Tarantino, condemned by police, gets support from protesters

30 Oct 2015 | Author: | No comments yet »

Call for police boycott of ‘cop hater’ Quentin Tarantino’s films over ‘murderers’ slur.

Kimberly Griffin, left, holds hands with film director Quentin Tarantino after she recalled memories of her son Kimoni Davis, during a public reading of the names of people who have died at the hands of police nationwide, Thursday, Oct. 22, 2015, at Times Square, in New York. NEW YORK (CBSNewYork/AP) — Organizers of a rally against police brutality Thursday spoke up in support of Quentin Tarantino, who has recently come under fire by New York Police Department Commissioner Bill Bratton and other police associations for remarks the filmmaker made at an event over the weekend. “It really is an attempt to squelch any discussion by people in the arts or prominent people in other fields of taking up and discussing controversial social issues,” he said.Calls for an American police boycott of Quentin Tarantino’s films are gathering steam, with police unions in three US cities pledging their support for the campaign launched by New York’s union chief.

On Saturday, the Academy Award-winning filmmaker joined hundreds of demonstrators at Washington Square Park before marching about two miles along Sixth Avenue to protest police brutality nationwide. “I’m a human being with a conscience,” said Tarantino, who flew in from California for the event. “And if you believe there’s murder going on then you need to rise up and stand up against it. I’m here to say I’m on the side of the murdered.” Tarantino’s remarks were quick to spark anger among several law enforcement officals, including Bratton and NYC Patrolmen Benevolent Association President Pat Lynch. #RiseUpOctober posted a series of statements on its website supporting Tarantino, from other organizers as well as relatives of those killed by police. In the statement, Dix slammed Lynch, commenting on a statement the PBA president made about the death of Eric Garner last year. “I challenge Pat Lynch and anyone else to a debate over what’s the real problem: our protest of murder by police or police getting away with murder,” Dix said in the statement. The director acknowledged that the timing of his statement was “unfortunate,” but didn’t back down from it. “We fully support constructive dialogue about how police interact with citizens,” Los Angeles Police Protective League president said in a statement, “But there is no place for inflammatory rhetoric that makes police officers even bigger targets than we already are.” In Philadelphia, the Fraternal Order of Police Lodge 5 put it to a vote, announcing Thursday that its 14,000 members would join the boycott of Tarantino’s films. “Tarantino has shown through his actions that he is anti-police,” said lodge president John McNesby in a statement. “Mr.

Tarantino has made a good living through his films, projecting into society at large violence and respect for criminals; he it turns out also hates cops.” Shame on him particularly at this time where we’re grieving the murder of a New York City police officer,” Bratton said. “There are no words to describe the contempt I have for him and his comments at this particular time.” (TM and © Copyright 2015 CBS Radio Inc. and its relevant subsidiaries. The site notes that those deaths are recorded “whether [they occurred] in the line of duty or not, and regardless of reason or method … inclusion implies neither wrongdoing nor justification on the part of the person killed or the officer involved”. Earlier this year, he was in hot water after an interview in the New York Times’ T Magazine where he spoke on the Oscars “snub,” as it’s been deemed, of Ava DuVernay’s “Selma.” In the piece, writer Bret Easton Ellis quotes Tarantino as saying, “She did a really good job on ‘Selma’ but ‘Selma’ deserved an Emmy.” “I’m writing you to pass on that the quote from the NY Times piece about ‘Selma’ is wrong,” he wrote. “I never saw ‘Selma.’ I did say the line ‘it deserved an Emmy,’ but when I said it, it was more like a question…

There was no slam intended.” Tarantino however did slam film critic Jan Wahl in a 2003 interview ahead of the premeire of “Kill Bill.” Though regarded by many, including the filmmaker himself, as a story of female empowerment, Wahl, then of San Francisco’s KRON, didn’t agree. Both he and his alleged killer were African American. “The police officers that Quentin Tarantino calls ‘murderers’ aren’t living in one of his depraved big-screen fantasies – they’re risking and sometimes sacrificing their lives to protect communities from real crime and mayhem. “New Yorkers need to send a message to this purveyor of degeneracy that he has no business coming to our city to peddle his slanderous ‘Cop Fiction’. In an on-air interview with him, things got heated as she pushed back on the director’s assertion that 12-year-old girls would be empowered by the film.

