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13 of 14 people found the following review helpful:
5.0 out of 5 stars
"I am a giant, and I'm surrounded by ants.", 29 Jun 2004
With perhaps the best cast ever assembled for this play, David Susskind's 1961 production of Raisin in the Sun is a classic film and a landmark achievement during the American civil rights struggles of the early 1960s. Starring a young Sidney Poitier as Walter Lee, Claudia McNeil as his mother Lena Younger, Ruby Dee as his wife Ruth, and Diana Sands as his sister Beneatha, the film closely follows the script of the play, and director Daniel Petrie wisely confines the setting almost entirely to one room, as it is on stage. This intensifies the emotions and interactions of this three-generation family, which share a small, two-bedroom apartment in South Chicago, and makes their longing to break free obvious both visually and emotionally. Sidney Poitier as Walter Lee is the "giant...surrounded by ants" as he dreams of escaping his job as a chauffeur and investing in a liquor store. Poitier's body language and subtle gestures as he argues about how to spend his mother's ten thousand dollar life insurance check powerfully convey his longings. The close-up of Poitier's slow transition from an insolent and angry young man to a tearful and repentant son in one scene with his mother is unforgettable. Claudia McNeil, as the mother, is stalwart, strong, and full of pride. Ruby Dee, as the devoted wife, trying to decide whether to have an abortion in order to lighten Walter Lee's load, is simultaneously resolute and resigned. Diana Sands, as Beneatha, the agnostic medical student, reflecting the beginning of the "Roots" and "Black Power" movements, provides some comic relief as she practices African "home-from-the-hunt" dances.At the heart of the play is the issue of discrimination against black people and the limitations on their dreams, and the filming in black and white is appropriate. The small dying houseplant that Lena nurtures remains the major symbol here, as it is in the play, but through the cinematography new symbols emerge. The kitchen cupboard door opens and shuts as family members open and shut themselves to each other and the outside world, and numerous scenes take place between two people with a door in the background, opening and closing as their emotions change. The film quality and its high contrast have withstood the test of time, the sound is good, and the acting, especially as revealed in the close-ups, makes this a classic film, better than any stage version I have ever seen or imagined. Mary Whipple
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Great American Classic, 25 Jun 2007
Some stories leaves a great impression on you and this is one of them. The 1961 film version of "A Raisin in the Sun" reassembled the stage cast, with leading actors Claudia McNeil, Ruby Dee and Diana Sands as well as Poitier. The plays black director was replaced by Columbia Pictures with a white one, but Hansberry wrote the screenplay adaptation of her own work, saying, "Nobody's going to turn this thing into a minstrel show" (Goudsouzian). Hansberry originally toughened the plays script, adding scenes that emphasized the hopelessness of the ghetto environment, for example, one in which Mama Younger's is overcharged while shopping at an inner-city supermarket and one that shows Walter Lee seeking advice from a white store owner about opening his own business and misinterpreting the businessman's personal frustrations as racism. Columbia rejected this material, as well as eliminating black slang like "bread" for "money," saying that additional polarizing issues lessened the white audience's sympathy for the Younger family. The studio was cautious, because bringing the play to the screen was a financial risk, since there would be no bookings, and no revenue, from the South.
Both the play and later the film version of "A Raisin in the Sun" came at a critical time for black Americans. "In 1960, Negroes were quietly asking for their rights. By 1969, blacks were demanding them. The decade moved from the traditional goal of cultural and academic assimilation to one of almost absolute separatism and the evolution of a black cultural aesthetic" (Bogle). Some critics viewed the play as a "soap opera made successful by American's collective guilt over the Negro Question" (Mapp). But Hansberry's goal was to write about "honest to God, believable, many-sided people who happen to be Negroes" (Leab).
The play touched on universal themes: "marital and generational discord, conformity vs. respect for diversity, struggle for women's rights, idealism vs. cynicism, dangers of misdirected ambition and religion vs. atheistic humanism" (Stevens). Mama Younger rules her family with a potent form of passive aggressive love, smothering her family with her affection, but perhaps failing to teach them how to make independent decisions, precipitating a family crisis. Issues of self-improvement, education, Afro-centrism, parenting, and intra-family bullying releases, in turn, each family member's bottled up rage. The themes in A Raisin in the Sun still resonate, as black Americans continue to search for a middle ground between African heritage and slave-descendant personal histories, and to decide how much to either "assimilate" or to reject the values of white society.
In his autobiography, Producer Philip Rose wrote of Hansberry, "she was brilliant, perceptive, incredibly articulate, well-informed in the literature of the theater, and certainly freely expressive of her very strong opinions." Both the stage and screen versions of "A Raisin in the Sun" were turning points in the way African Americans were portrayed: they appeared, for the first time, as three-dimensional human beings. The dialogue and issues that are discussed reinstate the values upon which America was built. I strongly recommend this excellent film.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
A True Classic, 12 Jul 2006
This film is in Black & White but oh, what a great performance from all the acters. Ruby Dee who plays Sidney Poitier's wife was fantastic. We really enjoyed this film. It was real entertainment. Films like this should be on Sky, made available for all to see. A Must in any DVD Collection.
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