The movie displayed unprecedented artistic mastery and pioneered such techniques as the close-up, long shot, chase scene, and climatic triumph of the hero. Yet, it also depicted Reconstruction as a lawless period because it politically empowered blacks, who were intellectually incapable of self-rule and consumed by their lust of white women. The Birth of a Nation, therefore, continued the dehumanization of African Americans that characterized national culture in the early twentieth century and fueled the rise of organized terror against blacks, particularly in southern states.

D.W. Griffith, a southerner whose father served as a colonel in the Confederate Army, based The Birth of a Nation on two novels that North Carolina minister Thomas Dixon authored. Those works, The Clansman and The Leopard's Spots, portrayed the Ku Klux Klan (KKK) as a heroic organization that saved white southerners from the clutches of sex-starved black rapists and the North's Republican rule. Griffith used the books as inspiration for his epic drama in part because the nation prepared to commemorate the fiftieth anniversary of the Civil War's end. When filming completed, Griffith had produced the longest and most expensive movie ever made. It featured large outdoor battle scenes, nighttime fighting, and a celebrated twenty-minute ride by hooded Klansmen. The spectacle recreated cotton fields and an exact replica of Ford's Theater, employed thousands of extras with hundreds of horses, and used over 23,000 square yards of white sheeting.

Yet, it also conveyed the clear message that blacks could not be trusted with basic freedoms. The Birth of a Nation championed Klansmen as the heroes of Reconstruction who returned order and stability to a region ravaged by the Republican Party in the war's aftermath. The film also demonized blacks as the reason national reunion in the post_Civil War era took as long as it did, and provided justifications for the atrocities whites committed against blacks during the period. In various scenes, freed slaves assaulted whites on the streets, attempted to rape white women, prevented whites from voting, and used their political power to pass laws that legalized interracial marriage. The film's final version ran for ninety minutes and used twelve reels at a time when most movies were no longer than five reels. It cost over $110,000 to complete, but Griffith had his masterpiece.

The movie debuted on February 8, 1915, at Clune's Auditorium in Los Angeles under the title The Clansman. The local NAACP protested the picture because of its inflammatory and racist content and obtained a court order that delayed the initial screening. Several blacks boycotted the premier of The Clansman, but over 100 police officers stationed at the theater prevented violence. The presence of actors dressed as Klansmen who rode horses outside of the theater undoubtedly infuriated the demonstrators.

Yet, audiences and critics responded with such enthusiasm to Griffith's project that he changed its name to fit its grandiose vision before the film premiered in New York City. He now called his work The Birth of a Nation.

In the days before its New York premier, an enormous billboard that portrayed a hooded Klansman overlooked Times Square and deemed the film ''a red-blooded tale of true American spirit.'' But the National Association for the Advancement of Colored People (NAACP) tried desperately to have the film banned in their city before it arrived and produced numerous pamphlets that attacked the movie as racist propaganda. One such piece was titled ''Fighting a Vicious Film: Protest Against The Birth of a Nation'' and called the film ''three miles of filth'' (Lavender 2001). New York Mayor John Mitchell, however, ignored the protests. As black denouncements of the film mounted, Thomas Dixon planned to undermine his critics. He asked President Woodrow Wilson, a former classmate at Johns Hopkins, fellow southerner, and published historian, to view the film. On February 18, Wilson hosted the first private screening of a movie at the White House. He concluded that The Birth of a Nation ''is like writing history with lightning. And my only regret is that it is all so terribly true'' (Chadwick, 122). The film opened on March 3 in New York City to organized protests, but became the city's most financially successful film during the era of silent movies.

