Movies with BM/WW Couples

Oh shit, I've had a thing for Mary Elizabeth Winstead for years. I guess I gotta put this "All About Nina" film in my to watch list.

Common is 1 those black male celebs who panders to BW/SJWs on social media, so I'm surprised he's willing to this.

I'm still waiting for @JamalSpunky name all the films Common has been in where he's involved in a IR.

 

^^ He is a liberal. Some of it's political pandering to just do it out of spite of the right and not get called out by black women for not protecting them. But I thought about it and Common pretty much kept his acting career wide open and diverse. But here in this flick he is being portrayed as a rare not only main love interest but sex symbol that has the potential to stir them up. All it takes is one of them to say something or the root to put out an article about it. lol.

But yeah @JamalSpunky still owe us an explanation because I'm only seeing it recently. Remember he had a love scene that was mentioned here with Laura Dern on some HBO show or movie.

 

oooh...oooh...oooh!

"Here and Now"
"All About Nina" obviously
"The Tale"
"A Happening of Monumental Proportions"
"X/Y" (Latina love interest)


Feels like I'm missing something.

 

^You're gonna have to help me out with Here and Now. I can't find anything.

 

Here's the Wikipedia page of the "Here and Now" film: https://en.wikipedia.org/wiki/Here_and_Now_(film)

There's no trailer on Youtube & I haven't seen anything online that mentions Common's character will have a love interest, so I don't know how @JamalSpunky came to the conclusion that Common will be involved in a IR in this film.

 

^^ It probably change it's title back to the original one called Blue Night.

No trailer... yet.

But this review alludes to "history" with Ben(Common's Character.) and a possible soulmate for Vivienne(Sarah Jessica Parker's character.).

https://www.indiewire.com/2018/04/blue-night-review-sarah-jessica-parker-1201955426/

I think All About Anna looks and sounds better imo. lol.

But damn Common is ready to risk it all with these movies playing white women's love interest. LOL! Careful, those black female SJWs are watching. lol.

 

The original film title was indeed Blue night but if you try to track it down you have to use its current title name Here and Now which is why I listed it.

Yes, Common has been cast as the love interest for a lot of white middle age women. He's the current Go-To black guy for Hollywood on that front. He's not getting any negative pushback perhaps because either the black community doesn't care enough about him or because these films are normally small budget movies that escape black people's radar.

 

I wondered if the sister did not have the IR with the White friend of the main character would it have a big buzz in the community?

 

Hope to see that flick soon.

 

Could be since social media in the community can be vicious.

 

But that's how I found more information on it. By it's old title.

And they will find out if that other movie All About Anna starts getting mainstream attention and he starts promoting it everywhere and starts to generate awards "buzz". That flick looks really good from what I seen in the trailer and already a critics favorite and currently sitting at 100% on rotten tomatoes. Attention and if they find you attractive is what triggers them. lol.

 

There's no chance of that happening. "All About Nina" is an indy film that will probably only get a limited theatrical release. You can tell that from watching the trailer & seeing who the lead is.

 

All it take is one interview, one tweet, one award nomination mention and then BOOM! Things will get around.

 

I just found and watched a movie called One Potato, Two Potato (1964).

This movie pushed the envelope more than Guess Who’s Coming to Dinner (1967) and was released three years earlier!

https://en.wikipedia.org/wiki/One_Potato,_Two_Potato


In an early example of "crowd funding," the $230,000 budget for ONE POTATO, TWO POTATO was supplied by approximately fifty private investors, mostly from New York City, who contributed as little as $500.

Photography was completed over a period of thirty-four days. No U.S. distributor was willing to handle the film, except for an unidentified major company, which declined after the producers refused to add a “cheerful” ending. Others anticipated a lack of interest from Southern exhibitors.

Director Larry Peerce, son of opera singer Jan Peerce, told the 13 July 1964 New York Times that he also offered the picture to the U.S. selection committee for the Cannes Film Festival. The three committee members who agreed to view the picture, Fred Zinneman, George Stevens, Jr., and Allen Rivkin, walked out after thirty minutes. Producer Sam Weston believed the scene in which Barbara Barrie kissed her African American co-star, Bernie Hamilton, was “too much” for them. While Peerce was seeking distribution in Europe, the selection committee in Cannes, France, agreed to screen the film at their upcoming festival, where it received a five-minute standing ovation, and won a best actress award for Barbara Barrie. Weston and Peerce recovered their production expenses after receiving an advance on royalties from overseas distributor British Lion Films.

The film opened 29 July 1964 at the Murray Hill Theatre in New York City. Openings followed at the Orpheum Theatre in Los Angeles, CA, and at the Beverly Cañon Theatre in Beverly Hills, CA, on 27 August 1964. Bernie Hamilton appeared at debuts in New York, London, and Paris. Reviews were mixed: While the the 9 September 1964 Los Angeles Times complained about the film’s lack of professionalism, the 8 May 1964 Daily Variety called it “a tactful look” at interracial marriage, and the 27 December 1964 New York Times listed it among the ten best releases of the year.

