Where & How To See It (Including Everyman Cinemas)
Screenwriter & Director Mendes Mixes It Up Because In Reality Life Is Just Sometimes Like That.
It’s Not Always Neat And Tidy.
Sometimes Its Very Messy!
Sam Mendes Wrote This Film, His First Solo Screenplay, The Empire of Light, In A State of Reflection (During Lockdown With His Loved Ones). It Was A Time of National And International Isolation And Introspection For All of Us.
It Is Based On His Experiences of Witnessing His Mother’s Unstable Cycles of Turbulent Mental Health, Within The Context of A Particular Turbulent Political Background Characterised By The Harsh Thatcherite View “That There’s No Such Thing As Society”, Police Heavy-handedness And Racism, And Punk Music, SKA Music, Social Commentary Music From The Peace Loving Music Group The Police (Headed Up By Sting) And Badges Saying ‘Make Love Not War’.
In This Sense It Is A History Log of Cinematic Sorts, On A Number of Levels, From Some of The Country’s Greatest Movie Makers And Actors Which Will Hopefully One Day Be Amongst The History Material Studied In More Enlightened Schools, Especially When Taking A Look At The Development of Improved Mental Health Approaches And Improved Race Relations In This Country. As Well As Some Great Fashion.
The Movie Is Blessed With Various Oscar Winners, BAFTA Winners, Award Nominees, And All Round World Class Movie Making Talent. (Including New BAFTA Nominations For @Micheal Ward And Cinematographer Roger Deakins). The Casting Is Amazing And Some Special Crew Members Have Been Drafted In Especially. Including An ‘Intimacy Coach’ For Both Actors And ‘Hair & Make-Up And Wardrobe’ For Micheal As A Black Actor.
It Is An Absolute Must For Coleman Fans, Ward Fans, Mendes Fans, And Indeed Social And Cultural Historians. It Would Make A Great Film Study For Many Teaching Institutions Giving The Racial, Social, Cultural, West Indian And British History, And Mental Health Issues Covered.
In The 1980s One Flew Over The Cuckoos Nest Was Shown In Enlightened 6th Form Sociology Classes So Students Could Learn About The Treatment of “Mental Illness” In Some “Mental Institutions”. The Enforced Lobotomy of Jack Nicholson’s Character Was A Shocking Awakening. Empire of Light Is A Modern Day, More Informed And Enlightened Film Dealing With “Mental Health” On A Deep Level.
Mendes Has Said In A Number of The Aforementioned Interviews That He Wanted The Film To Reflect The Importance of The Political Backdrop Then (And As Now) Within The Midst of A Personal Crisis. TO.P Thinks Mendes Achieves This. As Far As It Goes.
But Many Critics Knocked This Saying There’s Too Much Going On In The Film At One Time. But We Disagree. Life Doesn’t Come Conveniently Packed To Accommodate People’s Real Life Dramas. Mendes Was Right To Highlight How, As John Lennon Famously Poetically Put It “Life Is What Happens When You’re Busy Making Plans”.
To Say There Is Too Much Going On In Empire of Light Because It Deals With Politics, Mental Ill- Health, Medical Indifference And Ignorance, Racism, Family Issues, Music Collaborations, Sex Between Different Age Groups – Particularly When The Woman Is The Older Lover – The Uplifting Power of Sex And The Deflation of Rejection – And It Should Instead Have Just Dealt With One Thing or Another Other, Is of Course – A Madness! Life Simply Does Not Work Like.
It Is A Great Film, And It Is Very Moving And Definitely Worth Watching. But There Is An Epic Fail Which Is Beyond Baffling And Very Much Needs Addressing. In This Sense There Was Much Room For Improvement, Which Is Very Disappointing.
Real Life Architect Student Stephen Murdered In The 1990s. Fictional Architect Student Stephen Attacked In The 1980s.
