TV & Miniseries

The Tuskegee Airmen

This true story of the black flyers who broke the color barrier in the U.S. Air Force during World War II is a well-intentioned film highlighted by an excellent cast. Proud, solemn, Iowa-born Laurence Fishburne and city-kid hipster Cuba Gooding Jr. are among the hopefuls who meet en route to Tuskegee Air Force Base, where they are among the recruits for an "experimental" program to "prove" the abilities of the black man in the U.S. armed services. Fighting prejudice from racist officers and government officials and held to a consistently higher level of performance than their white counterparts, these men prove themselves in training and in combat, many of them dying for their country in the process. Andre Braugher costars as a West Point graduate who takes charge of the unit in Africa and in Italy (where it's christened the 332nd). The film is rousing, if slow starting and episodic, but it's periodically grounded by a host of war movie clichés, notably the calculated demise of practically every trainee introduced in the opening scenes (ironic given the 332nd's real-life combat record--high casualties for the enemy, low casualties among themselves, and no losses among the bombers they escorted). Ultimately the Emmy-nominated performances by moral backbone Fishburne and the dedicated Braugher and the energy and cocky confidence of Gooding give their battles both on and off the battlefield the sweet taste of victory. --Sean Axmaker

Featuring an all-star cast headed by Laurence Fishburne, fireballs of high speed air action explode off the screen in this exciting story of the "Fighting 99th," the first squadron of black American pilots to be allowed to fight for their country. Based on the true story.

Miss Evers' Boys

Laurence Fishburne helped shepherd this Emmy Award-winning exposé from American medical history books to the small screen. Anchored in the 1973 Senate inquiry into the infamous Tuskegee Study, the film uses a flashback structure to take us back 40 years as Nurse Eunice Evers (played with honest conviction by Alfre Woodard, who also earned an acting Emmy for her powerful performance) describes how a program designed to treat syphilis among blacks in the South was twisted into an inhuman study. Evers's conscience is torn between leaving her position on principle or remaining to give the dying men what comfort she can while they are systematically refused life-saving medicine at every turn. Fishburne costars as Caleb, a easygoing but ambitious young fieldhand who discovers the cold reality of the study while courting Miss Evers. Adapted by Walter Bernstein from a play by David Feldshuh, the film rises above the TV Movie of the Week mold with a complex moral structure that eschews (if you'll pardon the expression) black and white polarities for shades of gray as the doctors' initial compromises become a lifetime of lies. Ultimately that tone becomes the most disturbing facet of the drama: doctors and nurses so enmeshed in what is tantamount to a conspiracy they can find no way out, and a government that searches for scapegoats for its own cold-blooded research. --Sean Axmaker

Based on the shocking true story, Miss Evers' Boys exposes a 40-year government backed medical research effort on humans which led to tragic consequences. It is 1932 when loyal, devoted Nurse Eunice Evers (Alfre Woodard) is invited to work with Dr. Brodus (Joe Morton) and Dr. Douglas (Craig Sheffer) on a federally funded program to treat syphilis patients in Alabama. Free treatment is offered to those who test positive for the disease included Caleb Humphries (Laurence Fishburne) and Willie Johnson (Obba Babatunde). But when the government withdraws its funding, money is offered for what will become known as "The Tuskegee Experiment", a study of the effects of syphilis on patients who don't receive treatment. Now the men must be led to believe they are being cared for, when in fact they are being denied the medicine that could cure them. Miss Evers is faced with a terrible dilemma-to abandon the experiment and tell her patients, or to remain silent and offer only comfort. IT is a life or death decision that will dictate the course of not only her life, but the lives of all of Miss Evers' Boys.

A Lesson Before Dying

On a bright sunny day in 1948, Jefferson (Mekhi Phifer) sets off down the road to go catch some fish; by the end of the movie's opening sequence, he is the one who's been caught, and wrongly accused of the murder of a white shopkeeper. Racial inequality, at the time, is so pervasive in Louisiana that the white defense lawyer's argument at Jefferson's trial is that his client is not worthy of conviction: "You might just as soon put a hog in the 'lectric chair as this," he declares. Outraged by this statement, Jefferson's godmother (Irma P. Hall) does not want her godson to die as a hog. To this end she enlists the reluctant aid of the black community's teacher, Grant Wiggins (Don Cheadle), to teach him to "be a man." As Grant and Jefferson get to know each other (and the viewer gets to know them both), it's not clear which of them needs the lesson more. As in Ernest J. Gaines's award-winning novel, the movie goes beyond the conflict between the races to explore divisions that splinter the black community: education versus religion, dark skin versus light. And, thanks to masterful performances from Cheadle and Phifer as well as a thoughtful screenplay by Amy Peacock, A Lesson Before Dying goes even further, examining what it means to be human and the responsibility a man has to himself and to his community. Originally made for HBO, this adaptation of Gaines's novel richly deserves to be seen by a wider audience. --Larisa Lomacky Moore

