#malick bowens

[haveyouseenthismovie-poll]

Have you seen Out of Africa (1985)?

Yes

No

Haven’t even heard of this movie

Voting ended onJun 11

[camyfilms]

OUT OF AFRICA 1985

I'm with you because I choose to be with you. I don't want to live someone else's idea of how to live. Don't ask me to do that. I don't want to find out one day that I'm at the end of someone else's life.

[anhed-nia]

BLOGTOBER 10/28/17: THE BELIEVERS

The first time I ever saw THE ROCKY HORROR PICTURE SHOW in a theater, I was 12 years old. My family took my little brother and me on a short vacation to New York City, and indulged my burgeoning obsession by agreeing to take me to the still-thriving cult’s home base at the Waverly Theater. While I had almost nothing on my mind other than this opportunity to commune with the original cultists, and practice with them in their hallowed chapel, I was already ensconced in a real world of faith and ritual that I had much less ability to address. We stayed in the apartment of my parents’ friend Phyllis Galembo, a noted photographer of religious practice and folk conventions in Haiti, Brazil, Cuba, Jamaica, Nigeria, Sierra Leone, Berkina-Faso, Zambia, South Afica, Egungun and Gelede Benin. I had met Phyllis a few times; I remembered her as warm, energetic, and fairly hilarious. I was curious about her work in my childish manner, without having developed a shred of the intellectual wherewithal to think usefully about these other cultures. In spite of what I knew, I was completely startled by her apartment. It was fairly tiny, as per Manhattan standards, and it thrummed with music that I could only identify as “foreign”. Her walls were covered from floor to ceiling with masks, photographs, costume pieces and art objects from her travels. The effect was overpoweringly fascinating. I followed her around the place for a little bit while she prepared to vacate, and then, like a complete asshole, I asked, because it was my only point of reference for my surroundings: “Have you ever seen THE BELIEVERS?” She tersely spat something about it being “racist trash”, putting the topic straight to bed.

THE BELIEVERS was a movie that I had seen quite a few times on Fox’s weekend horror matinee, my rare and treasured opportunity to watch scary movies, edited for television, with my nose pressed to the screen of our tiny black and white set. This 1987 John Schlesinger thriller concerned a recently widowed police psychiatrist who finds himself embroiled in the grim doings of a deadly Santeria cult. I loved it. Martin Sheen is the traumatized lead, who is trying to juggle a new love with monitoring his young son’s mental health, as a series of apparent human sacrifices arises in New York City. The inimitable, and here, white-eyed Malick Bowens plays a Pied Piper character who makes bloodthirsty acolytes out of rich white socialites who can never have too much money or power. An attenuated dread underlies the film’s seductive, overcast sleepiness, which blankets its intimate images of the New York that is not pictured on postcards. The pensive uncertainty that pervades THE BELIEVERS is punctuated, rarely and unpredictably, with gamey gore, or live bodies erupting with pestilence. While it never achieves the profundity of something like THE EXORCIST, it is not without moments of pathos, like the mourning process of losing one’s mind that a young Jimmy Smitts must undergo. THE BELIEVERS may not be deep, but it is strong.

This is all, of course, without mentioning the issue of race. When the movie came out in 1987, it may still have been possible for many audiences to ignore the movie’s essential xenophobia–that is, more possible than it is now, when discussions of racism make the news with much greater frequency detail, even if the vast majority of us are still struggling to address it properly. Viewers who were primed to condemn negative imagery related to slaves or “savages” were not as often enabled to, for instance, recognize distorted messaging about Afro-Carribean religions that developed under colonial duress. THE BELIEVERS attempts to exonerate itself by taking the popular tack of sorting ethnic characters into “good guys” and “bad guys”. It presents various intelligent, complex, and well-intentioned non-white professionals, often in beautifully photographed Black and Brown neighborhoods where Santeria is commonplace, who wind up serving as a counterpoint to the literally-dark and mysterious interlopers whose activities point to the profoundly evil potential of their shared religion. We still do this today, with this same thematic material, since now we have the option of assigning the locus of evil to Palo Mayombe, a religion whose public image has been permanently and popularly tainted by the real-life murder cult of Adolfo de Jesus Constanzo. Many people seem to get a false sense of progress from the fact that shows like Criminal Minds now pompously explain to viewers that Santeria is a nice “one of the good ones” religion without blood sacrifice, unlike that nasty Palo business. THE BELIEVERS had no such contemporary convenience, and has to settle for glibly parsing Santeria from “brujeria”. If the movie is unclear about the nature of Santeria in general, other than some suggestions that it is normal and typically benign, it is not exactly helpful to add to this hazy mix a blacker-than-black witch doctor who has come to America to chew up little boys like some fairy tale ogre.

