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 Posted:   Sep 17, 2010 - 11:04 AM   
 By:   Gordon Reeves   (Member)



Coming Up In Colorful Conclusion Department:









 
 
 Posted:   Sep 23, 2010 - 11:10 AM   
 By:   Gordon Reeves   (Member)



Broadway Blockbusters A'Comin' Department:









AND







 
 
 Posted:   Oct 12, 2010 - 6:43 AM   
 By:   Gordon Reeves   (Member)



Equals R Us Department:



Next accolade is this year’s selection for



AFI’s Lifetime Achievement Award. cool cool cool


 
 
 Posted:   Oct 12, 2010 - 11:36 AM   
 By:   Gordon Reeves   (Member)

YO, El Zoob Department:



smile wink big grin

 
 Posted:   Oct 22, 2010 - 2:28 PM   
 By:   David Sones (Allardyce)   (Member)

I was watching an episode of T.J. Hooker a couple of days ago when I was reminded of this fine actor, and said to myself, "Self, you need to add him to that Sidney to Denzel to Morgan thread. And so...





He's done a lot of great character work in many TV series over the years, and small but memorable parts in several films.




But what I liked him best in was this man's...



...exceptionally solid crime thriller...





In this film, and in most of his performances as a heavy, the key word that always comes to mind is menacing. Williams has a stare and an energy that is often frightening and certainly unpredictable. He's one smooth, scary muthah.

 
 
 Posted:   Oct 22, 2010 - 2:50 PM   
 By:   Gordon Reeves   (Member)



NIFTY addition, Ally; now we know these Appreciations will be in worthy hands when we push on
into that matrix sunrise. Also, didja know who discovered Mr. Williams? Yep, that other PhillySon:



Didja Know - The Sequel Department:

Whom his long-tyme partner was?



"Not quite what you expected ... right?" wink

 
 Posted:   Oct 22, 2010 - 3:53 PM   
 By:   PhiladelphiaSon   (Member)

I was just watching 53 Pick-Up, and it was good to see him!

 
 
 Posted:   Oct 23, 2010 - 9:52 AM   
 By:   Gordon Reeves   (Member)



Speakin’ of “52 Pick-Up”’s John Glover Department:



During that future Sardi’s soiree with you and the Missus, PhillyJay, remind us to tell ya ‘bout
the mortifyin’ tyme we gave him a bloody nose – accidentally, natch – when, during a
too-dark backstage scene change as he played the title role in



we didn’t see him comin’, and he sure as heck didn’t see us comin’ (wink hay, watchit! big grin) – and we ran smack
dab face full-on into one another. The next act was delayed while everyone waited for his nose to stop
gushing like a reddened Niagara but, eventually, the show did go on.

Embarrassing in the extremis, yu durn betcha! embarrassment embarrassment embarrassment

 
 
 Posted:   Oct 26, 2010 - 9:17 AM   
 By:   Gordon Reeves   (Member)

 
 
 Posted:   Oct 28, 2010 - 4:33 PM   
 By:   Gordon Reeves   (Member)







 
 
 Posted:   Dec 11, 2010 - 10:08 AM   
 By:   Gordon Reeves   (Member)



He was a master class in cerebral eloquence and audience command ... and although his
dominant playing card in the realm of acting was quite serious and stately, nobody cut
a more delightfully dry edge in sitcoms than this gentleman, whose calm yet blistering
put-downs often eluded his lesser intelligent victims …



Blessed with rich, mellifluous tones and an imposing, cultured air, Roscoe became a
rare African-American fixture on the traditionally white classical stage.”
- Gary Brumburgh.









When once informed by a director his speech sounded "white", Mr. Browne mischieviously
quipped, "We had a white maid". big grin



























And when he appeared with Laurence Fishburne in the latter’s Tony-Award winning performance
on Broadway in 1992’s



not only did he introduce the grateful thesp to the wonders and disciplined distinction of poetry but also
selected him (along with Anthony Zerbe) as executors and administrators of the Roscoe Lee Browne
Scholarship Fund
plus his writing/essays and poetry being donated to Lincoln University.









1925-2007 –



Rest in Eternal Exemplary Memory.


 
 
 Posted:   Dec 13, 2010 - 7:25 AM   
 By:   Gordon Reeves   (Member)



“The posters themselves are powerful, beautiful and striking. They tell a really great story about the
industry that was out there that a lot of people don’t know.”
David Failor, Manager of Stamp Services,
The Postal Service.







Paul Ellington, left, grandson of Duke Ellington and leader of the Duke Ellington Orchestra, actress
Lynn Whitfield, star of “The Josephine Baker Story”, and Newark Mayor Cory Booker view movie poster
stamps honoring vintage black cinema during a first-day-of-issue ceremony at the Newark Museum.



