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About the Film || Brother Outsider: The Life of Bayard Rustin (247 words) |
 | BROTHER OUTSIDER: THE LIFE OF BAYARD RUSTIN has received major funding from the Independent Television Service, the National Black Programming Consortium, the National Endowment for the Humanities, and a number of private foundations and funders (see list). |
| Though Bayard Rustin did not keep a journal, the film uses his first-person voice wherever possible, gleaned from his extensive writings (compiled in the volume Down the Line, published in 1971, and other unpublished collections), papers and personal correspondence, and numerous recorded interviews. |
| Beyond this, Rustin’s and other first-person voices contrast with excerpts from Rustin’s FBI files, which present J. Edgar Hoover’s view of Rustin as a "suspected communist and known homosexual subversive." BROTHER OUTSIDER creates an aesthetic that reflects Rustin’s position as an outsider, a troublemaker and an eloquent speaker who refused to be silenced. |
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CBC.ca - Arts - Film - The Outsider Makes His Exit (2034 words) |
| Altman’s films are at once naturalistic, but also consciously filmic; one is always aware of the camera at play even as it pretends to hover and eavesdrop invisibly. |
| In the two films for which he will be most remembered, the campaign satire Nashville (1975) and the macabre Korean War sex romp M*A*S*H (1970), he showed a country suspicious of institutions, collapsing on itself in a flurry of slapstick and deceit. |
| Altman would ask everyone, including electricians and gaffers, to watch his films’ rushes (footage of scenes shot that day), and he claimed that he would often be as surprised as his colleagues at what he saw. |
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