In some areas, black protests proved more successful than they did in New York. In Chicago, for instance, the mayor refused to give the film a viewing permit. Cities such as Denver, Minneapolis, San Francisco, and Philadelphia followed suit, if only for a temporary period. Yet, is was during the Boston screening where opposition to The Birth of a Nation sparked a violent confrontation between blacks, whites, and local police. The Boston NAACP, in imitation of branches throughout the United States, tried but failed to obtain an injunction against any presentation of the film in the city. When the film premiered at the Boston Tremont Theater on April 17, approximately 500 blacks protested its arrival. Some blacks bought tickets to the show and pelted the screen with eggs when Klansmen appeared. Others ignited stink bombs near the movie's finale. When blacks refused to leave the lobby of the Tremont after the film concluded, police moved among the crowd swinging their nightsticks. The interracial brawl rapidly spun out of control as other blacks and whites quickly joined the fray. Mayor James M. Curley deployed 260 officers to stop the riot. The following day, Curley held a public hearing to discuss the film's future, which D.W. Griffith and approximately 25,000 blacks attended. Curley decided to ban the movie for one day, but NAACP leaders wanted it banished permanently. When the meeting concluded, the unsatisfied blacks moved to the Massachusetts State House and demanded that Gov. David Walsh make The Birth of a Nation illegal throughout the state. Walsh initiated a bill to ban the film and all racially provocative films, but the bill did not pass a legislative vote. The Boston NAACP organized no other protests of the feature. The Birth of a Nation had its most immediate impact on American race relations when it opened in Atlanta, Georgia. On November 24, 1915, a week before the film premiered in the Peach City, William J. Simmons revived the Ku Klux Klan by burning a 15-foot cross on nearby Stone Mountain. The group had virtually ceased operations when Reconstruction ended in 1877. On the morning the film opened in Atlanta, Simmons placed an advertisement soliciting members for his new organization in the Atlanta Constitution next to information concerning Birth of a Nation's premier. Simmons and fellow Klan members paraded in front of the theater where the movie opened and gave a 21-gun salute before the viewing began. Trains even brought rural residents to the city en masse to the event. Inside of the theater, vendors sold Klan hats and other related souvenirs. The movie inspired newly formed Klan chapters to redesigned their costumes and adopt the practice of cross burning in imitation of the heroes of The Birth of a Nation. In 1920, the Ku Klux Klan claimed 4.5 million members. The Birth of a Nation became the highest grossing silent film in cinema history, earning more than $10 million at the box office in 1915. By 1949, it had earned $50 million (Chadwick, 132). Yet it continued to attract protests in many cities after its original run ended. In 1938, a manager of an East Orange, New Jersey, theater planned to show the movie for a week at his facility. He stopped playing the film four days early because two prominent black physicians gathered a petition signed by 609 residents that demanded he cease. The petition claimed that interracial fighting erupted in local schools each day that The Birth of a Nation was shown. During the 1940s, the national NAACP continued to boycott any theater that screened the picture. Even its presence at film festivals and historical presentations sparked controversy. In 1978, a museum in Riverside, California, scheduled a viewing of the film but local blacks pressured city leaders to cancel it. An area Klan chapter decided to show the film in a nearby park as part of a recruitment drive, but over 200 citizens disrupted the viewing and attacked Klansmen with baseball bats and tire irons. The melee lasted over five hours and resulted in the hospitalization of five policemen. Two years later, twelve protestors stormed a San Francisco theater where The Birth of a Nation played, chased over 100 audience members out of the auditorium, and destroyed the film. In 1995, Turner Classic Movies canceled their broadcast of a restored version of the film because of the racial tensions that engulfed the nation in the wake of the O.J. Simpson murder verdict.

The Birth of a Nation has been selected for preservation in the United States Film Registry, but its importance far exceeds its artistic innovation. The movie seemingly justified white racism, perpetuated an atmosphere of racial hatred that lasted for decades, and inspired the rebirth of the Ku Klux Klan. Few elements of popular culture have had the effect, positively or negatively, that The Birth of a Nation continues to have on American race relations.

1. Rudy

   This is a story about a boy who grew up loving Notre Dame Football, and made a goal to play football their one day. Throughout his whole life he was really small, and wasn't the best athlete, but he never gave up on his dream. No one believed that he could accomplish this dream except for his best friend. So after high school he worked at his family refinery with his best friend. After a couple years his best friend died in an explosion in the refinery. The death of his best friend pushed him to try and accomplish his dream. So he went and tried to get in Notre Dame, and after a couple semesters of trying to get accepted there he finally was accepted. He tried out for the football team, and made the team. Then it goes on to show his determination to get to play. Now go watch the movie so you find out the end.

