American Film Institute

Angelina Jolie Wins Over Manhattan Press to Promote ‘Unbroken’

Angelina Jolie: “I thought often in making this film about my children, my sons, who are of the age appropriate to see it – the older sons – and it’s a movie for everybody but I think it’s one you think about this great generation and the values they had and how they were as men and I think it’s one that we want to raise our children and remind this generation of their sense of family and community and honor and pay respect to them.”

This is a guest post by Paula Schwartz.

Angelina Jolie swept into Manhattan last week for some serious Oscar politicking for Unbroken, her second time at the helm as a feature film director. She attended a dizzying round of luncheons, receptions, press conferences, and Q&As to promote the film and for some needed sizzle to propel it in the awards race. Treated like royalty – a week before those other Royals arrived – and even with more anticipation, the Maleficient star dazzled even the most jaded entertainment reporters.

Based on the best-selling book about Louis Zamperini by Laura Hillenbrand, the movie chronicles his life as Olympian runner, World War II bombardier, ocean castaway on a raft surrounded by sharks, and enslaved prisoner brutalized by sadistic guards. After the war, Zamperini struggled with alcohol addiction and PTSD but finally found redemption through faith and forgiveness. Jolie’s main concern is that the film honor Zamperini’s life and struggle and that it inspire audiences.

Oscar prognosticators hint Unbroken could bring Jolie a Best Director Oscar nomination and Universal has pulled out all stops to make that possible. With Ava DuVernay a shoo-in for her brilliant film Selma, an epic about another great man, Dr. Martin Luther King Jr., this could be the first year two women are nominated in this category. (Even more historic would be Ms. DuVernay’s nomination because shamefully no African-American woman director has ever received this honor.)

Unbroken received an awards boast earlier in the week when the American Film Institute picked it as one of the outstanding 11 films of the year. (Selma is also on the list.) But two days later the Screen Actors Guild and the Hollywood Foreign Press left Unbroken off their list. This is especially surprising since the Hollywood Foreign Press loves glittery movie stars at their Golden Globe celebration.

In 2011 Jolie, who wrote and directed In the Land of Blood and Honey, a controversial film about a love affair between Bosnian woman and a Serbian solder, received a Golden Globe nomination for best foreign film. I spoke to her by telephone to get her reaction for the New York Times. She told me she knew the subject matter was a hard sell but it was a story she had to tell. “I didn’t want to be a director,” she told me, “I’ll just only do it if there’s something that I feel so compelling it must be told.” She also told me she never reads press about her or Brad Pitt. “It’s better not to know,” she said.

Both director and cast members, Jack O’Connell (Zamperini), Takamasa Ishihara (sadistic prison guard, Watanable), Garrett Hedlund and Finn Wittrock participated in a press conference last Friday at the Mandarin Oriental Hotel. Jolie choked up several times when she spoke about the subject of her film, with whom she became very close. Six hours later she teared up again at a Bafta screening when she discussed how she visited Zamperini in the hospital to show him the film and seek his approval. He died several weeks later in July of this year at age 97.

Jolie materialized at the press conference surrounded by her supporting and admiring cast, but she was the star attraction. Slender and fine boned, with her high cheekbones and saucer eyes, she is as spectacular in person as her pictures lead you to expect.

She was in New York a week before the leaked Sony e-mails in which producer Scott Rudin insulted her and the film. She has chosen so far not to comment.

The cast of Unbroken — The cast of *Unbroken*

Here are selected quotes from the press conference last week featuring Angelina Jolie.

Why it was so important to you to make the film:

I thought often in making this film about my children, my sons, who are of the age appropriate to see it – the older sons – and it’s a movie for everybody but I think it’s one you think about this great generation and the values they had and how they were as men and I think it’s one that we want to raise our children and remind this generation of their sense of family and community and honor and pay respect to them. And I want my children to know about men like Louis so when they feel bad about themselves and they think all is lost, they know they’ve got something inside of them because that’s what this story speaks to. It’s what’s inside all of us. You don’t have to be a perfect person or a saint or a hero. Louis was very flawed, very human, but made great choices and in the end a great man.