In response, Tarantino called the critic out for conflating real life with the film. “Jan, you’re all messed up because you’re talking about real life and I’m talking about the movie,” he said. “You’ve got to get it straight.” Perhaps the most contentious of Tarantino’s feuds however may be the longstanding one between fellow director Spike Lee. Before the release of Tarantino’s slavery drama, “Django Unchained,” Lee vowed that he wouldn’t see the film because of its unrestrained use of the N-word. “I can’t speak on it ’cause I’m not gonna see it,” Lee told Vibe magazine. “The only thing I can say is it’s disrespectful to my ancestors to see that film.” Tarantino defended his use of the word in an interview with the Root’s editor and Harvard professor Henry Louis Gates Jr., calling the criticism “ridiculous.” “If you’re going to make a movie about slavery and are taking a 21st-century viewer and putting them in that time period, you’re going to hear some things that are going to be ugly, and you’re going to see some things that are going to be ugly,” he said. “That’s just part and parcel of dealing truthfully with this story, with this environment, with this land.” The use of the N-word has been central to many of Tarantino’s scripts dating to his debut film, “Reservoir Dogs.” Lee has voiced his distaste of the director since Tarantino’s 1997 film “Jackie Brown,” which also used the word frequently. Tarantino also is the director of movies including “Kill Bill” and “Reservoir Dogs.” His next film, “The Hateful Eight,” is scheduled for release in late December.

While Moorhouse still has a high reputation as an Australian filmmaker, she has not shot a feature in her homeland since her debut, Proof, in the early ’90s. In the dead of night, the glamorous Tilly Dunnage (Kate Winslet) arrives in the remote wheatbelt town of Dungatar​, her Singer sewing machine by her side.

Even now, in 1951, the rumours haven’t subsided: Tilly fears she may be cursed, and Mad Molly (Judy Davis), her cranky old bag of a mother, initially refuses to recognise her. She moves into Molly’s hilltop shack, close enough to the town for her to hit golf balls through the windows of the main street shops, and having learned her trade in the great fashion houses of Europe, she sets about introducing the local matrons to the joys of haute couture.

Whatever may be suggested by this synopsis, is not one of those sentimental fables in which a free-spirited stranger brings new life to a repressed community in the vein, say, of the Juliette Binoche​ vehicle Chocolat. Like many outback towns in Australian cinema, Dungatar is something of a hellhole, its very name suggesting a smelly spot where the hapless get stuck.

Its citizens also tend to be given blunt allegorical names, from the vicious schoolteacher Beulah Harridiene​ (Kerry Fox) to the slimy civic leader Evan Pettyman​ (Shane Bourne, subverting his image as a TV smoothie). Many Australian screen veterans pop up in similarly grotesque roles; despite Tilly’s femme fatale aura, Winslet often functions as a level-headed foil to the ratbags around her. Another partial outsider is Teddy McSwiney​ (Liam Hemsworth), a rugged hunk from a family of rubbish collectors who serves as Tilly’s love interest, though his role isn’t quite what it would be in a conventional feelgood entertainment.

The great scene-stealer is Davis, who is able to make Molly into an outlandish comic figure without eliminating all nuance, since the shamelessness belongs as much to the character as to the performer. Molly may be a recluse, but she relishes having an audience to play to, cheerfully describing herself as a “hag” and leering at Teddy’s muscular torso when he drops round to be measured for a suit. Truth be told, Moorhouse has so many characters and subplots to juggle that her storytelling can feel disjointed: some weighty developments are skated over so rapidly we might wonder if they really happened at all. On the other hand, the lurches from broad comedy to grim melodrama and back are evidently intentional, part of a strategy for throwing the viewer off-balance, along with the dramatic colour contrasts and spatial distortions of Don McAlpine’s cinematography. Hogan, who collaborated with her on The Dressmaker’s script (and whose own first feature, Muriel’s Wedding, was set in the comparably horrid Australian town of Porpoise Spit).

By the end, it’s clear Moorhouse wasn’t joking when she publicly compared the plot of The Dressmaker to Clint Eastwood’s great revisionist Western, Unforgiven.

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