19 Year Old Stephen Lawrence, A Student Who Dreamed of Becoming An Architect, Was Murdered By A White Racist Gang In 1993.
The Failed Metropolitan Police Investigation Into His Murder Led To A Report By Judge Lord McPherson, Which Declared For The First Time That The Police Were “Instituitionally Racist”.
Over Thirty Years Later, Many Believe They Still Are. Often Based On Their Experiences. And Reported Experiences.
Mendes Is of Trinidadian Heritage Even Though He Grew Up In England And Has A Caucasion Appearance. He Directed The 2012 BAFTA Winning Bond Movie Skyfall And The Oscar-Winning Epic War Movie 1917 (In 2018). He Won His First Oscar In 1999 For The Film American Beauty.
We Recognise And Respect That ‘Empire of Light) Was Dedicated To The Oscar Winner’s Mother From A Mental Health Perspective. And We Salute That. Mental Health Is A Matter We Consider Very Important As A Publication.
Indeed Consideration of The Mental Health of Stephen Lawrence’s Mother Would Have Been Good Too Given The Racial Elelment of This Case. Baroness Lawerence Has Said That Fighting The Police Racism Meant She Could Not Grief The Loss of Stephen For Over 20 Years Later. Many Will No Doubt Conclude That Such Failure To Consider Baroness Lawerence’s Mental Health Would Not Have Been Made By A Black Film Production Team. Especially As The Lawrence Murder Case In One of The Momentous In British Policing And Racism History.
This Is Yet Another Example Why Inclusion Both In Front of And Behind The Camera Is Very, Very, Very Important.
‘Empire of Light’ Features A Young Black Man Called Stephen Who Temporarily Works In A Local Cinema Whilst Harbouring Dreams of Becoming An Architect. One Day In 1980s Thaterite Britain He Is Savagely Attacked By A Gang of White Racists In A Coastal Town. This Story Runs Alongs Side The Story of A Middle-Aged White Woman Called Hilary Who Has A Mental Breakdown. As She Too Works At The Cinema Where Their Worlds Collide.
What Is A Mindboggling Mystery Is How A Major Mighty Filmmaker Like Sam Mendes Could Make Such Film With A Total And Utter Lack of Acknowledgment To The 1990s Case of Stephen Lawrence? We Reached Out For Answers But Received No Response.
Even The Studious And Conscientious Micheal Ward During One of His Many Promotional Interviews For The Film Said That He Loves Stephen’s Character Because He Is So Positive & Unique. Sadly He Also Stated That He Does Not Know Any Black Youth “That’s Done Architecture.”
The Stephen Lawrence Day Foundation & Research Centre Is Dedicated To Black Youth Interested In Architecture.
Examples of Successful Black Architects Include David Adjaye OBE And Simone De Gale.
This Film’s Failure To Acknowledge Stephen Lawrence In Any Notable, Graceful, Respectful, Intelligent Way (Beyond The Apparent Happenstance of The Same First Name) Begs The Question How Was That Allowed To Happen? Especially Involving A Film Made By Veteran Movie-Maker Mr Mendes (Who Reportedly Produced A Script Involving Extensive Research Notes).
In Terms of The Racism Storyline, Even An Onscreen Historical Note At The End of The Film, Acknowledging Stephen Lawrence Would Have Been Something. But Nothing? Wow! It Is Quite Incredulous.
It’s The One Big Fail of This Film. We Reached Out To The Film’s Makers With Questions On This Aspect of This Cinematic Story But Received No Replies To Any of Them. The Unanswered Questions We Put To The Film’s Makers Remain Nonetheless. Especially To Mr Sam Mendes. This Epic Fail By The Film’s Makers Searchlight Again Highlights Why Properly Teaching Black History Lesson Is Important.
Speaking To Media Outlet Deadline.com Mendes Explained His Approach To The Movie: He And His Long-Time Cinematographer (Roger Deacon) Agreed On “A Slow Observational Style And For That One Needs Something Worth Observing.”
