Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Posted on January 18, 2012 at 8:00 am

Dr. Roscoe Brown, who flew planes as one of the heroic WWII Tuskegee Airmen, a black man defending a country still cruelly segregated, fighting in one of the most honored military divisions in American history, saw a film made about their heroic missions and last week attended the White House to meet with the first black President and First Lady of the United States.  It is called “Red Tails” after the distinctive color painted on their planes.  Dr. Brown, who turns 90 this year, earned a PhD, taught at NYU for 27 years, then became president of Bronx Community College, a part of the City University of New York (CUNY).  Dr. Brown and three other Tuskegee Airmen were on the set throughout the filming of “Red Tails” to provide guidance and ensure authenticity.  With three other critics, I spoke to Dr. Brown, director Anthony Hemingway, and actors Cuba Gooding, Jr., Terrence Howard, and David Oyelowo about the film.  We loved meeting the actors, but speaking to Dr. Brown was one of the thrills of a lifetime.

“We were young people, 19, 20, 21, 22-years old,” Dr. Brown told us. “Everybody was in the military at that time.  There were 15 million people in the military, 5 million blacks.  So it was something you did.  You knew you had to do it.  You wanted to defend the country.  And we felt as African-Americans, that if we did well, the larger society would recognize the stupidity of segregation and de-segregate.  Which in fact happened when President Truman signed the executive order in 1948 de-segregating the military, six years ahead of the desegregation of the schools with the Brown decision.  It was something that we had to do but something we wanted to do — particularly in the case of aviation because they said blacks could not do it.  Whenever someone says you can’t do something, you want to do it!  So we said, ‘Let’s be the best we can be.’ And that’s what this film portrays.”  He worked for more than 30 years to try to get a movie made about the experiences of the Tuskegee Airmen, originally with the late director Gordon Parks.  When George Lucas got involved, he brought them out to the Skywalker Ranch, where he had assembled extensive research.  “We sat down in the room and talked to them about how we actually flew, how we used the stick, where we looked, how small the cockpits were — no Tuskegee Airmen were 6’5″ because you had to be small to fit in the cockpit.”  It was important to him to honor those who flew, those who supported them on the ground, and those who did not come home.  He spoke about the difficulty of losing someone one day and having to get up the next day, put that out of his head, and go up again and focus on the target.  And he spoke about what he thought was the real message of the film: “It’s cool to be smart.”

He told us a harrowing story about the time he flew so close to a train he knocked part of the wing off and he was too low to bail out.  He thought he had been hit by anti-aircraft but when they got back the ground crew pulled a piece of the train out of his wing.

The actors told us how much it meant to them to spend time with the real Tuskegee Airmen and bring their story to life.  British actor David Oyelowo plays a brilliant but impulsive pilot with the call sign “Lightning.”  “One of the greatest inspirations for me was getting to hang out with Dr. Roscoe Brown and the other Tuskegee Airmen.  You look in their eyes and you see that glint, that can-do, that audacity that it had to have taken for them to do what they did.  And George Lucas gave us a mandate when he effectively godfathered the movie.  He told us, ‘We want to make a film about heroes, not victims.’  The fighter pilots are the glamor boys of any war.”  He described his character as “someone who can unashamedly say, ‘I’m the best damn pilot in the whole army!’ That was my mandate for playing the character, really.  “So many of the incredible things in the film, blowing up the battleship and the train, these are based on things that actually happened.  When we talked to the real guys, it was like ‘Push it!  We did more!'”  I asked about the challenge of playing a character with so much of the face covered by the oxygen mask.  “That was a frustration. One of the gratifying things was finding out that it was a frustration for you guys,” he said, turning to Dr. Brown.  “They didn’t particularly like these masks, either.  At one point I hint at that, ripping it away from my face.  I remember talking to you and you’d say they’d get sweaty and slip.  They were an encumbrance.  But that’s the job of the actor.  That was one challenge.  Another was that we didn’t have these hundreds of planes all around us.  We had to imagine that in this very controlled environment.  It was a great acting exercise because it did that thing you really want as an actor, to have your imagination very active.”