2. Remember the Titans

   This story took place in Alabama while race between blacks and whites was a huge issue. One white high school and one black high school were combined into one school. The only mixed race school in the region. They had to go through controversies of race that no other school had to go through. They finally united into a strong football team, and the movie shows how a community can come together an strive for one goal together. Do they win the championship or not? You need to watch the movie to find out.

3. Hoosiers

   A small town basketball team gets a new basketball coach. No one really knows about him, but the town finds out how he physical abused players on his old team and was fired. The town bands together to fire this coach but the small town finally decides to give him a second chance. This team has a long shot to win the championship, but this coach brings the team to the distance to the championship game. What is the out come? You need to find out!

These are the top 3 sport movies of all time. These movies show good life lessons that we all can apply to our lives. These movies even bring a tear drop once in a while to my eyes. So you need to go and watch these movies and experience these movies first hand!

This article discusses the issue of race in movies. Specifically, it analyzes how white and black characters are portrayed differently in the movie, Be Cool, written by Peter Stienfield and directed by F. Gary Gray. Be Cool is a comedy sequel of the movie Get Shorty. The movie stars four white actors: John Travolta, Uma Thurman, Danny DeVito, Vince Vaughn, and three black, or non-white actors: The Rock, Christina Milian, and Cedric the Entertainer.

Chili Palmer (John Travolta), with his ever so poised attitude and strong build, is the star of this movie. Chili decides to leave the movie industry to pursue the music business. In the first ten minutes of the movie, Chili's friend is killed by the Russian Mafia. Chili heads to his friend's wife, Edie Athens (Uma Thurman), to offer his services in assisting her run the record label. Throughout the movie, Chili and Edie eventually become romantically involved. The romance has to wait however. Their time is occupied by the young pop star that will be the savior of the record label, Linda Moon (Christina Milian), dealing with her pretentious manager, the manager's gay, aspiring actor bodyguard, Russian mobsters and an Ivy League gangster music producer and his entourage.

“Hollywood has arguably done more to integrate Blacks into productions than any other mass medium. Yet exclusion of minority actors from certain roles and actions persists”. This movie is a confirmation of this fact.

This movie depicts three of the four white characters as poised and in control of their immediate situations. For example, Chili Palmer is the essence of a well rounded man. He speaks confidently, is not afraid of the opposition, and in the end, he gets the girl. Chili is in control of every situation he encounters. As Robert Entman and Andrew Rojecki argue, “Black-white conversations almost all involve hierarchical relationships with the white in charge of critical decisions and the direction of the plot”. This movie is a true depiction of this fact in most every scene.

Edie Athens loses her husband in the first ten minutes of the movie and with Chili's help, immediately regains her footing in the music industry without shedding a tear. She is depicted as a stereotypical all-American white woman. She is blond, sexy, warm, and non-confrontational, and a lovable woman. Edie and Chili, the two leading white characters, become romantically involved.

Raji (Vince Vaughn) is a white man playing a character that, as the other characters proclaim, “Thinks he is black.” Raji's character is an obvious attempt by the writer to create humor in the movie. Raji's character, however, is a reminder of the depictions in the movie Ethnic Notions by Marlon Riggs, where white people adorned exaggerated costumes and language in order to portray black people. In Raji's effort to be black, he speaks in slang, barely completing a coherent sentence without using profanity. His attire consists of suits, hats, and he dresses, as Chili Palmer says, “Like a Pimp.” He has no respect for women, particularly his client, Linda Moon, and is out to get what he wants by any means necessary.

All of the black characters in this movie are in supporting roles. Sinclair "Sin" Russell (Cedric the Entertainer) is a black rapper with an entourage of gangsters. The fact that Sin has an Ivy League education is certainly not the stereotypical black man; however, his positive traits seem to be overshadowed by the fact that he is a gang banger. Several scenes almost make a mockery of the fact that he is an intelligent black man.

