Brown presents a complex, provocative view ...
The Order of Myths (2008)
Theatrical Release: Jul 25, 2008 Limited
Synopsis:
As winter turns to spring, Mobile, Alabama, buzzes and flutters with the floats, parades, masquerade balls, and secret mystic societies of Mardi Gras. The oldest Mardi Gras celebration in America, this time-honored ritual has always been racially segregated. Filmmaker Margaret Brown,...
As winter turns to spring, Mobile, Alabama, buzzes and flutters with the floats, parades, masquerade balls, and secret mystic societies of Mardi Gras. The oldest Mardi Gras celebration in America, this time-honored ritual has always been racially segregated. Filmmaker Margaret Brown, herself a daughter of Mobile, escorts us into the parallel hearts of the city's two carnivals to explore the complex contours of this hallowed tradition and the elusive forces that keep it organized along color lines.
Taking a wonderfully restrained, observational approach that allows viewers to draw their own conclusions, Brown unveils the vibrant pageantry under way as ornate masks are donned, luminous gowns fitted, bejeweled trains painstakingly stitched, and the king and queen of each royal court trotted out at public appearances, parties, and coronations--within their distinct black and white realms, that is. Playfulness, reverence, and camaraderie suffuse the spectacles, generating genuine mirth and dignity in each community. Yet stories of a lynching as recent as 1981, and of the white Mardi Gras queen’s slave-trading ancestors, as well as subtle interracial social codes, cast a shadow on the proud Mobile heritage the white residents invoke. Do the recent formation of a racially integrated secret society and the attendance by this past year’s black Mardi Gras monarchs at the white folks’ ball augur cracks in a mysteriously enduring social order? --© Sundance Film Festival
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Genre: Education/General Interest
Reviews
Less a vitriolic critique than a considerate, despairing depiction of the intractable sway exerted by long-held, unpleasant traditions.
On both sides of the Mobile Mardi Gras divide, people seem to be edging toward a desire for reconciliation, but there remain significant differences about what that might entail.
Ostensibly about Mobile, Alabama's annual Mardi Gras tradition, which dates back to 1703, Margaret Brown's documentary is actually an examination of the racial divide in a city that claims there is none.
The cast of characters trailed by the crew is a compelling batch.
Wise and soberly affecting documentary about the separate but unequal Mardi Gras festivities that take place each year in Mobile, Ala.
This microcosmic look at race relations is a great reminder that, even in the year of Obama, we remain a nation divided between black and white.
To say each group takes this tradition seriously can in no way convey the absolute nuttiness and frenzy that filmmaker Margaret Brown has captured.
Quietly shocking, The Order of Myths is a deft, engrossing cross-section of Mobile life, heavy on local color and insight.
A nice gesture, but in the sequel I'd like to see these refined rednecks really shaken out of their comfort zone. How about taking these folks north of the Mason-Dixon Line to see how the other half of the country lives before they miss out on the 21st C.
The camera effectively pictures the two separate but equal Mardi Gras and contrasts the faux-baroque finery with some urban scruffiness.
Entertaining, mind-opening docs open every month, but none has broken through to a wide audience. Now comes the latest winner, Margaret Brown’s penetrating The Order of Myths.
Provides a good feel for the fun and exciting parts of Mobile's Mardi Gras as well as the undercurrent of "traditional" racial segregation that still exists today.
Revolutionary advances have been made in racial equality, but in Mobile segregation - the most interpretable symptom of racism - has its last stronghold in Mardi Gras.
Smartly edited, utterly engrossing, and as intelligent an examination of American race relations as I’ve seen.
Editors Michael Taylor, Geoffrey Richman and [director Margaret Brown] have stitched the material together to make a lively and revealing portrait of life in the New South.
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