Mrs. O: The Face of Fashion Democracy (BOOK REVIEW)

Mrs. O: The Face of Fashion Democracy

By Mary Tomer

Center Street/Hachette Book Group

Hardcover, $25.99

248 pages

ISBN: 978-1-599-95258-1

 

 

                                  

Book Review by Kam Williams

 

 “Celebrated for her style and substance, Michelle Obama has transformed the role of First Lady and become a 21^st Century icon, attracting attention from all over the world. The qualities so admired in her—intelligence, strength and charisma—radiate through her personal style, which has united accessibility with high-wattage glamour.

The clothes, like the women, feel both familiar and inspirational. Readily mixing high-end labels with more affordable brands, with a focus on craftsmanship and artistry, Mrs. O has elevated the notion of real value and ushered in a new era of fashion democracy.”

-Excerpted from the Flyleaf.

 

Do you remember the stunning red and black dress designed by Narciso Rodriguez that Michelle Obama wore in Grant Park on Election Night? Or the tasteful Jason Wu gown she donned to danced with her husband at the Inaugural Balls? Or how about the bright-colored J.Crew coats which kept daughters Sasha and Malia warm while watching mommy hold the Bible while their father took the oath of office?

                Of course you do! Photos of those three iconic events are just a few of the dozens of historic moments preserved for posterity in Mrs. O: The Face of Fashion Democracy. As the title suggests, the book is far more than a collection of snapshots from the campaign, for it focuses on the new First Lady and her family from a fashion point-of-view. Not only does this delightful coffee table tome present Michelle in all of her sartorial splendor, but it also devotes space to interviews with the designers of many of her outfits and accessories.

For example, author Mary Tomer interviews Thakoon Panichgul, the Thai-born creator of Mrs. O’s rose-printed reverse kimono from the final night of the Democratic National Convention. When asked whether Michelle is now America’s style icon, it is not surprising that he answers in the affirmative. Anybody looking for controversy ought to look elsewhere, as this opus, at heart, is a gushy lovefest.

Among the luminaries weighing-in is Andre’ Leon Talley, Vogue Magazine’s Editor-at-Large, who rolls out a string of superlatives stating that Michelle “has redefined what it means to be a First Lady… She has changed and shifted the paradigm of what elegance and beauty are… I like what she stands for: you can be a woman, a good wife, and a modern mother. She has her own identity… She is the most capable woman in the world.”

And an inspiration and graceful role model who is likely to have a profound effect on impressionable young minds for generations to come.

Mo'Nique: The "Precious" Interview

 

 

with Kam Williams

 

Headline: Just Give Mo’Nique the Oscar!

 

                Mo’Nique Imes was born on December 11, 1967 in Baltimore which is where she started her showbiz career as a stand-up comedienne on a dare a couple of decades ago. From there, she gained visibility and immense popularity with performances on “Showtime at the Apollo,” HBO’s “Def Comedy Jam,” “Apollo Comedy Hour” HBO’s “Snaps,” BET’s “Comic View,” The Montreal Comedy Festival and Uptown Comedy Club.

                Her big break arrived in 1999 when she landed a starring role on the television series, “The Parkers.” During the show’s five-year run, Mo’Nique earned numerous awards, including four NCAAP Image Awards as the Outstanding Actress in a Comedy Series. Her film credits include Welcome Home Roscoe Jenkins, Two Can Play That Game, Hair Show, Three Strikes, Baby Boy, Beerfest, Phat Girlz, Soul Plane, Irish Jam, Domino and Shadowboxer.

                As a voluptuous role model for Rubenesque females Mo-Nique wrote the best-selling book “Skinny Women Are Evil,” as well as an equally-funny follow-up entitled “Skinny Cooks Can’t Be Trusted.” She also created, produced and emceed “Mo’Nique’s F.A.T. Chance,” America’s first, full-figured, reality beauty pageant. Struck by the skyrocketing number of women behind bars, she brought her act to a prison to tape a comedy special called “I Coulda Been Your Cellmate” which aired on TV before later being released on DVD. Then, she delved further into the issue as the host of “Mo’Nique: Behind Bars” for the Oxygen television network.