“I Hope It Feels Like Then, But Also Now” He Said.
Regarding This Desire For Both An Historical And Contemporary Approach, He Also Explained That He Cast Olivia Colman Because He’d Watched Her In The Crown Playing The Queen.
Ward Revealed That He Watched “The Films, The People And The Music of The Time” (The 1980s) As Part of His Research Process In Preparation For The Role.
Lest We Forget, The 30th Anniversary of The Murder of Stephen Lawrence, The Real Life Young Would Be Architect, Is Later This Year, Namely April 2023 Which Is Fast-Approaching.
Unlike The Critics Who Think Mendes Has Included Too Much We Can’t Fathom Out How A Huge Historical And Culturally Important Fact Has Been Left Out. Especially Given The Momentous Filmmaking Capability of A Man Such As Mendes Who Is of A Very High Filmmaking Calibre.
This Is Compounded By The Fact That Ward Himself Has Said In The Aforementioned Interviews That He Loves His Character (As Do We) Because He Makes A Refreshing Change To The Stereotypical Image of Young Black Men In Britain. And Within His Circle of Friends There Is No One Who Aspired To Become An Architect. Yet Sadly He Doesn’t Acknowledge The Real Life Mr Lawrence Who Was Attacked By Racists And Murdered In The Decade That Followed This Film’s Context And Shares His Character’s Namesake. Why Is That? Can It Really Be That Ward Does Not Know? And The Production Team Made This Film And No One Told Him? Sure Not!
In This Movie, Michael Ward, 25, Plays A Young Black Man, Called Stephen, With Dreams of Becoming An Architect, Who Is Subjected To A Brutal Racist Attack. Strangely, Nobody Seems To Be Talking About That. Not Even Mr Ward Himself. Nor Mendes In Interviews.
All This In The 30th Anniversary Year of The Racist Murder of Stephen Lawrence. Stephen Lawrence Wanted To Become An Architect. But He Was Murdered In April 1993 By Five Racist Thugs Before He Made It. They Were Famously Declared “Murderers” On The Daily Mail’s Front Page – of All Papers – So Confident Was The (Right Wing) Newspaper That They Could Not Be Sued For Defamation As (The Guilt of The Racist Murderers) Was So Obvioius! (Although The Obviousness Was Something That Seemed To Bypass The MET Police!)
The Editor of The Daily Mail Was Having His House Redecorated By Stephen’s Father At The Time And Mr Lawrence Pulled Him Up About His Newpaper’s Negative Press Coverage of His Son’s Murder. (Although The Two Had Not Met Before, Fate Miraculously Brought Them Together).
The Long Hard Quest For Justice By Stephen’s Parents Was Eventually Supported By A Good Cop, DCI Clive Driscoll, And Helped Infamously Expose Britain’s MET Police Force As “Institutionally Racist.” Now Stephen’s Mother, Is A Baroness In The House of Lords As A Result of All Her Campaigning Work. She Is Now At The Very Height of The Establishment That Sought To Deny Her And Her Family Justice.
So, Then As Now, Love And Unity Are Greater Than Hate And Division. This Is The Case Notwithstanding The Paradox of The Ever Changing Yet Ever Constant Particular Prevailing Political And Social Landscape!
It’s All Going On And It’s All Kicking Off!
Set Within The Context of A Team of Colleagues All Working Together In A Seaside Cinema Called ‘The Empire’ Just Outside London, In Thatcherite England, The Film Looks At The Loneliness Come Connection Experienced By The Two Main Characters. One Young, Gifted And Black. Single And Male (Played By BAFTA Winner Michael Ward 25 @Micheal Ward). One Middle-Aged, Imbalanced And White. Single And Female (Played By Oscar Winner Olivia Coleman). Interwoven Ancillary Stories Also Highlight How Ancillary Circumstances Can Impact People’s Feelings, Intentions, Lust For Life, Motivation, Strengths, Weaknesses And Resilience. Or The Lack Thereof!
