Director Gordon Parks once said, “The guy who takes a chance, who walks the line between the known and unknown, who is unafraid of failure, will succeed.” The level of success achieved by the man whose titles included photographer, poet, novelist, composer and filmmaker, are evidence that he followed his own advice. In 1969 Parks broke Hollywood racial barriers when he became the first African-American director for a major studio with The Learning Tree, a film based on his 1963 novel. His 1971 feature Shaft paved the way for a new generation of directors and became a pop culture classic.
In honor of the artistic pioneer, the DGA Ethnic Diversity Steering Committee presented “A Tribute to Director Gordon Parks” on Monday, October 30 in the Guild’s New York Theatre. The event featured a special screening of director Craig Rice’s documentary, Half Past Autumn: The Life and Works of Gordon Parks.
The Emmy-nominated film is an intimate look at Parks’ life and career and a candid portrait of the artist in a journey through the watershed moments in America's social history. Vividly illustrated by Parks' own photographs, Half Past Autumn was produced by DGA members Denzel Washington and St. Clair Bourne, and narrated by Emmy and Oscar-winning actress Alfre Woodard.
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| Seated in front: Moderator Sam Pollard, guest Kermit Moore (a pianist featured in the film), Director Craig Rice. Back Row: DGA African American Steering Committee Member Ted Lange, guest Robin Hickman, EDSC Members Julia Morgan, Gaye Watkins, Roni Wheeler, Annette Powlis, Candy Martinez, Bill Wheeler, Greg Routt, and special guest, Parks' daughter Toni. - photos by Hilary Steffens - Click images for larger view |
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Following the screening, director Craig Rice took the stage for a Q&A moderated by the film's editor Sam Pollard. Parks’ daughter Toni was also in attendance and volunteered to answer many of the questions raised by the film, such as how her father balanced his many interests including film, photography and writing. Although many of the queries centered on Parks’ break into the mainstream consciousness with the film Shaft, the film also prompted several questions about his musical endeavors by revealing a side of Parks of which many were unaware.
By the evening’s end, both the film and the Q&A served the purpose of prompting those who knew little about Parks to want to know more, and provided a fond look back at his remarkable life. All in all the evening was a fitting tribute to a man whose artistic vision knew no bounds.
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