Here, she talks about “The Mo’Nique Show,” her new late-night talk show on BET, and about her Oscar-worthy performance in Precious, Lee Daniels’ eagerly-anticipated screen adaptation of Sapphire’s novel, “Push.”

 

Kam Williams: Hi Mo’Nique, thanks so much for the time.

Mo’Nique: Hey Kam! Thank you, baby!

KW: Congratulations on the new TV show.

M: Thank you!

KW: How would you describe the format? How are you dividing the time among monologues, interviews, and musical and other performances?

M: I can’t give you those numbers, baby, because the show is so unpredictable. We’re just having a great time.

KW: What interested you in doing a talk show?

M: Well, I’ve always wanted to do a talk show. That was the whole focus from the very beginning. First, I thought it’d be like Oprah Winfrey, but the comedienne in me wouldn’t let me do that. So, when my husband [Sidney Hicks] and I spoke with Loretha Jones [BET’s President of Programming], we said, “We want to do late-night. We want to have a party.”

KW: Speaking of partying, you were recently spotted in Manhattan partying at Nick Ashford and Valerie Simpson’s Sugar Bar with Lee Daniels, Andre’ Leon Talley and some other folks. Did you have fun?

M: I had a blast, Kam. When you go to the Sugar Bar, the kid in you truly comes out.

KW: When you mentioned Oprah, it reminded me that I told my readers I’d be interviewing you. And one of them, Laz Lyles, was wondering how much it means to you to have Oprah personally get behind the film in such a strong way.

M: It was a pleasure. She’s a powerhouse. She’s Oprah Winfrey. You know what that means. So, when she said, “I dig this,” I was very appreciative of it. 

KW: Attorney Bernadette Beekman asks, how do you do it? You’re already a mother, actress, author and comedienne, and now adding late night TV host. So, she wants to know how you keep sane and healthy and how you manage to juggle everything.

M: There is a great group of people that surrounds me, starting with my husband, who is my business partner and executive producer of the talk show. With our assistants and our staff in our home, we have a great team. So please believe me, I’d love to say, “Oh honey, I’m a superwoman!” But I’m so far from being a superwoman. It’s all the people who surround us are what make Mo’Nique work. 

KW: Laz also asks, was it hard for you not to take you character home with you at the end of the day when you were shooting Precious?

M: It wasn’t hard at all. We left it on the stage. When Lee said “Cut!” that’s what it was.

KW: Schoolteacher Erik Daniels says he really enjoyed I Coulda Been Your Cellmate, your stand-up show shot inside a women's prison. He’s curious about whether you’ve stayed in touch with any of the inmates you met.

M: Tell him, that to my surprise, when I was at the Sugar Bar the other night, I bumped into a woman who was in that prison when I was there. We hugged so tight, and she introduced me to her son.

KW: Erik also wants to know if you have plans to do something like that again.

M: I don’t think I’ll do another one, because I think it was special in the moment for all of us.

KW: Marcia Evans says that she wants you to know that this fan of yours gained more respect for you after your opening up to Oprah about the sexual and emotional abuse that happened to you. Just let her know that I'm so proud of her stepping up. She goes on to say, “I want Monique to know that she has probably healed some women by sharing her truth. Monique you are looking beautiful!” I guess she didn’t exactly have a question.

M: Well, tell that baby, thank you very much!

KW: Is there any question no one ever asks you, that you wish someone would?

M: [Laughs] No!

KW: The Tasha Smith question: Are you ever afraid?

M: No.

KW: The Columbus Short question: Are you happy?

M: Have you ever seen a light bulb when it’s at its brightest but getting ready to burn out?

KW: Yeah.

M: That’s how I feel.