Terrence Howard spoke about having to respond to the racist comments made by a superior officer (“Breaking Bad’s” Bryan Cranston) within the context of a military chain of command and as a man of the 1940’s whose entire life had been spent under segregation.  “I learned something very early on.  My brother said to me, ‘How do you think God views you?  Does he view you as who you are today or as who you will be once His son’s blood has been poured in your behalf and you’ve had time to gain that?’  I think Colonel Bullard, who was the cinematic example of a man named Colonel Ben Davis, who went to West Point.  No one spoke to him for four years.  He saw them as making mistakes and immature and un-evolved in their understanding of human relationships and abilities.  And so he was always able to look at the better side of people. What was beautiful, is that Cuba and I, after battling against each other in films or trying to get the same role, we actually split Benjamin Davis into two and Cuba was Benjamin on the base and I was Benjamin in Washington.”  He studied the military people of today to learn how they conduct themselves.  “It’s protocol.  It’s respect.  You see the standard and how people hold themselves, the comportment and that is passed on to you.”

They talked to us about what it was like to bring their movie to the White House.  “President Obama was so cool,” said Oyelowo. “And there we were, with some of the Tuskegee Airmen, and the actors, in these rooms so laden with history, good and bad. And then having this untold story of these unsung heroes presented by the first African-American President.  There was just something so right about it, and everyone was acknowledging it.  It felt like a moment, the moment that the blood and DNA of Martin Luther King, of the Tuskegee Airmen, of Obama’s legacy is in that as well.  On these press tours, we all have our photographs taken and we all pose with our best sexy smile.  But yesterday, we were all just like this,” he said with a look of dazed bliss.  He said he felt like a superhero when he saw himself in the uniform, and told us how much he loved looking through the photographs of the Tuskegee Airmen because their spirit and confidence were so evident in their poses and expressions.

They all emphasized that the story is universal.  “It so far surpasses any limitation associated with the hue of any one’s skin color,” said Howard.  “Every member of the family can appreciate the contribution that these men made, and the heroics of youth. They didn’t go to school to become pilots.  They went to school to become lawyers and doctors.  But when the call to duty came, they lent themselves.  They showed excellence.  They became the greatest pilots of all time.  And now every human being on the planet can appreciate it because what one human being does shows us what all of us are capable of.  When we see that excellence, we all share in it.” He spoke of how touched George Lucas was to come out of an early screening and see two white children pretending to be the pilots they had seen in the film.

They spoke about the parallels between the challenges faced by the Tuskegee Airmen in the 1940’s and the challenges still faced by black actors today when the subject came up of George Lucas’ difficulties in getting financing for the film.  The actors were honored by the opportunity to tell the story and grateful that the heroism of the Tuskegee Airmen created an opportunity for them to do what they love to do.

“I was told by my great-great-grandfather that limitation brings about genius,” Howard said. “When you have limited resources, limited opportunity, and a limited period of time to accomplish something, that’s when the human spirit shines.  It has been a difficult struggle but it has made me a much better actor.  The Tuskegee Airmen were not initially wanted.  They were not allowed to fly so for the first year and a half or two years they had a ton of time to practice and become perfect.  By the time they were able to participate they were all seasoned pilots.  That’s what happens to the black community of actors. Because we don’t have as many opportunities to play, we play amongst ourselves and get so much stronger, with so much more spirit. None of the other films I’ve done got a screening at the White House,” Howard said.  “It was a long time coming and I am glad we were able to participate in it.  For me, there’s a scripture in Isaiah, where he says, ‘Ten Gentiles will grab the skirt of a Jew and get into the Promised Land.’ I feel like forever David’s any my legacy will be attached to the legacy of the Tuskegee Airmen.  We will always be the face and the voice for their accomplishments.”  Oyelowo said, “For me, it means a lot to be part of a large black cast where we’re the center of our own story and its being done on such an epic scale.  I hope we can blow out of the water the idea that there can only be one — who’s the next Denzel?  Who’s the next Poitier?  There’s a lot of talent out there who are worthy of being given an opportunity. Like the Red Tails, we’re not looking to just do this movie and be a footnote.  They went on to do extraordinary things.  My hope and prayer is that we get to take advantage of this opportunity we’ve been afforded.”