Does it help that rich white people are the majority doers of evil in THE BELIEVERS? I think the answer is, not totally, but somewhat. There’s something to the notion that the serial child murderers that Martin Sheen encounters are only happening because the greedy desires of Manhattan’s elite insist upon them. And it isn’t only the posh, grown-up ski school villain types, either; Sheen will soon find among the guilty his own ostensibly liberal pals, whose multi-culti home decor serves as a pushy declaration of the owners’ worldliness. Indeed, in spite of their apparent desperation to be perceived as leaping over cultural boundaries, these dashiki-clad white folks are only truly interested in non-anglo cultures when there exists the promise of supernatural power that may beget even greater material wealth. It’s actually a very good allegory for the diluted, cherry-picked amalgam spirituality that festers in the corners of headshops and new age bookstores, where aimless Americans browse for artifacts that will help them “manifest” more love, sex, or money, or reflect negative energies back upon those who have allegedly cursed them–all without having to spend so much as a minute learning about what an orisha is or where dream catchers come from. It is difficult to get past the cartoonish positioning of Malick Bowens as a sort of antichrist, and the way that this real-life religion is depicted as a tool to drown “civilized” society in its own blood. But, at least the movie more than flirts with the option of accusing our white upperclass of polluting and perverting other cultures for the furtherance of their white upperclass endeavors. At its best, THE BELIEVERS seems to say that if this Afro-Carribean religion serves evil, then it is white Americans who make it so.

I was a little nervous about watching THE BELIEVERS as an adult, but I found that I still like it a lot, as a moody, finely crafted piece of entertainment. It was probably my first exposure to Robert Loggia, and it’s impossible to throw that away. For better or worse, it is also impossible to avoid the arguments it raises, in spite of itself, about how to treat the subconsciously malign motivations of good movies. In this context, it’s probably best for me to just say that the number of movies I’ve reviewed here that involve something like naked ladies being chased around with knives, should tell you how I ultimately feel about this level of moralizing about art. So, I’ll just adjourn lightheartedly by offering up to anyone who is reading this, who wants to know who I thought was the most ludicrous celebrity “regular” at the mixed-witchcraft shop up the street from where I used to work, that I’ll happily tell you over DM.

[eyeliketwowatch]

Out of Africa - Big Big Romantic Epic

Suprisingly, I have a soft spot for a sweeping romantic epic of this sort, and this one is one of my favorites. Another wonderful performance by Meryl Streep (utilizing again her talent for obscure accents), and a fine low key performance by Robert Redford at the tail end of his believability as a romantic leading man. Streep plays the Danish author Karen Blixen (pen name Isak Dinesen) and her adventures in southern Africa trying to make a go of it as a coffee farmer married to the brother of her lover. There is a romance of sorts with the adventurer Denis Finch Hatton (Redford), but it is Africa itself that really steals her heart, and the scenery in this movie is absolutely breathtaking. Also, some of the most beautiful soundtrack music that perfectly captures the mood and feel of the story. I caught this one at the old Eastbrook Mall theater (Later turned into a nightclub, the 'Orbit Room'), not really expecting much, but it really blew me away, and I've been back to watch it at every opportunity in the years since.

(my only beef is with one of the early scenes set in Denmark where it is obvious that it was shot in a studio with a shoddy blue screen of Danish Winter superimposed behind the characters, but it is a minor complaint in an otherwise beautiful movie)

4 stars out of 5

Released 1985, First Viewing December 1985

[lobbycards]

The Believers, French lobby card. 1987

Submitted by videorecord

[orerip-blog]

Out of Africa Downloads

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Actors:

Meryl Streep Klaus Maria Brandauer Joseph Thiaka Malick Bowens Robert Redford Stephen Kinyanjui Michael Kitchen

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[pvrour-blog]

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Actors:

Malick Bowens Alex Descas Christophe Aquillon Valeria Golino Lucia Bosé Haluk Bilginer Serra Yilmaz Marie Gillain

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