Post by Admin on Aug 2, 2013 9:40:00 GMT
Download or Watch Fruitvale Station Online Movie Full
Caring about a headline can be hard. It’s a blunt piece of information detached from an emotional experience. It sits there on the page, daring you to care about someone you knew nothing about, in a place far removed from the place you call home.
When Oscar Grant III died in the early hours of New Year’s Day in 2009, he went from an invisible citizen to a newspaper headline. And then he became a national martyr.
Grant was involved in a skirmish, handcuffed and eventually shot while lying face down on a subway platform by a transit cop. The incident was recorded by dozens of onlookers, and shortly after the images went viral, Oakland and San Francisco erupted in mass protest.
The death of Oscar Grant III appeared to be race-related because the white officer was in no danger, yet he shot Grant in the back saying that he mistook his revolver for his Taser.
The whole sad story feels a little too familiar in the wake of the Trayvon Martin trial, and if it weren’t for Ryan Coogler’s transcendent piece of cinema in Fruitvale Station, it would be easy to shut down altogether and stay in headline mode — processing the bleak news of the world through anesthetized senses.
Coogler’s story wakes us up one tingle at a time, but it actually begins in the blur of the viral moment.
Fruitvale Station opens with the cellphone footage of Grant’s <script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=6ce38f16751339c66ca66ffd97c1abdd"></script>death as it took place, for real, in the public eye. It’s grainy and shaky, but there’s no mistaking what we’re seeing: A group of African-American males being handcuffed by the Bay Area Rapid Transit police. There are loud voices, some yelling, some laughing, and then, a gunshot.
From this pixelated moment lacking any sense of detail, Coogler begins to round out the corners and fill in the jagged boxes with the kind of affectionate attention reserved for monks illuminating manuscripts.
Coogler painstakingly recreates the last day of Grant’s life in this Sundance-winning feature debut, and while the ending is known from the moment the film begins, it’s impossible to turn away or retreat into the numb zone.
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Caring about a headline can be hard. It’s a blunt piece of information detached from an emotional experience. It sits there on the page, daring you to care about someone you knew nothing about, in a place far removed from the place you call home.
When Oscar Grant III died in the early hours of New Year’s Day in 2009, he went from an invisible citizen to a newspaper headline. And then he became a national martyr.
Grant was involved in a skirmish, handcuffed and eventually shot while lying face down on a subway platform by a transit cop. The incident was recorded by dozens of onlookers, and shortly after the images went viral, Oakland and San Francisco erupted in mass protest.
The death of Oscar Grant III appeared to be race-related because the white officer was in no danger, yet he shot Grant in the back saying that he mistook his revolver for his Taser.
The whole sad story feels a little too familiar in the wake of the Trayvon Martin trial, and if it weren’t for Ryan Coogler’s transcendent piece of cinema in Fruitvale Station, it would be easy to shut down altogether and stay in headline mode — processing the bleak news of the world through anesthetized senses.
Coogler’s story wakes us up one tingle at a time, but it actually begins in the blur of the viral moment.
Fruitvale Station opens with the cellphone footage of Grant’s <script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=6ce38f16751339c66ca66ffd97c1abdd"></script>death as it took place, for real, in the public eye. It’s grainy and shaky, but there’s no mistaking what we’re seeing: A group of African-American males being handcuffed by the Bay Area Rapid Transit police. There are loud voices, some yelling, some laughing, and then, a gunshot.
From this pixelated moment lacking any sense of detail, Coogler begins to round out the corners and fill in the jagged boxes with the kind of affectionate attention reserved for monks illuminating manuscripts.
Coogler painstakingly recreates the last day of Grant’s life in this Sundance-winning feature debut, and while the ending is known from the moment the film begins, it’s impossible to turn away or retreat into the numb zone.