Showing posts with label Hoop Dreams. Show all posts
Showing posts with label Hoop Dreams. Show all posts

Wednesday, October 3, 2012

DOUBLETIME: SOMETHING TO SHOUT ABOUT



Would you believe it if I told you that one of most emotionally captivating films I've seen in recent times is about jump rope?  Yeah, I'd be skeptical, too.  But here it is, more than a week since I watched Doubletime and I'm still impressed at how deeply the story cuts, the astounding look of the thing, and, most of all, just how personally involving of a documentary director Stephanie Johnes has put together here.

The film quickly sorts out the two main types of competitive jump rope; for those not in the know, there's skip rope and double dutch.  Skip rope is what most people talk about when they refer to jump rope, pretty basic on the surface, but, as the champion-level kids featured in the doc prove, there's a level of mastery within the competitive skip rope world that's far beyond what you'd see being practiced on your local playground.  Double dutch uses two jump ropes at the same time and is just as challenging for the jumper as it is for the two individuals working the ropes.  Additionally, in competitive double dutch, there's a style known as fusion, which incorporates dancing and hip hop culture into standard double dutch technique.






Perhaps the most important distinction between skip rope and double dutch, however, is their division along racial lines.  Double dutch is almost entirely identified with and practiced by the African-American community, while the kids in Doubletime who work at skip rope are primarily Caucasian.  Johnes spends a good amount of time exploring how the split between the two forms of jump rope started, chronicling the history of both sides of the divide.  The big event in Doubletime--and, yes, there's always a big event in these kinds of films--is the annual Double Dutch Holiday Classic at the Apollo Theater, where for the first time a group of competitive skip rope players will compete alongside the kings and queens of double dutch.





Johnes captures an inside view of two teams of kids as they prepare to compete in Harlem.  South Carolina's Double Dutch Forces are, as their name indicates, well versed in the ways of double dutch, but this inner-city team still has a lot to work ahead of them on their way to the Apollo.  North Carolina's Bouncing Bulldogs are the newbies from the suburbs at the competition and they're facing an uphill battle as they try to incorporate the more foreign aspects of double dutch fusion into their repertoire.  Each team has its own set of characters, including their trainers whose own hopes and dreams are caught up in the excitement of the upcoming competition.





Doubletime is a great pleasure to watch.  From its remarkable perspective on both present and historical issues of race in America to the incredibly optimistic and talented kids performing their incredible, near-acrobatic routines, I was sold from the first minute until the last.  Seriously, I was grinning like a damn fool during most of this film and shouting, "whoa," or, "wow," during the rest of it.  If you loved Spellbound, Murderball, or Hoop Dreams, you'll absolutely find something to love in Doubletime.





Doubletime is available on dvd & video on demand now.  More info about how to see the film can be found here.


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Wednesday, April 18, 2012

THE INTERRUPTERS: STOPPING THE VIOLENCE, ONE CONFLICT AT A TIME



There's little doubt that violence is a disruptive force not unlike cancer; the appearance of one instance rapidly multiplies until much of the social body is overtaken.  If you'll forgive my co-opting of the overused "violence is a cancer" metaphor, the subjects of Steve James' (Hoop Dreams, At the Death House Door) latest documentary, members of Chicago's Cease Fire organization, stand as a type of experimental treatment against the violence plaguing the streets of the windy city.





 James travels the streets of Chicago with representatives of Cease Fire, self-proclaimed "violence interrupters," as they put themselves in the center of conflicts, attempting to defuse them before they reach the boiling point.  What makes the organization unique, beyond their use of direct action, is that these anti-violence advocates are almost entirely made up of former proponents of violence; Cease Fire actively looks to recruit former gang-members and ex-cons to carry out their mission, reasoning that their unique expertise and undeniable street cred is an invaluable resource in stemming the spread of violence that threatens Chicago's neighborhoods.






The film demonstrates how the work being done by these interrupters extends to advocacy and mentoring; James' cameras follow members of the group as they spend time with individuals at high risk for violent action.  And it's within these one-on-one meetings that The Interrupters really finds its feet, allowing for the viewer to witness a far more personal espousal of Cease Fire's philosophy as its relates to each street team member's personal experiences.







Such moments, coupled with the sequences where the advocates divulge the sizable regrets of their past, drive the film forward, offering hope for change in what many might label a hopeless situation.  Their ability to interrupt their own vicious cycles of provocation and retribution speaks loudly to the possibility for others to experience a similar breakthrough.  The Interrupters doesn't assume that outcome but it does offer optimism via the examples of those who have overcome the odds.








The Interrupters plays at the NW Film Center's Whitsell Auditorium (in the Portland Art Museum) on Wed., April 18th at 8pm.  The producer of the film, Alex Kotlowitz, will be in attendance at the screening.


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