I came into this because I felt it was an important story. I was drawn to the message of the story. If you’d asked me a few years ago what kind of a film do you want to make? I never would have assumed to make a film that included shark attacks and plane crashes. I would never have thought of myself handling that kind of cinematic filmmaking. I wouldn’t think I could do that or should do that (laughs).

What was it specifically about this book that made you so passionate about bringing it to the screen? Was there one specific thing abut this story that said to you, this is it, this is my next movie?

I think what it was, like everybody, we wake up, we read the news, we see the events that go on around the world and we live in our community and we’re disheartened by so much. We feel overwhelmed and we don’t what’s possible and we don’t know where… We want something to hold onto and something to give us strength. And I was halfway through this book and I found myself inspired and on fire and feeling better and being reminded of the strength of the human spirit and the strength of having a brother like Pete and what that is and to remind us to be that for each other and how important that is to have that in your life… I realized if this was having this effect on me and I knew it had this effect on so many people, isn’t this what we needed to put forward into the world at this time? And I believe it is and I’m very happy also it’s coming out during the holidays. I think it’s an important time. It’s the right time.

Transforming the book into the film:

The Coen brothers (the screenplay writers) said something to me that helped me completely. They said when you put the book down you have a certain feeling and a certain understanding. That’s what they need to feel when they walk out of the theater. That’s your job. To literally put this book on film you won’t make a good movie and you’ll do no service to anyone. So know the themes and to us these themes, so then we would go back to the film and so for example, faith, faith is so important to him, instead of it being a specific chapter and how to put it all in, and all the experiences of his life, faith was represented from the beginning, from the little boy and represented all through the film in other characters but also in the sunrise and the darkness and the light and the struggle between them and him coming into the light. But it wasn’t literally, technically as it was in the book, but the things are the same, so that’s what we tried to do. But I think a lot of our favorite stories aren’t in the film.

It was tough. I’d be carrying the book, before we were doing the film, and a lot of people would say that’s my favorite book. You know what my favorite scene is? And I started to say don’t tell me.

Your next movie is with Brad Pitt, By the Sea. Is that sort of an antidote to this epic?

By the Sea was emotionally difficult acting in it but it was logistically a walk in the park in comparison to Unbroken. It was a nice break.

On Zamperini watching Unbroken in his hospital room:

Louis was 97 (when he died). He began skateboarding in his 80s. He was still living alone taking care of himself. He was very full of joy and love of life and very sharp. And he was doing speaking engagements for about two weeks prior to the day I got the call and he went into the hospital. So I put the film on my laptop – it was missing some of the special effects and music – (but it was) pretty much wrapped, and I went over to the hospital and I sat beside his bed and I held it over him and he watched the film and I watched him watch the film. I thought I would get some review, he would say good shot… and in reality I found myself in this extraordinary moment where I was watching this man at the end of his life reliving the moments of his life, remembering his mother, remembering his brother and all the friends he’d lost. He was the last alive, and preparing himself, as a man of faith… watching him cross the finish line while he was in this hospital bed and smiling…When it (the film) was over, he just looked at me and smiled. And then he told me a really inappropriate joke.

Paula Schwartz is a veteran journalist who worked at the New York Times for three decades. For five years she was the Baguette for the New York Times movie awards blog Carpetbaggers. Before that she worked on the New York Times night life column, Boldface, where she covered the celebrity beat. She endured a poke in the ribs by Elijah Wood’s publicist, was ejected from a party by Michael Douglas’s flak after he didn’t appreciate what she wrote, and endured numerous other indignities to get a story. More happily she interviewed major actors and directors–all of whom were good company and extremely kind–including Brad Pitt, Angelina Jolie, Morgan Freeman, Clint Eastwood, Christopher Plummer, Dustin Hoffman and the hammy pooch “Uggie” from The Artist. Her idea of heaven is watching at least three movies in a row with an appreciative audience that’s not texting. Her work has appeared in Moviemaker, more.com, showbiz411 and reelifewithjane.com.

An American Icon: In Praise of Jane Fonda, AFI’s Life Achievement Award Winner of 2014

The roles she began to play during this period revealed a growing socio-political awareness.

Written by Rachael Johnson.