In one scene the Russian Mafia uses racial epithets towards Sin. The head member of the Russian says, “Be Cool, N****r!” to Sin. As Joe R. Feagin noted in The Continuing Significance of Race: Anti-Black Discrimination in Public Places, “The most common black responses to racial hostility . . . are withdrawal or a verbal reply” . Sin chose the verbal reply,

”How is it that you can disrespect a man's ethnicity when you know we (black people) have influenced nearly every facet of white America; from our music, to our style of dress, not to mention, your basic imitation of our sense of cool . . .walk, talk, dress, mannerisms. We enrich your very existence, all the while contributing to the gross national product through our achievements in corporate America. It's these conceits that comfort me when I'm faced with the ignorant cowardly, bitter and bigoted who have no talent, no guts; people like you who desecrate things you don't understand, when the truth is you should say, thank you man and go on about your way . . . “.

During this verbal retort, the camera zooms in on Sin's face, possibly an effort to get the audience to absorb the words. Although a valiant effort on the part of the producers to get this message across, “Creating a color-blind society on a foundation saturated with racism requires something more than simply proclaiming that the age of brotherhood has arrived”. After shooting the Russian, Sin comments, “Racial Epithets, why does it always have to come down to that? Makes me sad for my daughter.”

Dabu, Sin's right-hand man, is another attempt by the writer to add humor to the movie. Dabu has a strong desire to kill someone; however, when he holds a gun, often times it discharges without any intent of his own. He tends to display cross-cultural attributes, from drinking tea with a pinky finger in the air to wearing a bullet proof vest with his pants barely above his thighs. In one scene Sin and his group of friends are outside of a club talking to Chili Palmer after going to get Mongolian Barbecue. Dabu is so smitten by the character, Linda Moon (Cristina Milian), that he is completely focused on her while eating his food and begins slurping as if in a sexual manner. In that scene, Dabu displays the stereotypical sex-crazed black man.

In addition to Dabu, Sin's entourage is a group of black men portraying the stereotypical gun-toting gang bangers who threaten people in order to get what they want. Their wardrobe consists of bandanas, pants worn well below the waist in order to show their boxers, plenty of jewelry on their necks and wrists, and their mouths full of slang.

In the beginning of the movie Linda Moon is an aspiring singer who has grown to hate the music business because of her experiences with her current manager, Raji. Linda Moon comes across not as a black or a white character, but more of a neutral role. Although a minority, she plays a role that may have been portrayed by a white female as well, without much change to the dialogue, wardrobe or scenes.

The Rock is a gay bodyguard who is searching for his big break in the movie industry. His appearance alone tends to be threatening until he shows his only significant feature, the raised eyebrow. Although “The Rock” and “Gay” in one sentence alone seem to be an oxymoron, he portrays the stereotypical black gay man with ease.

White and black characters are treated similar in respect to the names they are given. Chili, Sin, Raji, Dabu, are all slang names and all of which you would associate with black characters.

Some of the roles and situations in this movie, when seen by the typical white American, are likely to reinforce anti-Black stereotypes. The black characters, outside of the black police officer, are essentially framed as lazy, careless and cold gang bangers. This is the common view of all black men that the media portrays to the typical white American.

In one scene, Sin's entourage drives up to his house in three black hummers with expensive rims, with the music playing extremely loud. Annoyed, Sin dismisses this behavior by saying, “. . .must you live up to the stereotypes?” Sin's white neighbor shakes her head and hurries into her house shortly after the cars arrive. Inside of one of the cars is a kidnapped program director who the audience assumes is in charge of the music that is played on radio stations. Sin proceeds to threaten the man into playing his records. As this occurs, Sin's daughter walks out on the porch. While the men, under the order of Sin, greets Sin's daughter, the camera moves to the back of the men to show low waisted pants, boxers showing, all have weapons stuck in the back of their pants.

Entman and Rojecki argued that “White racial thinking now spans a spectrum that runs from racial comity and understanding to ambivalence, then to animosity, and finally to outright racism”. “The bulk of whites exhibit ambivalence that may be tipped toward comity or hostility depending on the interaction of political climate, personal experience, and mediated communications”. “At one end of the spectrum are white people who believe it is not possible to generalize about African American individuals any more than about whites. At the other end of the spectrum are full blown racists who believe blacks and whites are fundamentally different”.