KW: I can understand, between the new TV show and the movie. I was totally blown away by your performance when I saw Precious. And I’ve never heard so much Oscar-buzz so far in advance of a picture’s release. Everybody’s been talking about your Academy Award -worthy performance since last January when the film premiered at the Sundance Film Festival. How do you feel about all the buzz?

M: You know what? I’m excited about any buzz. I was excited when Lee Daniels first called me up. Just for the movie’s message to be told, that’s where the real excitement comes in for me.

KW: Bookworm Troy Johnson wants to know, what was the last book you read?

M: Oh my God, I love Troy for that question. I just completed Diahann Carroll’s “The Legs Are the Last to Go.” Kam, after reading that book in three days, I have such respect for that woman. Oh my God! That book will blow you away, because she’s so brutally honest about who she is. It’s incredible!

 

 

KW: The music maven Heather Covington question: What music are you listening to? 

M: The last thing I listened to was Whitney Houston at about 6 this morning. I’m also listening to Maxwell a lot, but I’m really excited right now for Whitney.

KW: What is your favorite dish to cook?

M: Kam, my favorite dish to cook is macaroni and cheese.

KW: The Laz Alonso question: How can your fans help you?

M: By realizing that they’re not my fans, but my bosses. I want them to know that I’m just as excited as they are when they ask for an autograph or take a picture with me, because I’m still that little girl who used to practice in the mirror.

KW: Speaking of mirrors, when you look in the mirror, what do you see?

M: [Laughs] I see somebody, baby, that’s full of life. I see somebody that still has a lot more growing to do and is willing to take it on. I see somebody that the universe said to her, “We’re going to give you this and see how you deal with it.”  I see somebody who has an incredible husband, amazing kids and great people around her. So, when I look in that mirror, I be like, “For real?” 

KW: The Flex Alexander question: How do you get through the tough times?

M: Bless my brother Flex’s heart. Fortunately, I don’t have no tough times.

KW: Thanks again, Mo’Nique and I’m expecting to be congratulating you on your Oscar, the next time I speak to you. 

M: Thank you so much, Kam. Bless your heart, sugar.

A Serious Man

Film Review by Kam Williams

Headline: Job-Like Patriarch Tested in Coen Brothers’ Modern Morality Play

The Book of Job, thought by many theologians to be the oldest set of scriptures in the Bible, relates the story of a generous, prosperous and pious patriarch whose faith in God is tested by a series of calamities orchestrated by Satan. Over the course of his excruciating ordeal, Job remains righteous despite losing his children, his home and all his worldly possessions in a whirlwind, and then his health and even the love of his wife, who tells him to “Curse God, and die!”
Instead, he consults three friends for an explanation as to why the Almighty would allow a devoted follower to suffer so much misfortune, but they are of no help since they believe he must have sinned to incur God’s wrath. In the end, Job’s “Why me?” is left unanswered, although he is at least well rewarded for having kept his faith in the face of adversity.
Written and directed by Joel and Ethan Coen, A Serious Man is a modern morality play revolving around a latter-day Job burdened by a host of woes of Biblical proportions. After the pre-opening credits murder of an elderly rabbi (Fyvush Finkel) by a skeptical peasant couple (Allen Lewis Rickman and Yelena Shmulenson) living in an Eastern European shtetl around the turn of the 20th Century, the setting shifts to Minnesota in 1967 where are introduced to the protagonist, Larry Gopnik (Michael Stuhlbarg), a mild-mannered economics professor.
Larry resides in a modest, middle-class home on a nondescript, suburban tract typical of the era, a defoliated landscape dotted with rows of identical houses devoid of personality. The members of his dysfunctional family, however, bear little resemblance to their sterile environment, as each is a colorfully-comical character with a skeleton in his or her closets.
There’s Larry’s wife, Judith (Sari Lennick), who wants a divorce so she can remarry unctuous, recently-widowed Sy Ableman (Fred Melamed). Meanwhile, their spoiled teenage daughter, Sarah (Jessica McManus), has been stealing money to pay for a nose job, and their son, Danny (Aaron Wolff), is hooked on Marijuana at the age of 12. Finally, we have unemployed Uncle Arthur (Richard Kind), a slacker who keeps landing on the wrong side of the law.
Things aren’t any better for Larry at work where someone’s been anonymously sending letters to his department suggesting that he be denied tenure on the grounds of moral turpitude. Plus, a desperate Korean student (David Kang) who failed an exam has been trying to bribe him for a passing grade.
All of the above trials and tribulations leave Larry overwhelmed, both financially and emotionally. So, he requests an audience with sage Rabbi Marshak (Alan Mandell), only to be told he has to work his way up the spiritual ladder by meeting first with assistant Rabbi Scott (Simon Helberg), and then with Rabbi Nachtner (George Wyner). Neither, of course, is able to resolve the dilemma, thus leaving it up to Larry, like Job, to be buoyed by faith alone.
Its religious pretensions notwithstanding, A Serious Man isn’t as heavy in tone as it might sound since it isn’t designed to be taken very seriously. In fact, the film is first and foremost a sublime comedy given to poking fun at mid-western Jewish mores at the time the Coen Brothers themselves were raised in Minnesota. Perhaps because of their intimate familiarity with the subject-matter, this picture proves to be their most mature, coherent and satisfying offering yet.
A sumptuous cinematic feast, and kosher to boot!

