Saturday, January 26, 2019

Coverage of (new) Native Son film

I've been reading Richard Wright's work for years now, so I'm intrigued about the upcoming release of the new movie adapting his Native Son (1940). The movie stars Ashton Sanders, Margaret Qualley,  and KiKi Layne, among others. It is directed by Rashid Johnson based on a screenplay by Suzan-Lori Parks.

Here's a roundup of articles I've read on the movie so far:

January 24: Sundance Film Review: ‘Native Son’ - Variety - Owen Gleiberman
January 24: HBO Films Picks Up Rashid Johnson’s Native Son - Vulture - Bethy Squires
January 24: HBO Films Acquires ‘Native Son’ - IndieWire - Michael Nordine
January 25: Native Son is a raw, lyrical Richard Wright retelling - EW - Leah Greenblatt
January 25: 'Native Son': Film Review | Sundance 2019 - Hollywood Reporter - Todd McCarthy
January 25: Why 'Native Son' filmmakers cut brutal rape scene for modern retelling - USA Today - Patrick Ryan
January 25: Rashid Johnson's heartracing adaptation of Native Son proves... - Twitter - Matt Patches
January 25: Great choice of Sundance opener... - Twitter - Kevin Fallon
January 25: Native Son: a mixed bag... - Twitter - Brian Tallerico
January 25: Sundance 2019 Review: ‘Native Son’ - Blackgirlnerds - Jonita Davis
January 25: Film adaptation of Richard Wrights’ ‘Native Son’ - The Grio - Kia Morgan-Smith
January 25: ‘Native Son’ can’t escape the shadow of Richard Wright - Vanyaland - Nick Johnson
January 25: 'Native Son': Sundance Review - ScreenDaily - Tim Grierson
January 25: Parks, Johnson Cut Violent Scene From 'Native Son' Remake - Sameer Rao - Colorlines
January 25: Present-day adaptation of ‘Native Son’ opens Sundance 2019 - The Undefeated - Kelley L. Carter
January 26: Sundance Film Festival: Native Son - KUTV - Ryan Painter

A Notebook on Richard Wright

1 comment:

Jerry W. Ward, Jr. said...

Howard, my response to the Q & A about this version of NATIVE SON was DREAD, triggered in part by some recognition that Richard Wright's intentions (or as much of those intentions as we can recover) do still matter in the scheme of systemic racism and in part by the director, screenwriter, and actors treating connections between art and growth of consciousness almost as a throw-away item. Not yet having seen the film itself, I have promised Julia Wright that I will write a series of meditations on the disconnect between 1940 and 2019.