Based on the New York Times No.1 bestselling novel and winner of the National Book Critics Circle Award Don Cheadle and Cicely Tyson star in 'A Lesson Before Dying." Grant Wiggins (Don Cheadle) has become resigned to racial injustice in the south. Returning to his home town with a college degree he continues to teach in the same one-room school of his youth. Struggling to make a difference in an oppressive time and place Grant is called upon by two local women Tante Lou and Miss Emma to visit the town prison. There Jefferson a simple young man has been convicted of a murder he did not commit and sentenced to die like an animal. Jefferson is full of rage and resentment and the women are convinced that somehow he must be taught to die not like an animal but like a man. It falls upon the teacher to enrich a life he cannot save and in so doing somehow redeem his own by teaching one young man "A Lesson Before Dying."Running Time: 101 min.System Requirements:Starring: Don Cheadle Cicely Tyson Mekhi Phifer Irma P. Hall and Brent Jennings. Directed By: Joseph Sargent. Running Time: 101 Min. Color. This film is presented in "Standard" format. Copyright 2000 Warner Home Video.Format: DVD MOVIE Genre: DRAMA Rating: PG-13 UPC: 026359157028

Roots - The Next Generations

Roots rocked the cultural landscape in the late '70s, creating a new wave of awareness of black history. That wave opened the door for its sequel, Roots: The Next Generations, even more of a star-studded event than the original, with stars like Olivia de Havilland, Henry Fonda, Marlon Brando, and James Earl Jones eager to partake in the tale. The sequel follows the rest of the saga of the family of author Alex Haley, from where Roots ended at the Civil War, up to the 1970s when Haley was researching and writing his earth-shattering family story.

While nothing can rival the power of the original Roots' unflinching look at the slave trade and slave life in the early years of this country, the sequel is still full of rich African American history, from Reconstruction, to Jim Crow, to the civil rights movement and the early rumblings of black power. Fonda and de Havilland are respectable in their period-piece roles, but the real power of this sequel is in the more immediate concerns of Haley and his own experience of prejudice while building a stellar reputation as a writer and journalist in the '60s and '70s. One of the most unsettling scenes takes place then, when Haley interviews the head of the American Nazi Party, played with chilling diffidence by Brando. (Brando won an Emmy for this performance.) Haley is also challenged by his fractious interview with Malcolm X (a gripping Al Freeman Jr.). Jones launches his acting career playing Haley with nuance and heart, but with a humanizing set of his own demons.

The four-disc set includes all seven episodes plus a compelling documentary, Roots: The Next Generations--The Legacy Continues, with interviews with Jones, costar and episode director Georg Stanford Brown and a still starry-eyed David L. Wolper, who understands the cultural impact of the two miniseries he helped bring to the screen. --A.T. Hurley

Could there be a worthy follow-up to the most-watched miniseries ever? "We felt the other did so well," Alex Haley said, "that we should just let it hang there." But Haley began carrying around a tape recorder, dictating more of his family's tales as they came to his memory. Those remembrances filled a 1,000-page transcript: raw material for Roots: The Next Generations. Winner of the Emmy for Best Limited Series, this landmark continuation of a landmark event - with 53 stars and 235 speaking parts - "is in many respects a superior achievement," Newsweek said in comparing this to Roots. Twenty-five years later, it has lost none of its dramatic and emotional power to make us confront history and examine ourselves. One man's family remains everyone's!

Mama Flora's Family

Roots

From the moment the young Kunta Kinte (LeVar Burton) is stolen from his life and ancestral home in 18th-century Africa and brought under inhumane conditions to be auctioned as a slave in America, a line is begun that leads from this most shameful chapter in U.S. history to the 20th-century author Alex Haley, a Kinte descendant. The late Haley's acclaimed book Roots was adapted into this six-volume television miniseries, which was a widely watched phenomenon in 1977. The programs cover several generations in the antebellum South and end with the story of "Chicken" George, a freed slave played by Ben Vereen whose family feels the agony of entrenched racism and learns to fight it. Between the lives of Kunta and George, we meet a number of memorable characters, black and white, and learn much about the emotional and physical torments of slavery, from beatings and rapes to the forced separation of spouses and families. Nothing like this had ever confronted so many mainstream Americans when the series was originally broadcast, and the extent to which the country was nudged a degree or two toward enlightenment was instantly obvious. Roots still has that ability to open one's eyes, and engage an audience in a sweeping, memorable drama at the same time. --Tom Keogh

A Lesson Before Dying

On a bright sunny day in 1948, Jefferson (Mekhi Phifer) sets off down the road to go catch some fish; by the end of the movie's opening sequence, he is the one who's been caught, and wrongly accused of the murder of a white shopkeeper. Racial inequality, at the time, is so pervasive in Louisiana that the white defense lawyer's argument at Jefferson's trial is that his client is not worthy of conviction: "You might just as soon put a hog in the 'lectric chair as this," he declares. Outraged by this statement, Jefferson's godmother (Irma P. Hall) does not want her godson to die as a hog. To this end she enlists the reluctant aid of the black community's teacher, Grant Wiggins (Don Cheadle), to teach him to "be a man." As Grant and Jefferson get to know each other (and the viewer gets to know them both), it's not clear which of them needs the lesson more. As in Ernest J. Gaines's award-winning novel, the movie goes beyond the conflict between the races to explore divisions that splinter the black community: education versus religion, dark skin versus light. And, thanks to masterful performances from Cheadle and Phifer as well as a thoughtful screenplay by Amy Peacock, A Lesson Before Dying goes even further, examining what it means to be human and the responsibility a man has to himself and to his community. Originally made for HBO, this adaptation of Gaines's novel richly deserves to be seen by a wider audience. --Larisa Lomacky Moore