Loyal readers may remember last month when I talked about Sidney Poitier and Elizabeth Hartman in A Patch of Blue and how I casually alluded to the larger framework of disability within film and promised to talk about it one day. Well, this isn’t like with my Disney Princess series where I teased the project for years before finally getting to it. I’m making good on that promise here today. You’re welcome. Now, when I say “disability within film,” that’s a really large slice of the pie. The discussion of disability in Hollywood is a vast and complex field of study. There’s obviously overlap across the broader discussion, but people of different disabilities experience ableism differently, similar to how members of different ethnic identities experience racism differently, and it’s a machine that has to be dismantled on multiple fronts. But with this piece, I’m not so interested in airing all the ways the industry has let down members of these communities. Today, I’d mostly li
“But isn’t it time we stopped accepting in film criticism an anti-emotional, phony rationalism which we know to be not just harmful, but absurd, in any other context? Isn’t it time we plucked up our courage and allowed our hearts as well as our heads to go the pictures?” Raymond Durgnat (Films and Feelings) 1971