How would seeing the movie, Be Cool, likely affect the sentiments and schemas of a typical, racially ambivalent White American? The characters and scenes in this movie are heavily stereotypical of black people. This movie may bring a since of confirmation of what a typical white American might think about black people, based on what they have seen in the media. For many white Americans, the media is the only way many white Americans see black people so their schemas are influenced by these images. According to Travis L. Dixon, Cristina L. Azocar, and Michael Casas, “African Americans are typically relegated to a depiction as perpetrators while being underrepresented as officers and victims on local television news”.

One may argue that the character Raji is a negative depiction of a white man and may influence whites to believe that it isn't just blacks. However, “Whites already know that members of their group come in all moral and intellectual shapes and sizes.”. So a character like Raji is not likely to have a real affect on their current thinking about their own group.

Given that the stereotypical black man is heavily portrayed in the movie, Be Cool, a typical white American seeing this movie could either remain as ambivalent or be moved from ambivalence to animosity. “Racial animosity occupies an important step short of racism. Although those exhibiting animosity often get labeled as racist, they do not see their stereotyped anti-black generalizations as adding up to a natural racial order that places whites on top and legitimizes discrimination“.

Although the movie industry has made great strides in reaching comity between white and black roles, the efforts are still lacking. Society still tends to instinctively provide white actors with highly coveted roles and black actors in highly stereotypical or supporting roles.

Whilst choosing to disregard anything to do with the “Newborn” creature and “Ripley 8” in Alien Resurrection as being a worthy addition to the franchise, and its attempt to outline a bond between human and Xenomorph; I prefer to investigate the connection between antagonist and protagonist beginning with the first movie.

H.R. Giger's refinement of the surreal Necronom IV lithograph, with the help of director Ridley Scott, portrayed the beauty and sexual overtones of the creature within the first film. It's loud hissing, provocative grin, and drooling fluids, had significant cultural impact upon its human predecessors.

Ripley's personal encounters with the alien, particularly towards the climax of the first movie, are almost erotic in places. As the viewer sees the protagonist strip down to her underwear, it is at that moment that the seemingly neglected alien creature springs out of hiding to intimidate Ripley further. The slow building tension between the female human and Xenomorph during this scene are evident when Ripley's respiratory levels increase, and her violent screams result from the advance off the alien towards her.

The alien's combination of sexually evocative physical and behavioral characteristics are guilty of being seductive when in the presence of the human being. Indeed, much of the Alien's looks and life cycle can be seen as a perverse sexual metaphor. The snapping metallic teeth are almost like the castrating vagina dentata, according to critic Ximena Gollardo, and are deliberate in design for creating an organic killing machine.

During the famous scene, where the chestburster explodes through Kane's ribcage on Nostromo, there is a distinct connection between sex and death. On first contact with the species, Kane had been subdued and made pregnant by the facehugger from the egg, and later on the embryo had developed and escaped via its host. It is a nightmare for the viewer to see the male gender desemated via the birth of another species in such a fashion. Indeed, when the ovomorph succeeded in planting the embryo, it was via the method of sexual assault.

Undoubtably, there is a blurring of human sexual dichotomy here. At the time Alien was released, Sigourney Weaver, who played Ripley, was a little known actress, and it was somewhat surprising for a film audience to see such a horrifying plot develop, with Ripley being the last remaining (female) character. Contrasting to Dallas, who was the more familiar lead role of the film, yet becomes one of the early captures of the Xenomorph along with Kane; then is later seen cocooned and helpess, being used as a host for the implantation process within the nest of the alien.

In this sense Ripley's role is challenging the ideology of gender stereotypes: she is the only (female) survivor of the Nostromo crew, and overhauls the threat of the Xenomorph and its propagation, ultimately by herself.

The breakthrough feminist themes about women in combat made Sigourney Weaver a cinematic icon. The “Female Action Hero” was a rare title given to actresses in the days of Alien, and it wasn't till the reprisal of Sarah Connor in Terminator 2, that Ellen Ripley had any serious (human) competition.

The Iconic lone figure with a flame-thrower has been accepted and celebrated as pure cinematic magic, where Ripley, the heroine, triumphs over the alien species. Her strength and will to carry on through the suffering of her deceased crew makes her worthwhile to the female gender, yet truly iconic to the human race.