The Irony And Beauty of Empire of Light Is Its Grip On Reality. It’s Authenticity. And Its Fundamental Inclusivity. It’s All Going On!
But Whilst It Deals With Deeply Personal Subjects – One In Particular Close To The Heart of Its Multi Oscar-Winning Director ‘Sam Mendes’ – Namely The Cycle of Mental Health Breakdowns (Which He Witnessed His Mother Experience As A Child) – The Story Is Beautifully And Boldly Told Within The Context of People Just Trying To Survive In A World Full of Light And Shade, Ups And Downs, Calmness And Merry-Go-Rounds. And It’s Not Always Pretty. But In This Case It’s Powerful And Thus Beautiful.
Mostly!
The Raw Racial Violence Is Visceral, Presents Itself In Different Forms, And Is Still Occurring Over 30 Years Later, After The 1980s Era. It Needs To Stop. It’s Been Going On Way Way Way Too Long! Part of The Solution Is This Kind of Movie Direction And Screenplay Dialogue. Mendes Has Recognised That So Well As He Simultanteously Addresses The Deep Issues of Mental Health.
Chipping Away At Racism Is A Life Long Dedication. It Takes Generations. And The Challenge Is Constant.
Micheal Ward @Micheal Ward On Why It Was Important To Him To Request A Black Make-Up Artist And Wardrobe Assistant, In Addition To His Black Acting Coach.
Micheal Ward @Micheal Ward On Culture Not Colour, Dealing With Racism Collectively, And That Eating Chips In The Cinema Scene.
The Film Includes Three Main Scenes of Abject Racism. Each of Them Hurts To Watch. But The Physical Violent Attack On Stephen By A Racist Mob In 1980s England Is The Toughest of All. The Film Has A ’15’ Rating And Could Arguably Have Been Less Graphic. Particularly As Stephen’s Subsequent Injuries Don’t Seem To Fully Reflect The Savage, Animalistic, Mindless Mob Violence He Was Subjected Too. He Did Not Stand A Chance Against This Pack of Racist Cowards. This Would Be Our Main Criticism of A Film Which Is Otherwise So Perceptively Precise. (This And Its Aformentioned Failure To Even Acknowledge The Lawerence Family, Which We Outlined Earlier).
Interestingly Ward Says It Was Not This Scene of The Racism That Hurt Him The Most. It Was What We’ll Call The Very Ugly Mr Chips Moment And The In-Action That Followed It. We Won’t Give It Away But We Felt It As We Watched It And It Is Was Visceral. It Cut Deep. We’ve Seen Various Ugly Real Life Forms And Guises of This Behaviour So Ward’s Pain Is Truly Recognisable.
The Ugly Racism Is Excellently Played By Ronald G Cook Who Plays Mr Cooper Whose Putried Hatred Seethes Out of Him As He’s Eating. He Acts It So Knowingly Well That We’re Intrigued. Did He Sit Down And Talk With Racists or Otherwise Come To Know Some or One In Particular? Or Did He Indeed Talk To Civil Rights Activists, Anti-Racist Campaigners or Victims of Racism. Either Way It’s A Pivotal Moment In The Film Which Highlights A Poignant Development In The Modern Day Fight Against Racism. Anti-Racism!
Modern Day Advocates Say It Is Not Enough Not To Be Racist. Pro-Active Expression of Support Is Required Which Translated To Being ‘Proactively Anti-Racist’. Rather Like A Spoilt Child Who Is Never Properly Disciplined (Not Painfully – Just Properly – Through Talking, Education And Sanction) And So That They Just Keep Getting Worse And Worse And Being Bad Again And Again And Again. They Are Called Spoilt For A Reason! Comparatively, Some Racists Could Have Been Saved From Themselves And Society Saved From Them If Only They’d Been Duly Disciplined Through Talking, Education And Sanction. This Is Why Being Pro-Actively Anti-Racist Is Important.
