Trouble In Mind. Gefällt Mal. Early Rock 'n' Roll Trio from Germany. «Trouble In Mind» by Jimmy Witherspoon. Ein ehemaliger Polizist namens Hawk wird nach acht Jahren aus dem Gefängnis entlassen und kehrt nach Rain City zurück. Dort verliebt er sich in die Kellnerin Georgia, deren Freund Coop ein Krimineller ist. Die beiden haben finanzielle Probleme.
Trouble In Mind Inhaltsverzeichnis
Ein ehemaliger Polizist namens Hawk wird nach acht Jahren aus dem Gefängnis entlassen und kehrt nach Rain City zurück. Dort verliebt er sich in die Kellnerin Georgia, deren Freund Coop ein Krimineller ist. Die beiden haben finanzielle Probleme. Trouble in Mind (Alternativtitel: Juwelenfieber, Diamantenfieber) ist ein US-amerikanischer Kriminalfilm aus dem Jahr Regie führte Alan Rudolph, der. biodivam.eu - Kaufen Sie Trouble in Mind günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Compra Trouble In Mind [Edizione: Stati Uniti]. SPEDIZIONE GRATUITA su ordini idonei. Komplette Handlung und Informationen zu Trouble in Mind. Hawk, ein ehemaliger Bulle, wird aus dem Gefängnis entlassen. In einem Café der Endzeit-Stadt. In einer klassischen Drei-Mann Besetzung sind die Herren von Trouble in Mind unterwegs. E-Gitarre, Western-Gitarre, Kontrabass - nicht mehr und nicht. Übersetzung im Kontext von „Trouble in Mind“ in Englisch-Deutsch von Reverso Context: 80 mns. - A wondrous CD reissue containing all the fabulous rocking.
«Trouble In Mind» by Jimmy Witherspoon. Trouble In Mind. Gefällt Mal. Early Rock 'n' Roll Trio from Germany. Compra Trouble In Mind [Edizione: Stati Uniti]. SPEDIZIONE GRATUITA su ordini idonei.
Trouble In Mind - Blues For Easy LiversSchaue jetzt Trouble in Mind. Trending: Meist diskutierte Filme. Ein Beispiel vorschlagen. Die Besten Thriller. Listen mit Trouble in Mind. Gorky Park. Smoover's Filmtagebuch von Smoover. Nutzer haben kommentiert. Bearbeitungszeit: ms. Jetzt streamen:. Er wird entlassen und reist in die Rain Citywo er Bernhard Schir alleinerziehende Kellnerin Georgia kennenlernt. Roger Ebert schrieb in der Chicago Sun-Times vom
Millie is a thirty-five-year-old African-American actress. She is married and says she does not need to work. She displays more wealth than the other African-American characters; she wears a mink coat and an expensive watch.
Millie also does not like the kind of roles she must play because of her race. She says at one point that she did not tell her relatives about the last production because she repeated but one stereotypical line over and over again.
Though Millie expresses her objections about a couple of things, she is not willing to put her job on the line for such matters.
Sheldon is an elderly African-American character actor and aspiring songwriter. Like Millie and Wiletta, he is conscious about how he acts and what he says around the white people involved in the production.
He also tries to advise John about his interactions with whites, especially Judy. Sheldon, more than Millie and Wiletta, wants everyone to get along and not fight amongst themselves.
But he also questions certain aspects of Chaos in Belleville in a non-confrontational manner. Sheldon is the only character to have really seen a lynching, a central event in the play.
When Wiletta speaks out, Sheldon is only somewhat supportive of her. Of Irish descent, Henry is the year-old doorman at the theater where the rehearsals are taking place.
Henry knows Wiletta from when he worked as an electrician at shows, and obviously admires her talent.
He has hearing problems, which lead to a misunderstanding with Manners, but Henry always tries to fix problems. Henry is fully supportive of Wiletta at the end of each act when she tries to deal with her situation.
