“Wonder” is now one of the first major films to be translated into American Sign Language. It is especially fitting that this beautiful film about kindness and acceptance is accessible to the Deaf community in their own language.
Lionsgate announced its partnership with the mobile application Actiview and Deaf activist and actor Nyle DiMarco to create an ASL interpretation of Wonder. That family-friendly film, which debuted in November 2017 as a Lionsgate movie, tells the story of a young boy with facial differences caused by a genetic syndrome who is bullied when he begins attending mainstream school in the fifth grade. The 2012 home release of the animated film Ice Age: Continental Drift also included ASL interpretation.
“I hope that shows Deaf/ viewers that there could be more options for enjoying movies and television,” DiMarco wrote in an email. “Mostly I hope that studios and networks reflect on how accessible their content is and look at ways that they can improve. It would be amazing if in the not-too-distant future all viewable content had an ASL option.”
The ASL interpretation of Wonder is available via Actiview, an iOS app that includes accessibility features for people who are blind or have low vision as well as those who are deaf or hard of hearing. Users sync their app to the content they’re watching on a TV, laptop, or theater screen, and choose from accessibility options like audio descriptions, captions, and amplified audio. Their mobile device becomes a second screen that provides additional content to improve the movie-watching experience.
Ant-Man and the Wasp’s treatment of disability will go under the radar. But in a landscape where disability remains marginalized, particularly for women of color (and people of color in general), a character like Ava could have helped opened the door. Chronic pain remains a hot-button issue in the disabled community, and having Ava live with it could have presented something relatable. Instead, Ava is stripped of her problem in order to make her rational, quantifiable, and controllable.
I was interested to see how she would react to Dwayne Johnson’s portrayal of a disabled character in “Skyscraper.” While I prefer to see disabled characters played by disabled actors, I also recognize the idea that any actor should be able to play any part. Until ordinary characters — teachers, accountants, doctors, scientists, parents, children — are shown with disabilities that are not central to their identity and are played by actors with disabilities, I think we should be careful about putting able-bodied people in those roles. And no body is more able than The Rock.
First, she says, “the adversity is the building itself, not Will’s disability….By not making a big deal of his disability, Will is a character who represents a marked improvement in representation. People with disabilities don’t want their disability to define them, and Will’s doesn’t define his character. It adds to it…. His character doesn’t walk away a changed man appreciating being disabled. He gets his family back and seemingly ends the film the same way he started. It’s just a facet of his personality he deals with in order to overcome this great challenge.”
But, she has some concerns as well. “The character is also written to fall into the “able-bodied buffer” category, a term I use to describe any character shown as previously able-bodied before a traumatic event. This ‘buffer’ is created as a means of helping the able-bodied audience bond with the newly disabled character, under the belief that disabled people are so mysterious that there’s no point of entry for the audience short of reminding them the character was one ‘like you.'”
I wasn’t the only one who appreciated this review.
Wow. I am officially verklempt. @TheRock thanks for taking the time to read my piece! Disabled representation has a long road to travel, but I was happy to see movement being made. pic.twitter.com/KvhPq5MvlR
Movie MVP of the Month: American Sign Language in “Rampage” and “A Quiet Place”
Posted on April 11, 2018 at 8:22 am
Two April movies feature ASL (American Sign Language), the beautiful, complex language based on hands, gestures, and facial expressions that is used by Deaf and non-speaking people in America and English-speaking Canada. “A Quiet Place” is about a family trying to survive in a world overrun with vicious blind animals who attack by using their hyper-acute hearing. So they communicate via ASL, which they all know because they have a Deaf daughter, played by Deaf actress Millicent Simmonds of “Wonderstruck.”
In this week’s “Rampage,” the primatologist played by Dwayne Johnson uses ASL to communicate with an ape called George, along the lines of the famous experiments with Koko the gorilla and Washoe the chimp.
And the 2017 Oscar-winner for Best Picture and Best Director was “The Shape of Water,” which also featured ASL, as Sally Hawkins played a mute woman who communicated with a highly evolved amphibian.
Other movies featuring character using ASL to communicate include: “Children of a Lesser God,” “Mr. Holland’s Opus,” “The Heart is a Lonely Hunter,” “Johnny Bedelia,” “The Miracle Worker,” and “Baby Driver.”
Kristen Lopez on Movie Theater Accessibility for Rogerebert.com
Posted on March 29, 2018 at 9:27 am
Bravo to Kristen Lopez for her outstanding piece on rogerebert.com about the accessibility — or inaccessibility — of movie theaters for people with disabilities.