Excellent (4 stars)
Rated R for profanity, sexuality, nudity and brief violence.
In English, Hebrew and Yiddish with subtitles.
Running time: 105 minutes
Studio: Focus Features

Good Hair

Film Review by Kam Williams

Headline: Chris Rock Takes Lighthearted Look at Black Women’s ‘Dos

If you were raised in an African-American community, then you’re probably very familiar with the notion of “good hair,” a term that’s generally applied to folks born with wavy locks which are less trouble to take care of than the more tightly-curled or nappy variety. Back in the Sixties, at the dawn of the black pride movement, the afro was embraced as an alternative to adhering to the white standard of beauty associated with straight hair. But the peasy natural proved to be a short-lived fad which unfortunately has pretty much gone the way of the dashiki and the dinosaur.

Consequently, black hair care has blossomed over the years into a multibillion-dollar industry opromising sisters silky tresses via a variety of avenues ranging from hot combs and relaxers to wigs and weaves. Regardless of the combination picked, straight hair comes at a considerable cost, given the toll this high-maintenance habit tends to exact not merely financially, but also in terms of one’s time and mental and physical health.

It was this litany of concerns which caused Chris Rock to react when his 5 year-old daughter, Lola, asked, “Daddy, why don’t I have good hair?” Dismayed to think that she might already be struggling with a sensitive self-esteem issue at such a tender age, he decided to do some serious research in order to figure out exactly how to answer her sensibly.

So, accompanied by a camera crew, he embarked on an exhaustive inquiry into the black hair care business from every angle, conducting probing, if periodically comical interviews at beauty salons, barber shops, conventions, factories and scientific labs all across the U.S. and overseas. The product of that peripatetic prying is Good Hair, an alternately jaw-dropping, informative and thought-provoking documentary featuring Rock in a Michael Moore-like role as a witty, but never really mean-spirited master of ceremonies.

Thus, the typically-acerbic comedian wisely tones down his irreverence here to ingratiate himself with his subjects, which included a bevy of attractive actresses with flowing ‘dos, including Nia Long, Meagan Good, Raven-Symone’ and Lauren London, who willingly share the intimate details of their daily hair regimen. We learn from these lovely ladies that they rely mostly on weaves, which range in price from $1,000 to $3,500, plus installation and regular maintenance. While that may be easily affordable for a famous celebrity, it makes one wince to watch working women at a beauty parlor admit to purchasing their extensions on a lay-a-way plan. Then we hear the husbands’ complaints about having to choose between paying the rent or the salon bill, especially since they’re not allowed to run their fingers through their wives’ hair. “Don’t even go there!”