Manners, who is white, is the director of Chaos in Belleville. He wants to remain in control of the production at all times, but he is callous toward the feelings and beliefs of all the actors, especially Wiletta.
Though Manners will probably continue to direct the production, he has lost the trust of those who work for him. Wiletta is the central character in Trouble in Mind.
She is a middle-aged African-American actress, and she plays the lead in the play, Chaos in Belleville. Wiletta was a singer at one time in her career, and Henry, the doorman, knows her from a production he worked on 20 years earlier; Wiletta also appeared in a movie directed by Manners some time ago.
Though Wiletta loves acting, she knows that whites, especially directors and producers, have certain expectations of blacks as actors.
She tries to advise John at the beginning of the play on how best to get along, though he does not really want to believe her.
By the middle of Trouble in Mind, Wiletta has not taken her own advice. Wiletta realizes that she has lost her job by her actions at the end of the play.
However, these actions lead to the revelation that Manners is racist, despite his claims to the contrary. John is an idealistic young African-American actor, making his Broadway debut in Chaos in Belleville.
Though he and Wiletta come from the same hometown, Newport News , Virginia, John is more educated than Wiletta, and usually feels superior to her.
He does not like most of the advice she gives him about how to act around whites in show business, though the other, more experienced black actors echo what Wiletta has said.
John seems somewhat attracted to Judy, and the other African-American actors try to keep them separated. Instead of listening to the counsel of his elders, by Act II, John is imitating Manners in speech and mannerisms.
However, when Manners reveals that he does not think of blacks and whites as comparable, John realizes the error of his ways and supports Wiletta.
Bill is a middle-aged white actor. He is perpetually worried when he is not acting, but delivers his lines in the play with power.
Bill does not want to lunch with the African-American actors because he says the stares they draw makes it hard for him to eat. Bill says several additional things that could be interpreted as racist and is defensive about his actions.
Judy is a young white actress. Though she is a graduate of the Yale School of Drama, she is naive, and Chaos in Belleville is her first job.
Judy often speaks lovingly of her mother and father, who live in Bridgeport, Connecticut, and invites the whole cast to visit them there.
She believes doing this play will be educational and hopes that it will help ease racism, but she also is conscious of how her character seems smug.
When the African-American actors feel resentment and anger, Judy tries to be supportive, but she feels as though they are lashing out at her personally.
A sensitive woman, Judy espouses the belief that people are all the same and that racism is wrong. Each African-American character discusses his or her experience as a black actor in a business dominated by whites.
In the beginning, Millie, Wiletta, and Sheldon try to guide John, the neophyte, about how to behave around their white counterparts.
Sheldon and Millie advocate getting along and not getting too close Wiletta does as well, until the end of the play when she can no longer tolerate the condescending attitude of the white director, Manners.
But in their collective advice, the actors also reveal their true feelings about the play they are rehearsing for, Chaos on Belleville.
As with many of the productions they have appeared in, they feel their roles are stereotypical and the script awful. Yet they take these jobs because they need the work.
For their part, the white people involved with the production vary in their reactions to the black actors. Judy, the young actress, is idealistic about race relations and believes the performance will play a positive role in addressing racial concerns.
Yet when the black actors discuss the problems they have dealing with whites, Judy resents what they are saying. He also treats his black actors differently than his white actors.
When Wiletta finally pushes Manners too far, he reveals in an outburst that she should not compare herself to him, presumably because of her race.
The complexities of race and racism drive the plot and define characters in Trouble in Mind. While racism is explored in an explicit manner, sexism is much more implicit in the text of Trouble in Mind.
In the beginning of the play, for example, John is not completely comfortable with the advice Wiletta gives him.
It is partially due to racial concerns, but also because of what she is telling him. Most of the sexism, however, is focused on the character of Manners, the white director.
He treats the female cast members differently than their male counterparts. He does not do the same. Similarly, when Manners finds out Judy attended drama school at Yale, he calls her names when he wants to put her in her place.