On June 5, Jane Fonda received the American Film Institute’s Life Achievement award. She fully deserves the honor, of course. The two-time Oscar winner is, simply, one of the greatest American film actors of the last 50 years. There is a certain sincerity and intensity to Fonda’s acting and, as with all the finest stars, the camera never finds her boring. Her greatest performances, in They Shoot Horses, Don’t They? (1969), Klute (1971) and Coming Home (1978), are nothing less than master classes in the art of acting. Fonda has also led an interesting, eventful life. She has been an activist for decades, and her political interests have not infrequently been reflected in her choice of roles. An inspirational interpreter of American femininity on the screen, she has, moreover, championed feminist causes in both the United States and around the world.

Many of the films Fonda has appeared in address social and political issues while many of her roles have been culturally significant. The very early ones are, generally speaking, less interesting but in movies such as Barefoot in the Park (1967), Fonda’s vivacious protagonists are clearly intended to represent youthful 60s womanhood. Directed by her then husband, the late French filmmaker Roger Vadim, the wacky, erotic sci-fi Barbarella (1968) made her into one of the cinematic sex symbols of that decade. Her next role could not have been more different: in the dark, Depression-set drama, They Shoot Horses, Don’t They?, she plays a participant in a hellish dance competition. There is great depth and complexity to her character and Fonda won her first Oscar nomination for the part. The roles she began to play during this period revealed a growing socio-political awareness.

They Shoot Horses Don't They — *They Shoot Horses, Don’t They?*

Fonda’s greatest, Academy Award-winning performance–to date–is in Klute (1971). As I noted in my article, “Female Identity and Performance,” Klute should not only be celebrated as a suspenseful psychological thriller about a sex worker and a detective but also as “an allegory of the female condition in patriarchy.” Alan Pakula’s film powerfully explores female sexuality and independence as well as violence against women and misogyny. Reflecting social change, Fonda portrayed independent professional women during the 70s and 80s. She played TV reporters in The China Syndrome (1979) and The Electric Horseman (1979) and a psychiatrist in Agnes of God (1985). Fonda also, of course, starred in 9 to 5 (1980), a lively, subversive revenge comedy that directly addressed sexism in the American workplace. Incarnations of real-life, historical figures have been rare but in Julia (1977), she played Lillian Hellman, one of the key American playwrights of the 20th century. In The Butler (2013), she portrayed former first lady, Nancy Reagan. As the former President’s politics contrast sharply with Fonda’s, the decision to play his partner is a somewhat amusing one.

Fonda has not only portrayed American femininity for decades; her off-screen feminist activism has also been widely acknowledged and appreciated. A supporter of the V-Day movement, the actor has actively championed anti-VAW initiatives around the world. She has also demonstrated an interest in women’s health. She founded the Georgia Campaign for Adolescent Pregnancy Prevention in 1995 and the Jane Fonda Center for Adolescent Reproductive Health at the Emory School of Medicine in 2002. A co-founder of the Women’s Media Center, the actor has, furthermore, shown a commitment to improving the status of women in the US media.

Fonda championed progressive political causes as a younger woman. In the late 60s and early 70s, she supported Native and Black American rights and campaigned against The Vietnam War. Fonda’s visit to Hanoi during the Vietnam War in 1972 was the subject of controversy and one incident in particular caused anger in the United States. A photo was taken of a gleeful-looking Fonda as she sat on a North Vietnamese antiaircraft gun site. In her autobiography, My Life So Far (2005), Fonda explains, for her part, that the act was spontaneous and not intentionally staged; she was singing a song with her hosts and sat down unwittingly at the site. There are, in fact, Vietnam vets today who have not forgiven Fonda for her Hanoi visit, particularly for the gun incident, and the actor remains a target for virulent right-wing abuse online. In fact, a certain right-wing US news source–you can guess which–reported anger by some veterans at Fonda receiving the AFI award. In her memoir, Fonda apologizes for the photo. She also states that the gun incident constituted a betrayal of her own involvement with the GI movement, explaining that it was the veterans themselves who exposed her to the horrors of the Vietnam War.