“It’s a great story.  All the actors were fantastic, replicating what we did,” Dr. Brown said with pride.  I teased him, “And you were all that handsome, right?”  “We were better looking!”  That’s the Tuskegee Airmen spirit!

“As an African-American who has always been on the forefront of trying to break barriers,” Dr. Brown said, “this was another barrier to break.  Hopefully everyone on America will identify with the movie, will identify with the fact that excellence overcomes prejudice, overcomes obstacles.  And if we did it 65 years ago, the young people today of all backgrounds can do it now.”

 

 

 

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‘Red Tails’ — The Real Story of the Tuskegee Airmen

‘Red Tails’ — The Real Story of the Tuskegee Airmen

Posted on January 15, 2012 at 8:00 am

George Lucas wrote the story for this month’s release, “Red Tails,” about the heroic WWII fighter pilots known as the Tuskegee Airmen.  It will be in theaters on January 20.

The American armed forces were not integrated until 1948, so throughout WWII they were still segregated.  The 332nd Fighter Group and the 477th Bombardment Group of the U.S. Army Air Corps, informally known as the Tuskegee Airmen, were the first African-American military aviators.  The historically black Tuskegee Institute initiated a flight training program.  When First Lady Eleanor Roosevelt visited for an inspection and was taken for a ride by one of the instructors, it brought some visibility and support to the program and the work of civil rights pioneers like the NAACP’s Walter White and labor leader A. Philip Randolph led to the passage of legislation specifically allocating funds to train African-American pilots.

The pilots and support crew of the Tuskegee Airmen had an extraordinary record of skill and heroism.

According to Wikipedia:

In all, 996 pilots were trained in Tuskegee from 1941 to 1946, approximately 445 were deployed overseas, and 150 Airmen lost their lives in accidents or combat. The casualty toll included 66 pilots killed in action or accidents, and 32 fallen into captivity as prisoners of war.

The Tuskegee Airmen were credited by higher commands with the following accomplishments:

  • 15,533 combat sorties, 1578 missions
  • One hundred and twelve German aircraft destroyed in the air, another 150 on the ground
  • Nine hundred and fifty railcars, trucks and other motor vehicles destroyed
  • One destroyer sunk by P-47 machine gun fire
  • A good record of protecting U.S. bombers, losing only 25 on hundreds of missions.

Awards and decorations awarded for valor and performance included:

  • Three Distinguished Unit Citations
    • 99th Pursuit Squadron: 30 May–11 June 1943 for the capture of Pantelleria, Italy
    • 99th Fighter Squadron: 12–14 May 1944: for successful air strikes against Monte Cassino, Italy
    • 332d Fighter Group: 24 March 1945: for the longest bomber escort mission of World War II
  • At least one Silver Star
  • An estimated one hundred and fifty Distinguished Flying Crosses
  • Fourteen Bronze Stars
  • Seven hundred and forty-four Air Medals
  • Eight Purple Hearts

An excellent made-for-television film, The Tuskegee Airmen, starred Laurence Fishburne and Cuba Gooding, Jr., who appears in this film.  “Red Tails” also stars Terrence Howard, who played a downed Tuskegee airman taken prisoner in “Hart’s War.”  There is  a PBS documentary, The Tuskegee Airmen, with the pilots and crew of the 332nd and those who are working to tell their story and restore one of their planes.

There are also many books, including The Tuskegee Airmen: An Illustrated History: 1939-1949 and the oral history Freedom Flyers: The Tuskegee Airmen of World War II and the children’s book, Tuskegee Airmen: American Heroes.

