing I'll give this one, I appreciated its versions of the changes in Dorian's eponymous "Picture" the most.
Joyeux Noël (2005)
More high praise {from a movie-loving minister's perspective}
For those disinclined to read long-ish comments, right up front I want to pass on a strong recommendation to watch the Special Feature Interview with the writer/director, Christian Carion--after watching the film of course. (Technical point: Unlike watching the film itself, it seems you have to go to "Subtitles" from the Main Menu and turn on subtitles {in English, Spanish, or Portuguese} and then go to Special Features and choose the interview, unless you understand French.) You're likely to find that his comments--about the historical, archival, and anecdotal sources for events dramatized in the film--enrich your appreciation of it.
Now, given all the comments already posted, there's not much more to say in praise of this excellent, stirring, thought-provoking film. As a longtime cinema-loving human being who is a Roman Catholic priest, I simply wish to say that I thoroughly appreciate the humane, moral/ethical richness and complexity of Joyeux Noël. I've already begun recommending it, and can easily imagine watching it and showing it around Christmas-time for years to come.
Its portrayal and exploration of the role of religion, like any dimension of the human person and society/culture, is entangled with the "angels of our better nature" (A. Lincoln), as well as the demons of our worst selves and of our collective dynamics.
One minor issue I'll mention since I've identified my profession and religious affiliation: One depiction of common knowledge about religious observance confused me slightly. I would have thought there would be more denominational divergence. Chalk it up to my lack of knowledge regarding Christianity in Europe and the U.K. at the start of the 20th Century and/or to the need to overlook specifics for the compelling needs of focused, emotionally-rich storytelling.
Finally, this film was one of the Academy Award nominees for Best Foreign Language Film in 2006. Just before watching it this week, I happened to have seen Tsotsi (2005), which won that category. I've also seen another nominee, Paradise Now (2005). Choosing a "Best" from among these three excellent films would seem to be a daunting dilemma.