A movie theater should be a peaceful, relaxing place, and I’m sure it is for most in light of reserved seating. Movie theaters have gussied the concept up as the perfect way for all audiences to get the best seat in the house. But movie fans with wheelchairs or other limited mobility don’t get the best seat—they get the only seat. Theaters are mandated to make approximately 10% of the theater seats accessible, so obtaining the two to four wheelchair spaces in my theater can be like a terrible game of musical chairs. The outdated, ableist thinking is wheelchair users bring their own seat, like a lawn chair you plant on a soccer field. It gives them access, but how is this effective with such a small field to play on? Wheelchair users are often stuck sitting in the front rows, on flat ground with no elevation to keep a clear view. The changeover to wider, recliner-style chairs has actually decreased the number of handicap seats, and many of these new chairs come with oversized footrests or outward facing tray tables that prevent wheelchair users from transferring into them to begin with. The same Cinemark I was in has one presumably handicap seat that requires a wheelchair user to climb over the armrest to transfer into. All so you can find a place to set down your popcorn.
This is especially meaningful because Roger Ebert himself used a wheelchair for the last years of his life, and well understood the barriers — physical, logistical, and ignorant — that keep people out of movies, the very art form he called “an empathy machine.”
Rated R for sexual content, graphic nudity, violence and language
Intense and graphic violence, peril, torture, murder
A theme of the movie
Date Released to Theaters:
December 9, 2017
Date Released to DVD:
March 12, 2018
There is some reassuring symmetry in the cinematic bookends that gave us “Beauty and the Beast” in January (the highest-grossing film of the year), a “Beauty is the beast” film with the mid-year’s “Colossal,” and now, in December, another variation with Guillermo del Toro’s enthralling R-rated fairy tale, “The Shape of Water,” which was awarded the 2018 Oscars for Best Picture and Best Director.
Sally Hawkins is luminous as Elisa Esposito, a custodian in a secret government lab during the cold war era. Her closest friends are her chatty, unhappily married colleague Zelda (Octavia Spencer) and her neighbor Giles (Richard Jenkins), an anxious, cat-loving, old-movie-watching, out-of-work illustrator. They are the only two people who can communicate with Elisa. She can hear but is mute due to a childhood injury, and uses via American Sign Language.
The film is as gorgeous as any enchanted tale could wish, with a green-blue color palette that evokes the sea and old-school, analog equipment in cavernous rooms and huge, clanking equipment harking back to early horror classics like “Frankenstein” and “Creature from the Black Lagoon” (the later of which del Toro acknowledges as inspiration), with a nod to princess in the castle stories as well.
Elisa discovers one of the lab’s biggest secrets. Strickland (Michael Shannon) a harsh, brutal, “collector,” has captured and brought back to the lab a creature he discovered in the Amazon, a gilled, scaley human-shaped reptilian (played by del Toro regular Doug Jones) who has two separate breathing systems, one for air, one for water. He has some other unusual qualities, which Strickland is not learning much about because he mostly zaps the creature with a cattle prod to “tame” him. Elisa shares her hard-boiled eggs with the creature, and then some music, and then some words, as he begins to learn her language. As we will see, there are parallels between them that make them seem almost like star-crossed lovers kept apart only because they are of different species. Elisa is an orphan who was found not on a doorstep but in the water. The scars on her throat from the abuse that cost her her voice look like gills. Most important, she believes the creature is the only one who sees her as whole, complete, not missing anything.
There is a scientist at the lab named Hoffstetler (Michael Stuhlbarg), who has a secret of his own. There are other people who want to steal the creature and people who just want to kill him because it is more important to keep him away from the enemy than to learn more about who he is and what he can tell us about who we are. Of course, the way we treat him tells us a lot about who we are.
The story capaciously encompases a fairy tale romance with spies, the Cold War, the Civil Rights movement, a heist, and a musical number without, well, losing a step, thanks to del Toro’s ability to create cinematic magic. Hawkins is, as she was in “Maudie” earlier this year, exquisitely able to create a character of fierce intelligence and the kind of gentleness that is grounded in moral courage. Instead of subtitles in white at the bottom of the screen, her words are depicted in yellow letters floating around her, her face communicating as clearly as her hands. The movie is bracketed with images of Elisa floating. By the end, the audience will feel we are floating as well.
Parents should know that this movie includes some elements of horror with graphic and disturbing images, peril, and violence, including torture, sexual references and situations, strong language, smoking and drinking.
Family discussion: How are Elisa and the creature alike? How are Hoffstetler and Strickland different? Why does Giles change his mind?
If you like this, try: “Colossal” and “Pan’s Labyrinth”