By Sarah Sluis
One of the most surefire ways to encourage viewership is through censorship, and Towelhead is no exception. Towelhead, scheduled for a September 12th NYC/LA release, received a ton of buzz after the Council on American-Islam relations (CAIR) asked Warner Bros. to remove the racial epithet and change the title back to its film festival moniker, Nothing is Private. Refusing to budge, the original book's author, Alicia Erian, and director Alan Ball issued an eloquent statement defending their position.
Judging by the trailer and Film Journal and Variety's reviews, Towelhead appears to be a coming-of-age movie first and a movie about racism and identity second. Alan Ball, artisan of the suburban dystopia (through his work on American Beauty and Six Feet Under), has been criticized for producing an uneven film, but the opportunity of hearing a story about an Arab-American in suburbia, far away from terrorist plots, piques my curiosity to the $12 New York City movie ticket level.
The film follows Jasira, who moves from
Pare down the plot to a story of a mixed-race child raised by a white mother, and then thrown into another community where she must come to terms with how other people view her identity, and you have the story of Barack Obama. The subject of race and identity is a compelling one, but superficially explored in
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