Still, the most alarming aspect of this entire expose’ revolves around the widespread use of a substance known as sodium hydroxide, aka lye, as a hair straightener. Well, this toxic chemical is the active ingredient (used in a 5-10% concentration) in “creamy crack,” the slang term used to refer to all so-called relaxers. But because sodium hydroxide can cause burning, scarring or blindness if it comes in contract with human tissue in solutions greater than 2%, it is no surprise that so many users suffer from scarring, scabs and bald spots on their scalps. Testifying about her own personal nightmare is Sandra “Pepa” Denton of the hip-hop duo Salt-N-Pepa, who recounts how she tried to turn her own chemical accident into a fashion statement by shaving the side of her head scalded by creamy crack.

Equally-intriguing are the scenes shot over in India where the population has no idea that the hair they routinely sacrifice in a religious ceremony called Tonsure is being scooped up, de-loused and sold for a small fortune to exporters. After warning the locals to run the other way if they ever see a black woman, Rock returns to the States to focus on exactly who’s profiting from African-American reluctance to accept their kinky hair, concluding that it’s a sign of “economic retardation” to allow Koreans to corner the hair care market in the black community.

That assessment might not be as important to him as the sobering message he ultimately delivers to his impressionable daughters, namely, “that the stuff on top of their heads is nowhere near as important as the stuff inside their heads.” One of those rare flicks you have to laugh at to keep from crying.

Hair-larious!

Excellent (4 stars)
Rated PG-13 for profanity, sexuality, drug references and partial nudity.
Running time: 95 minutes
Studio: HBO Films
Distributor: Roadside Attractions

The Wedding Song

(Le Chant des Mariees)
Film Review by Kam Williams

Headline: Muslim-Jew Friendship Tested in WWII Coming-of-Age Tale of Female Empowerment

16 year-olds Nour (Olympe Borval) and Myriam (Lizzie Brochere), best friends since childhood, grew up in adjoining apartments overlooking the same courtyard in Tunis. As kids, the fact that the former was raised Muslim and the latter as a Jew never really interfered with their intimate relationship. However, it is now 1942, and their respective religions are having a profoundly effect on the course of their lives.

Both have begun developing an interest in boys, but while Myriam was free to attend school and to explore her budding sexual urges, Nour finds herself housebound and resenting the restrictions being placed upon her by her orthodox culture. Plus, her parents have already arranged for her to marry her cousin, Khaled (Najib Oudghiri), even though he’s unemployed with not much on the horizon in the way of job prospects.

Then, in November, the Nazis invade Tunisia, and begin subjecting Jews to all manner of humiliation, ranging from the confiscation of their property to forced labor to execution. When Myriam’s mother (Karin Albou) is hit with a new tax just for being Jewish, she pressures her daughter to marry much-older Raoul (Simon Abkarian), a rich doctor.

Such a complicated scenario provides the setting for The Wedding Song, a character-driven drama directed by Karin Albou. What makes this tale of female empowerment so fascinating is that the story unfolds against the backdrop of the daily tension of World War II combat. So, we see Nour and Myriam struggling with typical coming-of-age issues, one minute, bombings raids or roundup of Jews, the next.

This makes Nour’s narcissistic complaint “Why do I have to wear a veil, while you don’t?” sounds like the superficial whine of a vain, spoiled teen, when you consider that Myriam has no idea whether she might be dragged off to a death camp at any moment. Curiously, Nour still somehow emerges as empathetic after the German occupation gradually subsumes Tunis entirely, turning the disintegrating metropolis into a godless dystopia where bombs can’t discriminate when it comes to color or creed.

Love in the time of Hitler!

Excellent (4 stars)
Unrated
In French and Arabic with subtitles.
Running time: 100 minutes
Studio: Strand Releasing

Medicine for Melancholy DVD

 

 

DVD Review by Kam Williams

 

Headline: Award-Winning African-American Sit-Dram Due on DVD

 

                It’s understandable that Joanne (Tracey Heggins) and Micah (Wyatt Cenac) are a little awkward when they wake up together in the same bed the morning after enjoying a one-night stand. After all, they were so passionate when they met at a party that they never bothered to exchange names before exchanging bodily fluids.