Furthermore, Ripley's character role is made significant by challenging the ideals of science with a human angle: it is her common sense, emotion, and will to survive that relates her to the best of us.

If only the crew would've listened to Ripley citing quarantine protocol; there would have been no knowledge of the extraterrestrial life form, and humanity would be safe from its threat (at least for the time being). Her attempts at persuading Science Office Ash and Dallas to get rid of the facehugger were also blatantly ignored.
The casting of Jones, the cat, is notable for influencing further Ripley's personality on screen. Despite being stalked by the alien, and with the self-destruct sequence of Nostromo rapidly counting down, Ripley is still desperate to get Jones out of there, under her wing, safely, after the crew has been completely diminished.

It is such characteristics that allow Ripley's role to overshadow even that of the alien, which is quite extraordinary, especially given that the title of the movie refers to the antagonist. Although the alien is most certainly billed as the “Perfect Organism”, leaving the audience intrigued to find out more about this highly aggressive, unfamiliar, extraterrestrial life form, it is the story of Ellen Ripley that keeps faith in human existence, and inspires further installments of the franchise.

Admittedly, I've had numerous nightmares of the chestburster ripping through my own rib cage, and I remain quite cynical when I hear about humanity's attempts to explore other species in space. I'm not paranoid (much), but you have to remember that “Science-Fiction” is an oxymoron, and a contradiction within itself.

Giger's obscene; insectoid form was not a result of evolution, but deliberate design. The vaguely human features of the Xenomorph, with its skeletal, biomechanical appearance, may well be the most perfectly formed organism we've have ever seen. Its erotic nature of reproduction- "an interspecies rape" according to O'Bannon -has haunted audiences for years, whilst the term "We are not alone" has rung through many of our minds.
Ripley not only installs pride within women, but gives faith to the whole of humanity's explorations, on film. In fact, it isn't till the 3rd instalment in the franchise that we learn Ripley has finally been “caught'”, and impregnated by the aliens; even then she was asleep when the attack took place.

Ripley fully deserves her rank as the 8th greatest hero in American Cinema History, at the very least; while Scott's Alien masterpiece must remain as one of the most significant sci-fi films of all time; with the award for the most grotesque surrealist artist going to H.R. Giger. Undoubtedly.

Death Race (Sept. 26, 2008)

“An update of the cult classic Death Race 2000, in the not-so-distant future, a prisoner (Jason Statham) is forced to compete in a no-holds-barred car race.”

If Jason Statham is going to be in it than I already know it is going to be BA. I look forward to Jason using his Transporter style acting in another movie.

Land Of The Lost (July 17, 2009)

“Paleontologist Rick Marshall (Will Ferrell) finds himself teleported to another world that is ruled by dinosaurs and reptilian creatures known as Sleestaks. Based on the beloved Saturday morning children's show by Sid and Marty Krofft.”

Yes, Will Ferrell you get lost in that land and do what you do. You could probably make a movie about Will Ferrell being a mute and playing chess and it would still be funny. This was an amazing TV show back in the day, so I look forward to seeing this movie!

The Mummy: Tomb Of The Dragon Emperor (Aug. 8, 2008)

“In 1946, Rick OConnell (Brendan Fraser) and his wife Evelyn (Maria Bello) have just finished a tour of duty as spies for the British army and are looking for an exciting new adventure to go on. Their new assignment - to transport an historical artifact to Shanghai, China - seems easy enough, but trouble brews when they meet up with their son Alex (Luke Ford), who has just discovered the secluded resting place of the Dragon Emperor. When the ancient ruler (Jet Li) is re-awakened, the O'Connell family must stop him from also bringing back his terra cotta army with which he wants to reconquer all of China.”

JET LI!! That is seriously going to be amazing! Why did this movie take so long? Well I bet its going to be the best yet. Anyways have you guys ever been on The Mummy ride in universal? If you haven't you need to, may have been one of the best indoor roller coasters ever!

Punisher: War Zone (Sept. 12, 2008)

“Continuing his war against the world of organized crime, Frank Castle (Ray Stevenson) attacks and viciously disfigures mob boss Billy Russoti, who changes his name to Jigsaw (Dominic West) and raises an even bigger of ruthless gangsters.”

