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Every American should see the movie Till,
Based on the story through Emmett Till’s mother’s eyes!
A truly American epic!

Danielle Deadwyler as Mamie Till Mobley in ‘Till.’
Photo credit: Lynsey Weatherspoon/Orion Pictures

‘Till’: Facing an Unspeakable Murder Through a Mother’s Eyes

Chinone Chukwu’s retelling of the lynching of 14-year-old Emmett Till focuses on the private grief and public action taken by his mother, Mamie

* Editor’s note: I watched this movie last night, and growing up with grandparents in Birmingham, Alabama in the 1950s and 1960s, I can relate to the culture of racism that is exhibited is this historic story, and still permeates The South and elsewhere across our nation today.

Actress Danielle Deadwyler deserves an Academy Award nomination for her role as Mamie Till-Mobley!

This movie demands your attention to take the 2 hours to watch! Click here

From Rolling Stone:

Chinonye Chukwu’s new movie Till, which is now out in theaters, is a difficult prospect. The basis for its story is the brutal 1955 lynching of the teenager Emmett Till in Money, Mississippi, an event that has endured in the public consciousness largely because of the actions of his mother, Mamie, who took the vital step of arranging an open casket funeral for her son and wielded the power of the Black press to disseminate images of his unrecognizable body far and wide. Till is a movie about Mamie, more so than Emmett. It’s about white supremacist violence, of course. But its more immediate concern is the aftermath of that violence for a woman whose grief becomes a public, historical fact, a pivotal episode in an ongoing fight which, from where she’s sitting, often feels completely beyond her. It’s about the murky politics of image management, and “perfect” victimhood, and other concerns that would seem tangential to the bare reality of a mother’s unimaginable loss — problems that would seem beyond the point — and how, for the public, these problems risk becoming the point. It’s about that mother’s grief. And it’s about justice, too, of course. Though, if you know this story, you know that justice is not promised here. That, too, is the point.

Someone with awareness of this history may approach Till warily, concerned over how it will handle two crucial aspects of the story in particular. The first is the incident that started it all: Emmett’s brief interaction with Carolyn Bryant, and the maneuvering it demands in showing how to undercut a lie without oversimplifying the truth. The other is its approach to Emmett’s body. We live in a moment that has only made clearer how easily images of racial violence can be circulated, reiterated, and reproduced. Mamie Till’s argument was, of course, that we cannot look away, not because Black citizens (particularly in her time) were in any way naive about the realities of this violence, but because the images might help to render that knowledge into an even more immutable, even more actionable, indisputably public fact. Till is being released in a different moment. This is the age of bodycam footage and social media. The public fact is now omnipresent. The problem we face now is less one of looking versus looking away than it is of unavoidability. These images are everywhere — in part, one imagines, because of the force of Mamie Till’s argument and the ethical pathway it set before us. We are still confronted with a duty to look. But we are now equally confronted with the despair of so much looking and so little change.

Read more of the story from Rolling Stone.

Posted by Steve on November 27, 2022 at 11:20 am | Permalink

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