Mount Hope Cemetery, at 1133 Mount Hope Avenue, in Rochester, New York, was founded in 1838 as a municipal rural cemetery on the hills overlooking the Genesee River. It sprawls over 196 acres adjacent to the University of Rochester. More than 350,000 former residents are interred there, including abolitionist Frederick Douglass, suffragette Susan B. Anthony, and city founder Nathaniel Rochester.
Frederick Douglass was born into slavery in Maryland, escaped to Massachusetts in 1838, and became an abolitionist. His autobiography, Narrative of the Life of Frederick Douglass (1845), was popular in the North, and Douglass quickly became a leading voice in the antislavery movement.
Rebels holed up in a stone gristmill held off the British Army for several days before being forced to surrender in this odd chapter in Canadian military history.
The Battle of the Windmill was a strange episode in North American history, when British and U.S. forces cooperated to put down a rebellion in Upper Canada, known as the “Patriot War”. The battle was fought from November 12 to November 16, 1838, between Nils von Schoultz and 250 rebels against 1,133 Canadian militia, 500 British regulars, and the British and U.S. Navy two miles east of Prescott, Ontario. The entire rebel force was killed, wounded, or captured.
On November 12, approximately 250 armed members of a “Hunters’ Lodge” attempted to land in Prescott, Ontario to touch off a war against the British ruling class. A show of force by the Prescott militia gave them second thoughts, so they occupied the nearby hamlet of Newport and Windmill Point, where they awaited reinforcements from the United States.
The next day, British infantry from the 83rd Regiment and around 600 Canadian militiamen attacked the rebels, who had holed up in and around an old gristmill. The short battle left 13 British killed and 70 wounded. The rebels lost approximately 18 killed and an unknown number wounded.
The standoff continued as Nils von Schoultz and his Hunters’ Lodge militia waited for help from across the river in Ogdensburg, however, a blockade by British and American naval forces and efforts by American authorities in Ogdensburg prevented any relief. The British Army decided to bombard them into submission, and they surrendered on November 16. The Hunter rebels lost 53 dead 61 wounded. Of the 136 who surrendered, 11 were later executed in Kingston, and 60 were exiled to Australia.
Hunter Dinerant, 18 Genessee St. in Auburn, New York, is an O’Mahony model from 1951. Check out the faded ghost sign on the brick wall behind the diner. Unfortunately, I couldn’t make out what it said.
The beautiful cinematography and wonderful acting in this over-the-top period piece barely makes up for its historical inaccuracy and a grueling 2-hour run time.
Written by Deborah Davis and Tony McNamara and directed by Yorgos Lanthimos, The Favourite is artistically filmed, the acting is wonderful, and cinematography top notch. If you’re looking for a realistic account of Queen Anne’s 18th Century British court, however, you’ll be sorely disappointed. The Favourite chooses to enshrine gossip and rumor as historic fact, while delivering a film that is as tedious as it is tantalizing.
As the film opens, Queen Anne (Olivia Colman) is deciding whether to continue a war with France after an English victory, or sue for peace. Her natural inclination, and that of opposition leader Robert Harley (Nicholas Hoult), is for peace, but her influential friend and Keeper of the Privy Purse Lady Sarah (Rachel Weisz), wife of Lord Marlborough (Mark Gatiss), wants to prosecute the war to the bitter end. During negotiations, a dirty but charming Abigail (Emma Stone) arrives seeking employment in Lady Sarah’s household.
Things get complicated when Abigail discovers Queen Anne and Lady Sarah’s dirty little secret, and uses it to her advantage to get closer to the Queen. Abigail and Lady Sarah engage in a private war for the Queen’s affection, while Robert Harley and Samuel Masham (Joe Alwyn) conspire to use Abigail to get closer to the Queen, wh0 only has time for one friend, I guess. Who will become the Queen’s favourite?
Using extreme wide-angles (shot with Panavision lenses) to achieve a sense of expanse even in a small room, the filmmakers capture a delightfully Baroque portrayal of an outlandish and amoral British aristocracy. The acting is top-notch, with Emma Stone giving one of the best performances of her career. Olivia Colman should receive an Oscar nod for her portrayal of Queen Anne. The film, however, could’ve been improved by cutting at least 20 minutes of silence, screeching violins, and arthouse chapter titles.
The new film Mary Queen of Scots employs black and Asian actors and actresses to play white roles, while missing an opportunity to show England’s historic 16th Century diversity.
Written by Beau Willimon, directed by Josie Rourke, and based on the book Queen of Scots: The True Life of Mary Stuart by John Guy, Mary Queen of Scots recounts the struggle between Mary I of Scotland and Queen Elizabeth I over the throne of England, which they both claimed. The film takes place between Mary’s return to Scotland in 1561 and her execution (sorry, spoiler) in 1587.
From what I can tell, the film is largely historically accurate, depending on the source. However, several black actors and one actress of Chinese decent appear in prominent roles, particularly Mary Seton (Izuka Hoyle), Lord Randolph (Adrian Lester), Bess of Hardwick (Gemma Chan), Andrew Ker of Fawdonside (Nathan East), and the English Ambassador to Scotland, George Dalgleish (Adrian Derrick-Palmer). Being either English or Scottish in the 1500s, of course, all of these people were pasty white.
Director Josie Rourke declared she wasn’t going to make another “all-white period film,” but did she have to throw historic accuracy out the window to do so? Not at all. Elizabethan England was quite diverse (relatively speaking).
There are records of African musicians in the courts of England and Scotland as far back as the late 15th Century. During the reign of Queen Elizabeth I, a small community of African traders, musicians, entertainers, and domestic servants grew up in London. Elizabeth herself was said to have employed a black servant, musician, and dancer.
Oliver Stone’s two hour lampoon of President George W. Bush failed to leave a lasting legacy.
Written by Stanly Weiser and directed by Oliver Stone, W. (2008) was meant as a final middle-finger to the outgoing Bush Administration; an attempt in film to solidify negative public perceptions surrounding President George W. Bush and the Iraq War. But years later, W. looks more like a relic of its time; a forgettable albeit slightly humorous political drama by filmmakers who accidentally made their subject a sympathetic figure.
W. intercuts between George W. Bush’s ne’er-do-well youth and his presidency, particularly the lead up to the Iraq War in 2003. Events surrounding the September 11, 2001 terrorist attacks are glaringly absent. How can you make a film about George W. Bush’s tenure in the White House without mentioning September 11? Probably because he received the highest recorded presidential approval rating in history after the 9/11 attacks, and the filmmakers didn’t want to remind the audience about the tremendous crisis his administration had to face.
The film opens with a young-ish George W. Bush (Josh Brolin) getting hazed in a Yale fraternity. He jumps from job to job, to the great disappointment of his stern father, President George H.W. Bush (James Cromwell), until he meets his future wife, Laura (Elizabeth Banks). With the help of political strategist Karl Rove (Toby Jones), Bush becomes Governor of Texas, and later, President of the United States, where he uses his office to depose Iraqi dictator Saddam Hussein, something his father never achieved.
The filmmakers use real quotes and incidents to portray George W. Bush as a comedic figure, including one incident in which he almost died choking on a pretzel. In hindsight this comes across as mean spirited, since Josh Brolin’s Bush is sincere in his religious convictions, appears to genuinely believe Iraq possessed weapons of mass destruction and wanted the public to be on board with the war, and is constantly frustrated by his disapproving father. As National Review’s Tom Hoopes pointed out, this had the unintended consequence of making Bush relatable and sympathetic to the audience.