This shows his discomfort with her being perhaps better educated than him. Manners is more demeaning in his actions towards Wiletta.
When he throws a piece of paper on the ground, he makes her pick it up. He will not let Judy, John, nor Sheldon do it. Manners tells the cast that he did this as a trick to get them thinking about acting, though Wiletta does not see it that way.
Further, Manners never lets Wiletta express her opinion. Each time she tries to raise a concern about the script, he tells her not to think or compliments her to change the subject or says the problem is with her, not the script.
Manners also does the same thing to Millie. When Wiletta finally forces the issue, Manners reveals his true feelings about her: in his mind, she cannot be compared to him.
As a black woman, Manners cannot see Wiletta as his equal. The African-American characters in Trouble in Mind put pressure on each other to act in certain ways.
Sheldon and Millie physically keep him from Judy when she is first introduced. Sheldon also repeatedly says that he wants peace and harmony among the black actors in front of the others.
He believes this will help them keep their jobs now and get jobs in the future. Before the situation with Wiletta and Manners blows up completely, Sheldon does his part to maintain such an amity.
The other black actors also jump in on occasion. Even after the blow-up, Sheldon wants Wiletta to apologize to Manners. He believes such an apology will smooth things over.
Wiletta will not bow to such pressure to conform, and she is left alone with Henry at the end of the play. Trouble in Mind takes place in New York City in fall of All of the action is confined to the stage of a Broadway theater where the rehearsals for Chaos in Belleville take place.
The stage is littered with props from previous productions, including tables and benches where the characters sit. Because the play is set in a Broadway theater, some of the black actors, especially Sheldon, feel that they must act the way they believe white people want them to.
Trouble in Mind focuses on the rehearsals for a Broadway play, Chaos in Belleville. In Chaos, Job played by John is a young man living in the South who has been called up for military service.
He wants to vote, and his actions in this matter lead to a lynch mob coming after him. His family work as sharecroppers. His mother Ruby played by Wiletta sends him to his death, believing a lynch mob will show him mercy.
Renard and his daughter treat the blacks as lessers, like children who need the guidance of whites. Though ostensibly an anti-lynching play, the racist undertones of Chaos offend the black actors.
Because they need the work, however, they quietly put up with things like the demeaning language and action, until Wiletta cannot take it anymore and speaks her mind.
The divergent attitudes towards the play within the play show how far apart both sides really are.
Stereotypes are used in several different ways in Trouble in Mind. Many of the black actors feel that the characters they portray in Chaos in Belleville are stereotypical.
These characters are naive and child-like, wearing cheap clothes and using cliched language. Ruby does not protect her son but listens to the advice of Renard and his daughter.
Only Job seems strong and more original, but he is murdered by the end of Chaos. The white characters in Chaos are also cliched. She puts herself at some risk by doing this, but no harm comes to her.
Indeed, for much of the play, most of the black actors act this way. They especially point to Judy, as a stereotypical idealistic young white Northern liberal.
In the mids, the United States was a world leader on several fronts. Home to many scientific and technological innovations, America was also one of the principal players in the high stakes arms race with the Soviet Union.
The so-called Cold War. Today: There are many black opera singers appearing on stages across America. One of the most famous is Jessye Norman.
Today: The first woman graduates from one of the last gender segregated institutions, the Citadel. Today: There is a movement away from bussing students and letting them attend their neighborhood schools.
This sometimes means that schools are racially segregated once again. She is often lauded for her courageous act, which is considered by many to have been one of the primary catalysts of one of the most important social movements in American history.
This war deeply affected the American people. Many feared atomic bombs would be used and that there would be world-wide annihilation.
Some went as far as to build fall-out shelters in their backyards. Americans also feared Communists and Communism. American consumer demand increased rapidly after World War II , leading to a strong economy and the growth of labor unions.