I feel like the first Punisher didn't get as much credit as it should have. The movie was truly incredible; it's a movie I can watch over and over. I am excited to see how they are going to continue the story. Rent the Punisher if you haven't seen it, it's worth it.

Yes Man (Dec. 19, 2008)

”Carl Allen (Jim Carrey) is living a very unhappy life. In order to acquire a more upbeat outlook, he swears to live an entire year by saying "yes" to everything. While his new philosophy has an initially positive effect on his daily existence, being 100% agreeable eventually starts wearing him down.”

Can anyone say Liar Liar 2? Is the pen blue “yes”, is the pen black “yes”. Well which is it black or blue “yes”?

This is an outstanding movie as its moral values are something I believe every one should be taught. The way Denzel Washington or Coach Herman Boone instilled the values he was so dearly clinging onto was sensational. He taught the different races to become best of friends, even after the pressure of the towns people to resign.

Some of the key characters in this movie are:

• Carol Boone (Coach Booms wife)
• Jerry "Rev" Harris (A inspirational Young Black Man who is determined to see the best in others)
• Julius Campbell (A Balck man who becomes best of friends with the main character Gerry Bertair)
• Gerry Bertair (The main character in this movie and basically the leader of the white part of the team. Yet he becomes a good friend to "Rev," a Black man.)

Coach Boom along with Coach Yoast, drive their team to the state final, to even there continue their perfect season, and win through unity and strength. When they come back they are received as equals and are accepted by all.

The Ku Klux Klan was involved in the film because they want Carl Lee dead and to be proved guilty, they were there when the trials were going on, and they caused trouble by shouting and throwing things outside. Another main issue that the film deals with is how wrong people were because if the jury was to be white then Carl Lee would not get a fair trial, they wanted to change the location to a place where they thought they would have a better chance but the judge said no.

Jake Brigance was at risk for defending Carl Lee because most people weren't on his side and the Ku Klux Klan would be after him and his family. Another main issue is the rape, it affects the whole of the Hailey family especially Carl Lee and his daughter, the two men that killed his daughter, (Billie- Ray Cobb and Pete Willard) treated his daughter in a disgusting way this made every one feel really angry and ruined the little girl's life, and she was only ten. The rape scene is what the whole film is based on and it makes every one hate the two men from the beginning and feel bad for Car Lee Hailey.

In the scene we are focusing on, Cobb and Willard are in jail and it starts of with the sheriff telling the two men that if there is any trouble he is going to integrate the prison. Meaning that he is going to put the two men in with the black men, they would most likely get beaten because of the rape.

After this, music comes on, it is a spiritual song "Take My Hand, Oh precious Lord". Then it is them walking into the court house they are just about to walk through when you see Carl Lee, all you can see at first is his eye looking at them, he closes his eyes, which shows he is scared and runs with a gun. He shoots the two men and accidentally shoots sheriff Looney in the leg and later has to have his leg amputated. When Carl Lee is running everything is in slow motion this adds to the effect as does the music. Every one drops to the floor scared and screaming but the screams aren't heard well because of the music. After this scene you see Jake Brigance arrive to his house covered in blood because he tried to rescue the sheriff. You hear his daughter say "Daddy"s home' and she sits on the step outside of his house.

This is a very significant secne because it is when Cobb and Willard are killed by Carl-Lee this has an effect on the rest of the film. It cinematic features make it seem really important because of the slow motion and all of the different shots. The music adds to the tension because it makes you think about what has happened to the little girl and what is happening at the time of the scene. It as frames and is minutes long.

In this scene the differences between John Grishams novel "A Time To Kill" and the film are that in a novel you can't make it slow motion so you have to describe to the audience which is what Grisham has done. He described the room so well and all of the tension and the people in it so that you can really imagine it. And it is also different because Looney doesn't crawl up the stairs and there isn't blood every where.

I think that Joel Schumacher has decided not to have so much blood in the scene because it looks less like Carl Lee is the bad person, he wants ever one to feel for him. I think that both of the scenes are very effective in different ways because you can't have music and slow motion in a book but you can still have the effects of good description and imagination. I think Joel chose to use slow motion in the film because he couldn't use words to describe the scene.