It’s Plain To See Coleman & Ward Have Natural Chemistry
Photo: Vanity Fair
(On Making Connections Irrespective of Age or Colour. Especially When Feeling Lonely)
(On Having An Intimacy Coach On Set)
(On Personal Childhood Experience of Mental Health & Race Relations)
The Cinema Is A Rundown Former Entertainment Palace Which Used To Boast The Grandeur of A Café, Bar, Ballroom, And Restaurant. Hillary, The Cinema’s Manager, Played By Coleman, Gives Stephen (Michael Ward) The Grand Tour As He Starts His New Job As An Usher. In The Process She Shows Him The Apex of The Building Which Looks Out To Sea. Even In This Early Simple Exploration Michael’s Presence And Their Chemistry Comes Across Right Through Screen. They Are An Unlikely But Winning Combination. Both In The Film And In Interviews. Sometimes In Life You’ve Either Got It or You Haven’t. These Two Have Simply Got It!
It’s A Joy To Watch And Transcends Age, Race, Class, Professional Experience And Lived Experience. No Doubt This Has A Lot To Do With Their Individual Personal Characteristics, Generous Souls, Positive Attitudes And Their Unabashed Love of Doing What They Do Combined With Their Unique Acting Abilities.
In A Post Weinstein Movie Industry There Are Now Intimacy Coaches And One of Them Is Ita Obrien (She Actually Went To Drama School With Coleman, Which Is Pretty Amazing). The Job Inevitably Includes Being A Movement Director And she Managed To Choreograph Physical Movement In A Way That The Sex Scenes Are Both Tasteful And Simultaneously Utterly Believable. As Are The Dancing Scenes Afterwards. Including In A Dance Class And A Solo Dance Session In Hillary’s Living Room. The Latter Scene Being Really Moving Due To The Classy And Romantic Musical Gesture From Young Lover Stephen.
In Interviews Coleman Jests About The Fact That She Is A Bit Older Than Ward’s Actual Mother. She Needn’t Feel Bad, As Michael Douglas Is Exactly The Same Age As Catherine Zeta Jones’ Father. And They Are Hollywood Royalty Whilst Coleman Holds Her Own In Many A Production As Acting Royalty, Including In The Netflix Hit, The Crown. Here She Plays A Role Way Beyond Her Years, Highlighting Her Acting Versatility Without Any Vanity).
Something About Ward Brings To Mind Not Just The Silky Smooth Civil Rights Integrity of Sidney Poitier (Ward Talks Much of How Stephen’s Character Is Positive And Helps Breaks Down Stereotypes – Something That Was Also Very Important To The Debonaire American Actor) But Somehow Also The Good-Looking Easy Charm of Brad Pitt. It’s Impossible To Say What It Is But It’s There (Notwithstanding The Men Are of Different Ages And Races). Notably Poitier Took Lessons On How To Improve His Reading, Speech And Personal Presentation In His Quest For Excellence. Ward Is Reportedly Something of A Scholar Too When It Comes To Movie-Making.
Everyone Is Excellent In This Film. Including The Understated And Briefly Recurring Doctor. Ultimately That’s The Person We Turn To When We’re Ill. Suffice To Say The Film Highlights The Fact Like All Things In Life, Sometimes There Are Good Ones. Sometimes There Are Bad Ones. And Sometimes There’s Self-Medication!
Tanya Moodie Acting As Stephen’s Mother, Who Prefers His Younger Black Ex-Girlfriend To His Current Older White Lover, Skillfully Highlights A Common Reality With Her Understated Supreme Acting Talent
Motherland’ Canadian-Jamaican Actress Tanya Moodie’s Presence As Stephen’s Mother Is Relatively Short Due To The Way The Story Unfolds But She Makes Her Presence Felt In No Uncertain Terms. We See A Mother’s Bias As She Quietly Disapproves of This Lovely But Imbalanced Older White Woman In Favour of Stephen’s Youthful, Black, Ex-Girlfriend, Ruby, Who Makes An Unexpected Re-Appearance In His Life. And Yet She Simultaneously Shows Mixed Affection To Older White Woman During A Critical Moment of Crisis For Both of Them. Here Moodie As Mother Is Momentous. Again This Film Operates On So Many Levels.