“Between 1912 and 1929, these movies were made exclusively by independents, some black
and some white. They offered sharply different portrayals of blacks than you would find in Hollywood
films at the time. They were lawyers, cowboys. If there were African-American characters in Hollywood films,
they were secondary and servile.”
Gerald R. Butters, Jr., Dean of General Education, Aurora University in Illinois.





A’course, there’s another Trinity that deserves their own immortalization as well:







sew mebbe we’ll stick around for another 5,000 years in order to see THAT, too (three) smile smile big grin

 
 
 Posted:   Feb 20, 2011 - 12:16 PM   
 By:   Gordon Reeves   (Member)



{ Happy Birthday }



MISTER wink Sir






smile smile

 
 
 Posted:   Feb 25, 2011 - 9:00 AM   
 By:   Gordon Reeves   (Member)



Recent Colorful Productions on Da Great White Way Department:

















And now Mr. Fishburne’s triumph has been filmed:







smile wink

 
 
 Posted:   Mar 21, 2011 - 1:30 PM   
 By:   Gordon Reeves   (Member)



He May Not Have Been the Heart, But He Dang Sure Was the SOUL of the Saga Department:























smile wink

 
 Posted:   Mar 25, 2011 - 8:45 AM   
 By:   Ron Pulliam   (Member)

I fully appreciate all the perspectives presented herein.

For me, the finest actor working today is....


Morgan Freeman.


Period.


 
 
 Posted:   Mar 25, 2011 - 9:02 AM   
 By:   Gordon Reeves   (Member)



Und THOU Hast Well and Truly Olympian Spoken in all Thy SOGSest Department:



We doth getteth thou cosmic drifteth and most non-bravely boweth, o celestial bolt. smilewinkbig grin

razz

 
 
 Posted:   Mar 25, 2011 - 9:57 AM   
 By:   Gordon Reeves   (Member)



Whether you know it or not, Ron - and now you do – you’re kinda betrothed to
Pauline Kael



who began her review of “Street Smart” with these sincerely shy syllables ...



"Morgan Freeman may be the greatest American actor."



Soooooooo, ‘cause you’re in such yeasty company, the following is for Vu,
from the 2008 Broadway production:







 
 
 Posted:   Mar 29, 2011 - 1:07 PM   
 By:   Gordon Reeves   (Member)



As we enter this penultimate offering, we haveta say there are a great many others whom time didn’t allow
entry into this brilliantly-belated actoral Appreciation, but one we didn’t wanna deny the an honorable spotlight
to is someone whose career isn’t quite as immediately well-known as some of his predecessors but whose
cumulative effect



is no less impressive. His name? Al Freeman Jr.



Starting on stage in New York in the early 60s ala many of his colorful contemporaries, he distinguished
himself opposite Diana Sands in



“Blues for Mister Charlie”



which then led to originating the haunted, tragic revolutionary in Leroi Jones “The Slave”



As to that – in addition to winning an Emmy as Lt. Ed Hall on “One Life to Live”, he was
also one of – if not the first – African-American to direct a soap.



(Don’t blink ‘cause he’s only in the first minute or so of this clip …)





His mainstream breakthrough occurred opposite Patty Duke







which provided the opportunity to act opposite Ol’ Blue Eyes



before top-lining Anthony Harvey’s directorial debut in the film version of the former Mr. Jones



that features an electrifying performance from Miss Knight.











His heavyweight co-stars continued with







plus working with the pre-Corleone Francis Coppola in









And, although this 1969 film is best remembered as the project that brought
El Sid and his future wife together,



Mr. Freeman walked away with it all due to his no-nonsense character of conscience (even to the
point of not only holding his own opposite his heavyweight star but having an equal charismatic
intensity that made it durn near impossible not to admirably focus on him).





Incidentally, remember this historic Oscar-winning perf?



Didja know it was remade into a Broadway musical in the spring of 1970 with a pedigree that comprised no
less than Jule Styne’s music and Shirley Booth in Lilia Skala’s original film role. Sammy Davis Jr.’s
evidently too Olympian salary demands ruled him out so the subject of this appreciation was beamed on board –
alas, it ran for scarcely more than a month.



One of his most compelling characterizations was as Malcolm X (opposite James Earl Jones
as Alex Haley in




and later provided a bookend portrayal as







He’s continued carving out striking portrayals




in various enterprises (not the Starship wink)



before stepping into his current role as a professor at Howard University.



Still, our Steed-ish derby is off to him for the fine way he’s acquitted himself over the last few decades with such dedication, discipline and subtle distinction.

wink smile

 
 
 Posted:   Apr 7, 2011 - 2:05 PM   
 By:   Gordon Reeves   (Member)



For SOGS Department:

smile wink

 
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