Though labor unions thrived gaining new benefits for their members they were also suspected by some as harboring communists.
To feed the growing economy, American industries spent a significant amount of money on research and development for the first time.
One industry that exploded in the s was television. These televisions were black and white, as were nearly all broadcasts by the burgeoning networks.
Color television sets were not available until and were very expensive. The growing economy also led to the expansion of suburbs, a cheap, safe place to live, primarily for white families.
Despite such prosperity and international leadership, the United States was still racially segregated in many facets of society, especially in the South.
For the most part, African Americans did not benefit from the consumer boom. There were separate drinking fountains, restaurants, hotels, churches, and seats on the bus.
An African American attempting to cross racial lines and eat in a white restaurant could be prosecuted and sent to jail.
By the mids, these laws were being challenged and the modern civil rights movement was born. Two significant related events occurred in In Montgomery, Alabama, Rosa Parks was fined for refusing to give up her seat to a white passenger.
The events in Montgomery led to bus boycotts in other cities in the South. Even more controversial was the desegregation of public schools.
Throughout the s, there were a series of law suits that forced the integration of schools from the elementary to the university level.
Until this time, the schools that students in many areas attended were based on race. Black schools were almost always poorer than their white counterparts.
Indeed, in this time period, all schools faced problems because of a shortage of teachers, an increase in the number of students attending school, and the pressure to turn out better educated students to compete with the Soviets.
The Board of Education of Topeka, Kansas. The Supreme Court ruled that school segregation was unconstitutional, and schools were ordered to integrate.
The actual implementation took nearly 20 years because of the huge public debate and sometimes violent resistance, especially in the South.
To ensure its ruling was followed, the Supreme Court and other government officials had to step in repeatedly to force change. African Americans were not the only ones suffering from racial discrimination.
Critics of the original production of Trouble in Mind found much to praise. She has written about it with a brightness and compassion that sends the audience home with some sound thoughts on one of the major social problems in the field of American culture.
Others found Wiletta and her stand inspiring. But, transmogrified, they have not disappeared, and the play is not without resonances and relevance today.
Sally R. Yet some critics criticized the play for those very aspects. Doris E. Abramson also faults Childress on several other fronts.
This is not, however, to deny the theatrical effectiveness of the play in production. Austin believes that the play is complex and works on a number of levels.
The white actors and director believe that Chaos in Belleville will impart a positive message of racial tolerance to its audience; they believe they are doing good work.
Most of the black actors do not believe that this is true. These actors play the same kind of stereotypical servant roles in which they are always cast.
They took these roles because they needed the work, not because they believe they are imparting any great social message.
By looking at the parts of Chaos in Belleville being rehearsed, it becomes obvious that, in many ways, the world depicted in Chaos is not much different than Trouble.
This reading begins in Trouble in Mind in the middle of act one. When this scene opens, Carrie played by Judy asks her father, Renard read by Eddie for the moment , if their black servants can have a barn dance to celebrate the birthday of Petunia played by Millie.
Renard does not want to have the dance now because there is an election at hand. He asks another black servant, Ruby played by Wiletta if she thinks they should.
Her father dismisses Ruby and Petunia to the porch while he talks to his daughter. Carrie pleads with him again, pointing out that she gave her word.
Renard finally concedes, not without hesitation, and Carrie informs the women. Carrie goes to lay out her organdy dress, but Ruby insists on doing it for her.
Carrie then decides to take a nap, and Petunia gives her blessing. This scene has several striking parallels to Trouble in Mind. Renard controls the lives of his servants just as Al Manners, the director of Chaos, believes he knows what is right for his cast.
The Judge has the last say, like Manners. Renard and Manners are convinced of their superiority, and act accordingly. Though Judy fears Manners a bit, she needs attention and to be told what to do.
She also wants to do what is right even if it seems racist. There is more going on beneath the surface for the African-American characters.
Millie does not like playing the servant role and tries to undermine Judy at every turn during the reading.