Right-wing obsession with the image, of course, not only indicated frankly racist indifference to the mass deaths of Vietnamese civilians but it also served to obscure the political and moral motivations for the trip as well as the infinitely greater transgression of the war itself. Fonda does not apologize for the trip in her memoir. She went to raise awareness in the United States of Nixon and Kissinger’s underhanded, escalated bombing of the country, particularly its dikes. Any reading of the historic response to her visit, particularly the gun incident, as well as lingering resentment, should also take into account the following truths: politically engaged women have traditionally endured greater scrutiny and judgment than their male counterparts while women who have been perceived as traitors have always been subject to more intense vilification. Fonda herself expresses an awareness of this in her memoir: “I realize that it is not just a US citizen laughing and clapping…I am Henry Fonda’s privileged daughter who appears to be thumbing my nose at the country that has provided me these privileges. More than that, I am a woman, which makes me sitting there even more of a betrayal. And I am a woman who is seen as Barbarella…an embodiment of men’s fantasies.”

Again, many of the movie projects she was involved in during the era addressed her political concerns. One, in fact, tackled the war in Vietnam. Conceived and developed by Fonda herself, Coming Home is the story of a wife of a Marine Corps captain who has an affair with a paraplegic vet when her husband is in Vietnam. An intimate, political take on the conflict, the drama addresses its life-changing consequences. It not only examines war-related disabilities and PTSD but also looks at its impact on women with partners in the military.

The China Syndrome (1979), a thriller about a cover-up in a nuclear plant, reflected Fonda’s concern with the dangers of nuclear energy. The credibility and urgency of the movie’s message was amplified by a real-life incident at the time of its release in 1979: astonishingly, the Three Mile Island accident in Pennsylvania, effectively a limited nuclear meltdown, occurred less than a fortnight after the opening of the film. Other films Fonda appeared in during this period critiqued materialism. The romance The Electric Horseman (1979) espouses an anti-corporate ethos while Fun With Dick and Jane (1977) takes aim at the American Dream. Although set in a much earlier era, the anti-Fascist Julia examines the nature of courage and political engagement.

Fonda has played a great many parts in her own life. She has, of course, been a fitness and health guru–as aspect of her life that, I must admit, interests me the least–as well as a memoir writer. Fonda’s private life has been equally been eventful. She has been married to three charismatic men–the politician Tom Hayden, media mogul Ted Turner, as well as Roger Vadim–has three children, and is currently in a relationship with music producer, Richard Perry. It is difficult to think of another American movie star who has had such an accomplished, interesting and influential life but Fonda’s deeply confessional autobiography is a candid account of female insecurity and self-abuse. My Life So Far chronicles the experiences of a privileged though objectified woman in a patriarchal society and details the psychological damage that sexist attitudes inflict upon women. It is shocking to read director Joshua Logan’s suggestion that Fonda procure a more defined look by having her jaw broken and reset. Another troubling aspect of her memoir is her account of her relationship with her father. Jane adored Henry though he was a cold and distant parent. On Golden Pond (1981), a drama about a troubled father-daughter relationship, was a gift to Henry from his daughter–Jane produced and starred in the film with him and he won a Best Actor Oscar for it–but you wonder whether he deserved her love. It is, to be frank, a love that comes across as emotionally slavish father worship. Fonda also, it seems, had troubles with the men in her life in the past, including sexual betrayal. My Life So Far may be read as an act of female strength in that it opposes traditional patriarchal attitudes towards weakness but it is also a quite a perplexing and dispiriting affair. As a feminist icon, should Fonda not be highlighting her work more? Tough yet vulnerable, independent yet emotionally dependent, the younger Fonda arguably embodied the contradictions of middle 20^th century womanhood.

Fonda retired from acting in the early 90s but returned in 2005. The films have not been remarkable but it’s great to see her grace both the big and small screen. Her role as CEO Leona Lansing in the TV series, The Newsroom, is strikingly played but we are left wanting more. The good news is that she will star with Lilly Tomlin in a Netflix comedy. It would also be a wonderful thing to see another great central cinematic performance from Fonda but even if it does not happen–through preference for smaller parts or opportunity–the great roles of her prime will continue to stand the test of time.

Few figures in American popular culture have played such a dynamic public role as Fonda. Whatever your opinion of her politics or fitness/health projects, it is difficult to disregard her passion and commitment. Fonda was at the very epicenter of social and political change in America for many years. The 76-year-old has shown creativity and daring in both her career and activism and she should be celebrated not only for her great performances but also for her personal courage and resilience. Jane Fonda is an American icon and survivor.