Ruby Is Well Played By African-American Actress Crystal Clark of Sanditon’ Fame @thatcrystalclarke And We Feel A Mother’s Pain As Acted By Ms Moodie Who Brings A Real Dose of Reality To How Many A Mother Is Torn By Knowing The Destructive Nature of Racism Whilst Yet Being Dedicated To One of Britain’s Most Revered Institutions. The NHS. @tanyagracemoodie.
Moodie As Mother Is Momentous!
This Is A Prime Example of Mr Mendes Keeping It Inclusive And Authentic. Basically Keeping It Real. Discussion on This Level Is What Will Help Bring Racial Harmony. Failure To Have Cool, Calm, Collected Dialogue Is What Helps Prolong The Problem. For Decades. And Decades. And Generations. And Generations. This Film Is A Masterclass In Race Relations And How To Handle Them With Honesty And Integrity.
Indeed of The Racist Attack On Him Stephen Hauntingly Tells Hillary “It’s Happened To Me. It Happened To My Mother. And It Will Happen To My Child”.
[Comment: That Is Horrific And It Needs To Stop. Stopping Starts With Talking. Real Talking. Real Talk. Keeping It Real. Otherwise It’s Pointless. Which May In And Of Itself May Explain Why These Scenarios Keep Recurring. We Need To Have More Honest Dialogue, Change The Narrative And Widen The Perspectives.]
Something About Ward Brings To Mind Not Just The Silky Smooth Civil Rights Integrity of Sidney Poitier (Ward Talks Much of How Stephen’s Character Is Positive And Helps Breaks Down Stereotypes – Something That Was Also Very Important To The Debonaire American Actor) – But Somehow Also The Good-Looking Easy Charm of Brad Pitt. It’s Impossible To Say What It Is But It’s There (Notwithstanding The Men Are of Different Ages And Different Races).
Notably Poitier Took Lessons On How To Improve His Reading, Speech And Personal Presentation In His Quest For Acting Excellence. Ward Is Reportedly Something of A Scholar Too When It Comes To Movie-Making. We Can’t Wait To See More of His Talents As His Career Progresses.
Firth & Jones Add Extra Layers Like A Cinematic Deluxe Club Sandwich
Hillary Has Moments of Both Apparent Insanity And Absolute Clarity. Depsite The Hard Subject Oscar Winner Olivia Coleman Acts With Ease In Amongst A High Calibre Cast Including Oscar Winner Colin Firth (Her Married Manager With Whom She Has A Secret Meaningless Office Fumble) And BAFTA Winner @Micheal Ward (Her New Lover With Whom She Experiences Emotional Highs & Lows).
Jones’ Answer To A Question From The African American Film Critics Association Is Deep And Endearing. His Sincerity & Description of “A Shadow Story” Highlights How Deeply Layered This Film Is And What A Great Actor He Is. Our Respect For Him Has Gone Through The Roof.
@AAFCA (The African American Film Critics Association)
Uploaded By The Koalition
Alongside Toby Jones (Above Right) TheOrator.Press (TO.P) Respect For Colin Firth’s Acting Versatility Has Gone Through The Roof Too Because His Captivating Mr Darcy (BBC1 1995 Pride And Prejudice) Becomes Mr Nasty (In Empire of Light 2023 – In The Manager’s Office). Long Gone Is The Uptight, Upstanding Gentleman, Emotionally Dead Whilst Consumed By Decorum, As A Stuffy British Aristocratic Gentleman. His Empire of Light Cinema Manager Is A Totally Different Geezer. His Bridget Jones Middleclass Playing To Type Kinda’ Guy Is Also Gone. We’ve Seen Him In Innumerable Things (Including The King’s Speech (2010) But These Characters Provide The Greatest Comparison.