                Joanne has misgivings about sleeping with a stranger, so she introduces herself as “Angela” especially since she already has a boyfriend who happens to be out of town. But then she leaves her wallet behind on the floor of the cab they share before going their separate ways. Consequently, Micah not only learns her real name from her driver’s license, but he’s able to track her down again.

He later shows up unannounced at her doorstep, determined to pursue a relationship. However, other than both being African-American, they soon find out that they have more differences than similarities. For instance, he’s a down-to-earth, blue-collar-type who wears a stingy-brimmed bike hat everywhere he goes, while she’s definitely a pampered princess with more refined tastes.

Micah irritates Joanne by complaining that blacks seem to be disappearing from rapidly-gentrifying San Francisco, leading her to wonder aloud whether he “has a big issue with race.” Despite the contrariness, the two still spend the day together, visiting a museum and riding on a merry-go-round as they get to know each other.

                Can an impulsive indulgence of lust lead to love? That is the burning question at the center of Medicine for Melancholy, an alternatively breezy and sophisticated sit-dram which marks the auspicious directorial and scriptwriting debut of Barry Jenkins.

Considerable credit for making the lead characters’ whirlwind romance riveting must go to the compelling performances delivered by Tracey Heggins and Wyatt Cenac, the talented pair of young thespians playing the protagonists. Their contentious relationship comes to a head when he defines himself as “black” and she reveals that the boyfriend she’s cheating on is white.

Micah asks why she’s involved with “some white dude.” Joanne, insulted by the presumptuous tone of the remark, responds with “That’s your problem. You limit yourself,” frostily punctuating her retort with the reminder that “I don’t even know you.” 

                A candid commentary on the state of the battle-of-the-sexes in a post-racial age of strangers with benefits. 

 

Excellent (4 stars)

Unrated 

Running time: 88 minutes

Studio: MPI Home Video

DVD Extras: Interview with director Barry Jenkins and the trailer.

Lemon Tree (ISRAELI) DVD

 

 

(Etz Limon)

DVD Review by Kam Williams

 

Headline: Middle East Drama Set in the West Bank Arriving on DVD

 

                When you think of the Middle East, probably the last thing that comes to mind is anybody settling their differences in a civilized manner. But that is exactly what we find in this gripping drama based on a real-life incident which revolved around a standoff between a Palestinian widow (Hiam Abbass) and the Israeli Minister of Defense (Doron Tavory).

Salma Zidane had been quietly minding her own B.I. business on a modest estate she inherited from her father, tending to the lemon grove located on the property with the help of an elderly caretaker (Tarik Copty). But because the land lay along the border between Israel and the West Bank, everything changed the day that Minister Navon and his family moved into the newly-built McMansion right next-door.

The problem was that the Israel equivalent of the Secret Service was charged with the task of protecting them from terrorists. And the first thing they noticed in reconnoitering the perimeter was the cluster of trees directly across from the house which posed a security risk since it could easily provide cover for an assassination attack.

When they inform Salma of their plans to flatten the field, she hires a handsome, young attorney (Ali Suliman) who just happens to be recently divorced. And while the lonely lawyer does his best to focus on the case, it’s no surprise that his head is turned by his well-preserved client. 

Still, the point of the picture is to highlight the trial which the secret lovebirds appeal all the way up to the Supreme Court, despite the overwhelming odds in the favor of the Israeli military. However, a pivotal witness proves to be the Defense Minister’s wife, Mira (Rona Lipaz-Michael), whose compassion helps lead to an 11^th hour compromise that would warm the heart of Solomon.

If only every Arab-Israeli conflict could be resolved simply by resorting to Biblical wisdom rather than with bullets and bombs!  

 

Excellent (3.5 stars)

Unrated  

In Hebrew, Arabic, French and English with subtitles.

Running time: 106 minutes

Studio: MPI Home Video

DVD Extras: Trailer.