The theme for this month – The Audacity of Decency
Won’t You Be My Neighbor (2018)
Edited by Jeff Malmberg and Aaron Wickenden.
“Prior to his TV career, Rogers studied in a seminary and eventually became an ordained Presbyterian minister, and so it’s not surprising when one of his colleagues says in the movie, “There was a noble, spiritual dimension to what he did.” But, at least in terms of the TV show, it was a strictly nondenominational spirituality. He had an ecumenical embrace, and children responded to him because he didn’t judge them. He wanted them to know every one of them had value.
“Rogers first got the idea for the show after seeing all the balloons and Bozos on children’s television and thinking there must be a better and more meaningful way of reaching out to little kids.” Peter Rainer, Christian Science Monitor
“On the other hand, at a time when racial integration was still controversial to some, Rogers included in the show a scene in which he shares a foot bath with the African American Clemmons on a hot day. A solid lesson, gently delivered.
“And while he talked about grouchy monarchs (King Friday XIII) and what to do with “the mad that you feel,” he also spoke about Bobby Kennedy’s assassination and the Challenger explosion. What mattered most to him, as he says in the film, was that children be protected
“In the 15 years since Rogers died (of cancer), the world has become an even scarier place, which is, perhaps, part of what gives “Won’t You Be My Neighbor?” a power that goes far beyond nostalgia for tiger puppets and cardigan sweaters.
“Morgan Neville, who won an Oscar for “20 Feet From Stardom,” wisely lets Rogers speak for himself.” Eleanor Ringel Cater, Saporta Report
“What’s so striking about Won’t You Be My Neighbor isn’t really onscreen, though. It’s the effect the film has on the audience, and what that reveals about us.
“As a number of critics have noted, what’s so startling about the movie is the revelation that Mr. Rogers was, as far as anyone seems to be able to tell, basically the person he presented himself to be onscreen. And more importantly, that’s unexpected. Watching the film, it’s hard to believe it’s true. Even after seeing the film, it seems a bit suspect, as if a story of a hidden crime will eventually come to light if we just wait long enough.” Alissa Wilkinson, Vox
Directed by Akira Kurosawa (Seven Samurai, High and Low)
Written by Shinobu Hashimoto and Kurosawa.
Shot by Asakazu Nakai.
Starring: Takashi Shimura, Haruo Tanaka, Nobuo Kaneko, Bokuzen Hidari, Miki Odagiri, Shin’ichi Himori, Minoru Chiaki.
“We who have followed Watanabe on his last journey are now brought forcibly back to the land of the living, to cynicism and gossip. Mentally, we urge the survivors to think differently, to arrive at our conclusions. And that is how Kurosawa achieves his final effect: He makes us not witnesses to Watanabe’s decision, but evangelists for it. I think this is one of the few movies that might actually be able to inspire someone to lead their life a little differently.
“Kurosawa made it in 1952, when he was 42 (and Shimura was only 47). It came right after “Rashomon” (1951) and “The Idiot” (1952), which also starred Shimura. Ahead was his popular classic “The Seven Samurai” (1954) and other samurai films like “The Hidden Fortress” (1960), the film that inspired the characters R2D2 and C3PO in “Star Wars.” Roger Ebert
Directed by Robert Mulligan (Love With the Proper Stranger, Up the Down Staircase)
Adapted by Horton Foote from the Harper Lee novel.
Shot by Russell Harlan (Witness for the Prosecution, Rio Bravo)
Starring: Gregory Peck, Mary Badham, Phillip Alford, John Megna, Brock Peters,James Anderson and Estelle Evans.
“The Academy Award winning screenplay was faithfully adapted by screenwriter Horton Foote from the 1960 novel of the same name by Harper Lee – who had written a semi-autobiographical account of her small-town Southern life (Monroeville, Alabama), her widower father/attorney Amasa Lee, and its setting of racial unrest. [Note: This was Lee’s first and sole novel – and it won the Pulitzer Prize in 1960.] The poor Southern town of deteriorating homes was authentically re-created on a Universal Studios’ set. Released in the early 60s, the timely film reflected the state of deep racial problems and social injustice that existed in the South.” Tim Dirks, AMC
Won’t You Be My Neighbor? is at The Grand Cinema.
Ikiru will screen at 7:15 p.m. on Friday, July 6 in the Center for Spiritual Living (206 N. J St).
To Kill a Mockingbird will screen at 7:15 p.m. on Friday, July 13 in the CSL.
The TFC Discussion Night for these three films is Wednesday, July 18 in the CSL.