Here He’s Just Bang Out of Order With No Decorum And Utterly Outrageous Whilst Being Horribly Mundane And Displaying Commonplace Shabby Middle-Management Misconduct. And He Does It Horribly (Wonderfully) Well. Colin Firth At imdb.com
Toby Jones Too As The Man In The Projection Room Beaming A Ray of Light To Everyone Else Whilst Supressing His Own Dark Problems Adds Yet Another Level of Supreme Acting That Is Truly Moving. #TobyJones
Here We See A Real Contrast In How He Keeps His Feelings Locked Down Compared To Coleman’s Character, Who Finally Sees Her Demons Explode. A Scene At The Beach Actually Left Us ‘Hand Over Mouth’ And ‘Jaw To Floor’ As Things Suddenly Went From Beauty And Romance To Seriously Ugly And Intense. And Yet With Firth’s Mr Nasty, Hillary Has A Moment of Absolute Clarity And Lucidity Which Is A Long Time Coming And Is One of The Best Scenes In The Movie. It Highlights How Delicate One’s Mental Health Can Be And How Simple Things Can Effect It (From Good Sex, To Disrespect, To A Fabulous Dress). And That Applies To Both Hillary And Stephen To Varying Degrees!
Ward Who Won The 2020 Rising Star BAFTA @michealward Earnt His Second BAFTA Nomination For This Role. Rock Star Cinematographer Roger Deakins Was Also Nominated For A Best Cinematographer Oscar, A BAFTA And Also An Award From The Association of Cinematographers For This Film. Everyone Is Excellent In It. Including The Understated And Briefly Recurring Doctor. Ultimately That’s The Person We Turn To When We’re Ill. Suffice To Say The Film Highlights The Fact Like All Things In Life, Sometimes There Are Good Ones. Sometimes There Are Bad Ones. And Sometimes There’s Self-Medication To Fill The Void!
The Layers of Empire of Light Are Like A Well-Seasoned Cinematic Deluxe Club Sandwich.
It’s Epic. It’s Real. There’s Alot To Get Your Teeth Into.
We Love It!
TheOrator.Press (Online Magazine) (TO.P) Feb 2023 On ‘Empire of Light’
Although It Is Set In A Cinema This Is Not A Love Letter To Cinema Just As Tarantino’s Ultra Gruesome And Racially Charged ‘Inglorious Bastards’ (With The Aforementioned Mr Pitt) Despite Being Largely Presented In A Cinema Setting Is Also Not A Love Letter To Cinema. (Far From It!) This Is About Finding Your Ray of Light Wherever It May Be And Basking In It Whenever Possible, For As Long As Possible, In Order To Help Protect Your Own Mental Health, Sanity And Well Being, Whatever Your Particular Challenges Maybe. Mental Health Issues, Family Issues, Or Racial Discrimination For Instance. Regardless of The Political Background, Finding That Ray of Light Is Always Important. Because Life Will Always Always Have It’s Challenges!
The Ever Eloquent Colin Firth Put It Well Whilst Talking To The Hollywood Insider’s ‘Red Carpet Revelations’ At www.hollywoodinsider.com During One of Many Promotional Media Interviews:
“It’s About Things That Help And About Things That Hurt”
Where & How To See It
Now Available:
At Select Cinemas Including Everyman Cinemas
On YouTube (For A Small Fee) – Youtube
On Digital Streaming Platforms (For A Small Fee) Such As ‘Movies Anywhere’ – Digital Streaming Platforms
On Blue Ray – Blue Ray
On DVD – DVD
TheOrator.Press ~ A New, Monthly, Online, Independent Magazine 