More “The Real Story” posts:

We Bought a Zoo

Unstoppable

Soul Surfer

Sanctum

 

 

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George Lucas’ New Film About the Tuskegee Airmen: Red Tails

George Lucas’ New Film About the Tuskegee Airmen: Red Tails

Posted on September 6, 2011 at 3:40 pm

Here’s a glimpse of next year’s upcoming film co-written by George Lucas about the Tuskegee Airmen, “Red Tails.”  It stars Terrence Howard, Nate Parker, Byran Cranston, and Brandon T. Jackson.

http://www.youtube.com/watch?v=FDI8lKlyhPY

It looks great.  Everyone should learn about these great heroes, the first African-American military airmen.  There is a very good HBO film with Laurence Fishburne, Andre Braugher, and Cuba Gooding, Jr., and a documentary, Freedom Flyers: The Tuskegee Airmen of World War II (Oxford Oral History Series).

 

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Trailers, Previews, and Clips

The Princess and the Frog

Posted on March 15, 2010 at 8:00 am

A-
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating: G
Profanity: None
Alcohol/ Drugs: Social drinking
Violence/ Scariness: Some scary images including skeletons, voodoo, alligators, characters in peril, sad deaths
Diversity Issues: Diverse characters, strong female characters
Date Released to Theaters: December 11, 2009
Date Released to DVD: March 16, 2010
Amazon.com ASIN: B0034JKZ86

Disney has cooked up a yummy batch of gumbo with this blend of the past and present. “The Princess and the Frog” is a satisfying and thoroughly entertaining return to the hand-drawn animation that built the studio. Although it is set in 1920’s New Orleans, it has a modern twist with the studio’s first African-American “princess” — and this is not a heroine who warbles about waiting for the prince to come and rescue her. This is a working woman and the prize she has her eyes on is not some happily-ever-after fairy tale wedding. She wants to run her own business — a restaurant. Like Gepetto, she wishes on a star, but as her father advises her, “that old star can take you only part of the way. You have to help it out with hard work of your own.”

We first see Tiana as a little girl, playing with a good-hearted but spoiled little girl named Charlotte. They enjoy listening to Tiana’s mother, Eudora (Oprah Winfrey) read them the story about the princess who kissed a frog and turned him back into a prince. But Charlotte is wealthy and Eudora is employed by her father (John Goodman) as a seamstress. Tiana’s family may have modest means, but her parents love her dearly and she shares her father’s passion for cooking that signature New Orleans dish, gumbo.

When she grows up, Tiana (Aniki Noni Rose of “Dreamgirls” and “The No. 1 Ladies Detective Agency”) is working hard, determined to make her father’s dream of a restaurant come true. (It is implied that he was killed in World War I.) So she works two jobs while her friends tease her about not having any fun.

Meanwhile, Prince Naveen (Bruno Campos of “Nip/Tuck”) arrives in town, hoping to marry a rich woman but much more interested in playing music and having fun. When he is turned into a frog by Voodoo villain Dr. Facilier (“Coraline’s Keith David), he must find a princess to break the spell. That does not include Tiana, even though she is dressed like a princess at Charlotte’s masquerade ball. He persuades her to kiss him by promising to give her the money she needs to get the building for the restaurant. Since she is not a princess, it goes wrong and she turns into a frog instead.

And that puts them on a journey through a swamp to find a way to become human again. At first the free-wheeling prince and the serious-minded would-be restaurateur have little in common. But soon, as they make new friends (a horn-blowing alligator named Lou and a brave firefly named Ray) and try to keep away from frog-hunters and other dangers, they discover that they get along. They inspire each other to be their best but they like each other for who they are. And that, it turns out, is the real magic.

There is some real Disney animation magic in the details of the settings, especially the jaunty New Orleans of the Roaring 20’s and a musical number in the swamp with fireflies that is heart-stoppingly lyrical. The lively score by Randy Newman pays tribute to the vitality of New Orleans influences, with some zydeco spiciness, but there is sweetness as well, especially when she sings about her dream for the restaurant and imagines what it will be like.

