As a woman whose late husband was none other than the legendary Stanley Kramer, a pioneering figure in Hollywood who used film as a powerful tool for change, I can truly appreciate the extraordinary work of RaMell Ross and his transcendent masterpiece, “Nickel Boys.
In 1947, when my beloved husband, Stanley Kramer, established his independent film production company, he aimed to bring about a certain change within the film industry in Hollywood.
The first triumph following that outlined path was the 1949 World War II drama “Home of the Brave,” which was based on Arthur Laurents’ play addressing anti-Semitism in the military. Unconventionally, Stanley recognized potential in the material to explore racial conflicts within the U.S., and covertly, he selected an African American actor (James Edwards) for the leading role. In this adaptation, he transformed Laurents’ tale of a Jewish GI into one focusing on the Black GI experience. This film, which became the most-protested in cinematic history, also kick-started one of the most influential careers in our film industry.
Stanley did make a difference with his work, from stoking disarmament talks with “On the Beach” to crusading for freedom of thought with “Inherit the Wind” to tackling anti-miscegenation laws with “Guess Who’s Coming to Dinner.” His voice was fierce and it echoed across the ages, but while it was dangerous and even life-threatening in Stanley’s day to make films of social conscience, there are times I feel it may be even more dangerous today. Filmmaking is an important tool, dare I call it an important weapon, and those who wield it fearlessly deserve encouragement and recognition. It is for that reason that, for more than 20 years, I have been honored to help amplify other fierce and independent voices with awards proudly bearing Stanley’s name.
As a cinema enthusiast, I’m thrilled to share that this year, the Karen & Stanley Kramer Social Justice Award, in collaboration with the African American Film Critics Association, has honored RaMell Ross for his groundbreaking work, “Nickel Boys.” This film serves as a poignant testament to the potential and might of cinema. Ross masterfully pushes the boundaries of visual storytelling, offering us an extraordinary perspective that is truly one-of-a-kind.
I’m reminded of Spencer Tracy’s powerful words from Stanley Kramer’s 1961 film “Judgement at Nuremberg”. As Chief Judge Dan Heywood, he declared our stance in this verdict for all to see: justice, truth, and the importance of every individual human life.
Through an innovative and unique portrayal of “Nickel Boys,” Ross skillfully and convincingly captures the essence of the story. His first-person narrative, filled with emotional depth, allows us a hauntingly real glimpse into the challenging reformatory journey of two young men. This level of empathy in a film is something I’ve never encountered before, and I believe it would have left Stanley profoundly moved.
Is the topic challenging, you might wonder? Indeed, there’s little doubt about that. After all, “The Nickel Boys” delves into an uncomfortable subject: the mistreatment of children. It’s bound to make us squirm and feel unsettled.
What makes Ross’s accomplishment unique is that he resisted the urge to dramatize or peek intrusively at disturbing visuals. This film doesn’t traffic in such content. Instead, it challenges conventions by presenting a perspective that originates not as an outsider observing, but as a member of the Black community. In essence, this approach is groundbreaking. Ross himself has stated that his goal was to shift the focus from looking at the Black community, but rather, to look from within it. To reiterate, this is truly revolutionary.
It’s likely you’ve noticed that one of Stanley’s movies plays a crucial role in “The Nickel Boys.” Specifically, it’s the 1958 Academy Award-winning drama “The Defiant Ones,” which stars both Sidney Poitier and Tony Curtis.
In Whitehead’s novel, Ross decided to connect Stanley’s film with his own because they both portray characters evading capture and reflect on the racial dynamics of the time. However, what caught Ross’ attention was Sidney Poitier’s powerful singing of “Long Gone (From Bowling Green)” in the movie, which serves as a symbol of defiance in the film. This iconic scene, along with Dr. Martin Luther King Jr.’s inspiring speeches, according to Ross, played a significant role in shaping Elwood’s ideology and perspective in his story.
I’m deeply moved by it – for in such a straightforward way, Ross beautifully encapsulated Stanley’s faith in the power of cinema to unite and inspire humanity.
For Elwood, it was a single defining moment. Without a doubt, “The Nickel Boys” movie is likely to be filled with such moments for many others.
Karen Sharpe Kramer, who is the widow of renowned producer-director Stanley Kramer, presents two prestigious awards: the Stanley Kramer Award at the yearly Producers Guild Awards, and the Karen & Stanley Kramer Social Justice Award at the AAFCA (African American Film Critics Association) Awards. The 16th annual AAFCA Awards, which celebrate excellence in cinema with a focus on Black diaspora representation, will take place on February 19. At this event, “The Nickel Boys” filmmaker Ross will receive the Spotlight Award, while Brandon Wilson and Ethan Herisse will accept the Next Gen Award.
Up top, you can see Brandon Wilson and Ethan Herisse from “Nickel Boys,” similar to how Sidney Poitier and Tony Curtis were portrayed in “The Defiant Ones.
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2024-12-14 21:19