U.S. distributor Cinema V anticipated gross receipts of $1 million, with exhibitors from Virginia, Louisiana, and North Carolina bidding for the film. Out of the 250 Southern theaters that screened the film, only thirty to forty did not have an exclusively African American clientele. The film was very popular in Japan, where it was considered a compelling melodrama, rather than an exploration of U.S. race relations, of which the Japanese had reportedly little understanding.

Released three years before Guess Who’s Coming to Dinner (1967), and one year before the Voting Rights Act (1965), One Potato, Two Potato (1964) is about a white divorced woman who falls in love with and marries an African-American man. When her ex-husband sues for custody of her child, arguing that a mixed household is not a proper place to raise the child, the new African-American husband had to fight for his parental rights in court, fighting against a judge who represents the prejudices of the era.

Directed by Larry Peerce and shot in its entirety in and around the small northeastern Ohio city of Painesville, “One Potato, Two Potato” received all the cheers for displaying such emotional and political courage in telling the stories of interracial couples.

Lead actress, Barbara Barrie, for her role as Julie Cullen Richards, won the Best Actress award at the 1964 Cannes Film Festival.

The screenplay, written by Orville H. Hampton and Raphael Hayes, was also nominated for Best Original Screenplay at the 1964 Academy Awards.

Full movie via Youtube:

 

^^ Good find!

 

Wow what a find!!!! I only knew Barbara Barrie as the wife of Barney Miller, and Bernie Hamilton as the boss of Starsky and Hutch. Will watch ASAP!

 

First heard about this movie from this very site years ago.

 

Another is to be added to this list.

https://variety.com/2018/film/news/colin-farrell-common-jessica-chastain-eve-1202929783/


In this film Common is to play Jessica Chastain's ex (don't know if its Ex-boyfriend or Ex-husband though). I'm sure at any second someone is going to complain that It's Not Real IR Unless The Black Dude Gets to Kiss/Tongue/Fuck The White Gal blah, blah, blah. Look I don't know what's going to happen between the characters. What I do know is that its an action flick which means there probably won't be much of an opportunity for romance or sex. And furthermore if you don't think its progress that a black actor is used to play a man with a past relationship with the lead white female who is actually the central character then you are simply being unreasonable. There has been a stretch for decades in which mainstream films like this wouldn't even allow an attractive white woman and an attractive black male to even be in a room alone with one another, even in a platonic situation.

 

It's 2018 @JamalSpunky that's settling for something compared to the other IR out there with lead female characters. That's also a very narrow way at looking at the "complaining" when it's a deeper reason than that, but you act like you don't see it. It is only progress only if there wasn't a problem WITH intimacy between the characters which has ALWAYS been the main thing Hollywood steers clear from. The silhouette kiss in Guess Who's Coming To Dinner the absence of it in The Bone Collector. There was an online article during the late 90s that highlighted that. https://www.eonline.com/news/35283/black-men-can-t-kiss
When that is the BIGGER problem why be okay with the bigger problem looking at it as progress?

What you guys looking at as progress it boggles my mind that you see it that way when in actuality it has been done before with Julia Roberts, Angelina Jolie, Charlize Theron, Julianne Moore, Keira Knightley, Nicole Kidman, Bridgette Wilson, Mimi Rogers, Jennifer Aniston, ect.

It's not new man nor has it ever really been the problem.

It also sounds like you guys are accepting this privilege of even being CONSIDERED the white female central character's lover. When there are movies out there with the main white female character having a black lover with NO PROBLEM like A United Kingdom, The Mountain Between Us, CandyJar, 2 days in NY, Focus,The Anomaly, Little Boxes, ect. Not to mention the TV shows.
And some of them are really good love stories between black men and white women, but you guys focus more on the movies where they avoid and call it progress because they are considering a black man the love interest or looking at as a privilege that he is just there when these films and TV shows are right in front of our face.

BTW I don't have a problem with movies like the ones you guys like because two of my favorite movies last year was Murder On The Orient Express and Mudbound. It just boggles my mind when mainstream actresses like Kate Winslet, Rosamund Pike, Margot Robbie starred in some of the MOST progressive IR films and love stories we have seen especially Kate and Rosamund and you guys don't seem to see those films as progress. A United Kingdom & The Mountain Between Us and Cloak and Dagger, The Innocents, The Good Place should be the movies and tv shows we should label as progress and even the underrated movie FOCUS. But it's Annihilation and if this movie featuring Jessica Chastain doesn't feature intimacy it's this movie. I don't get you guys.

I guess if Common's other upcoming movie with Mary Elizabeth Winstead features a kissing or worse yet a love scene you guys would no longer want to recognize that movie as progress. And I'll be talking about that movie like I do with A United Kingdom & The Mountain Between Us all by myself on here again, right? lol.

 

Here's to rejecting low expectations lol!