Because this is Disney’s first African-American princess, there has been some extra scrutiny and some extra sensitivity. Some have already been critical of the film because Tiana is not a “real” princess, because she spends a good bit of the story neither black nor white but green when she is a frog, and because her romantic interest is not African-American but from the fictional European country of Moldavia (Campos is from Brazil). There will also be criticism because of the voodoo (with some scary skeletal images) and SPOILER ALERT this is the first Disney film in my memory where one of the key sidekick characters is actually killed by the villain.

I like the fact that Tiana is not a “real” princess like Jasmine, Snow White, Sleeping Beauty, and Ariel. Like Belle, she is non-royal, but romantically involved with a prince. More important, she is an independent, self-supporting, hard-working woman with ambition that goes beyond some sort of romantic rescue. The movie lightly touches on but does not ignore the racism of the era. I like the inter-racial romance (and note that the only other loving couple is Tiana’s parents, both African-American, voiced by Winfrey and Terrance Howard). Setting the story in New Orleans, an exceptionally diverse city, and in the 1920’s, an era of great creative vibrancy, was an especially clever idea. As for spending most of the movie as a frog; well Mulan spent most of her movie as a man. Transformation is at the heart of fairy tales. And in her human form, Tiana is as lovely as any Disney character in history, without being squeezed into a wasp-waist and harem pants like Jasmine. I have some smallish quibbles with the voodoo villain and some overly complicated plot twists, and a more medium-sized quibble with the death of a character. Though it is handled with some grace, it is still unnecessary and likely to upset some younger audience members.

But the movie is genuinely enchanting and the old-fashioned, hand-drawn, 2D animation has a timeless quality that makes us feel welcome. It turns out you don’t need CGI and 3D to feel that you can almost smell that spicy gumbo.

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Fighting

Posted on April 23, 2009 at 6:00 pm

D
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for intense fight sequences, some sexuality and brief strong language
Profanity: Brief stong language including a racial epithet
Alcohol/ Drugs: Some drinking
Violence/ Scariness: Very intense, brutal, and graphic street-fighting scenes with bare-knuckle, no-rules brawls
Diversity Issues: Diverse characters
Date Released to Theaters: April 27, 2009

Terrence Howard’s performance in “Fighting” is so bizarrely strange and awful that it occurred to me he might be hoping we didn’t realize it was him. Howard plays Harvey, a street hustler who discovers Shawn, a gifted young boxer (Channing Tatum) and sets up a series of underground, all-or-nothing, no-rules street fights. All Tatum has to do is punch, take punches, and mumble inarticulately whenever he sees the lovely Zulay (Zulay Valez). Howard has to pontificate, hide his money, confess to having been badly treated by his former partners, and ask Shawn to take a dive. Neither one manages to pull it off.

The film does have two things going for it. First is its conceit of multi-million dollar underground organizations that promote illegal street boxing (and the betting thereon) from behind hidden doors under the baseball hat racks in tiny little souvenir stores. That is the only logical explanation I have ever seen for the persistence of those shops, which never seem to have any customers. The second is the marvelous Altagracia Guzman as Zulay’s grandmother. As she did in the superb “Raising Victor Vargas,” Guzman is at once hilarious, endearing, and completely authentic. She provides moments of pure poetry. A small nod to the Foley artist, as well. The sound effects for all the whams and bashes may be cartoony — you almost expect Wile E. Coyote to show up with a package from Acme — but they are entertaining.

But the rest of the film is just dumb and dull. I think the screenplay is punchdrunk. Shawn needs money. He likes to fight. So, fight #1 he surprises everyone. Shawn is hiding something. Fight #2 is against a really big guy. He surprises everyone again, except for the audience. Then there are a few more fights, some old scores to settle, some revelations, some reactions to the revelations (I understand and sympathize! I am disappointed and betrayed! Both!) and everyone goes home. Kidding! The big, big fight is yet to come and as they like to say in movie tag lines, this time it’s personal.

It takes some serious effort to de-star and de-actor Howard and Tatum, but director-co-author Dito Montiel manages. This fight film needs to stay down for the count.

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