Also ironic in some ways is the striking parallel is between Wiletta at this stage of Trouble and her character. When Ruby is asked by Renard for her opinion, she denies having one.
Like Renard, he does not really want her true opinion on this subject. This causes Wiletta much anxiety and is the beginning of her rebellion against Manners.
From this scene, Manners immediately jumps back to the beginning of Chaos in act one, page three. Many of the attitudes and themes of the previous scene are reinforced.
It opens with Ruby shelling beans on the back porch and her husband, Sam, played by Sheldon, sitting next to her.
Their son, Job, played by John, enters. Job informs his mother that he is going to vote. Sam tries to discourage him, telling him that Renard has said to stay away from that.
Carrie and Renard come out to see what is happening. Renard comments on how black people are worthless, while Carrie says she feels sorry for them.
Like the servants in the play, who blindly follow what their white employer says without thinking for themselves, the older black actors advise John, the young, inexperienced actor, to agree with everything the white director and actors say, no matter what he really thinks.
Wiletta especially believes it is the best way to get along, at least at the beginning of the play. But, unlike their Chaos counterparts, Wiletta, Sheldon, and Millie do express their discontent, however subtle.
Like Carrie, Judy is sensitive and empathetic, but does not fully understand what the black actors feel reading this play.
Throughout the play, Judy talks about her close relationship to her parents and their beliefs. She says that her mother believes in integrated education.
The Judge, like Manners, is full of himself and sure of his attitudes. This affects what Carrie thinks and says, since she does not display many thoughts that seem original.
The next discussion of Chaos in Belleville is not a full rehearsal but a description of the larger story.
Some of the local African-American population will vote for the first time, and there is opposition from whites as well as blacks. In this atmosphere, the Judge does not want to have the barn dance.
He, Sam, and Ruby believe that Job is headed for trouble. The focus turns to Ruby for a moment. Her anxieties over her son compel her to sing a well-known song.
Wiletta knows the song and gives a moving rendition. It is not enough for Manners that she aced the song and understood what he wanted as a director; he wants to know what she was thinking, so he proceeds to humiliate her while playing a word association game.
She sings the song again, and it is a bit better. Like the Judge, he wants to control everything. Act two of Trouble in Mind opens with a monologue from Chaos.
He believes that this will ease tensions over voting and demonstrate their superior nature. Just as telling as this speech are the events that take place while it is being given.
The next piece of Chaos in Belleville rehearsed is the beginning of act three. Menial tasks are attended to while the air is filled with tension.
Ruby irons clothes. Petunia anxiously looks out of the window. Sam sits in the corner and whittles a stick. Carrie cries. They all hear an angry lynch mob and wonder if Job is dead or alive.
Fearing for her safety Ruby tries to send Carrie home, but Carrie will not hear of it. Sheldon says a prayer and Job shows up.
Ruby tells him he should not have been so adamant about his right to vote. Job says he has done nothing wrong and he will run.
Ruby believes he should give himself up to the mob and tell them he has done nothing wrong. Plot Summary. Plot Keywords. Parents Guide.
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Crazy Credits. Alternate Versions. Rate This. The lives of an ex-con, a coffee-shop owner, and a young couple looking to make it rich intersect in the fictional and hypnotic Rain City.
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Edit Cast Cast overview, first billed only: Kris Kristofferson Hawk Keith Carradine Coop Lori Singer Wanda Joe Morton Solo Divine Hilly Blue George Kirby Lieutenant Gunther John Considine Nate Nathanson Dirk Blocker Rambo Albert Hall Leo Gailard Sartain Fat Adolph Robert Gould Mardy Stoog Antonia Dauphin Sonja Nathanson Campbell De Silva Elmo as Billy Silva Caitlin Ferguson Edit Did You Know?
Trivia Joe Morton came up with Solo's jacket and hairstyle. Quotes Wanda : Thank God love is blind, otherwise it'd see too much.