Column: With ‘The Six Triple Eight’ and others, Netflix should embrace the power of the TV movie
As a film and television enthusiast with over three decades of immersion in the industry, I find myself deeply moved by the narrative of “The Six Triple Eight.” Having grown up watching the golden age of TV movies, I can’t help but feel a sense of nostalgia for the days when we could find some of our most memorable films on the small screen.
In the past, “The Six Triple Eight,” set to debut on Netflix this Friday, would undoubtedly be a strong contender for the Best Television Movie Emmy Award.
This narrative spotlights an underappreciated tale of the 6888th Central Postal Directory Battalion, the unique Women’s Army Corps unit of color to serve abroad during World War II. The captivating portrayal by Kerry Washington as Maj. Charity Adams, who reached the rank of lieutenant colonel and became the highest-ranking Black woman in the U.S. Army during that period, is showcased here. Directed by Tyler Perry, this meticulously crafted historical drama provides another insight into how Black women, alongside other minority groups, have often been overlooked in history.
In the evolving world where cinema and television are increasingly intertwined, the Netflix Oscar model has sparked debates among theater owners and film enthusiasts alike. This is because the Academy, in an effort to stay relevant, has broadened its best picture criteria to include a week-long screening in ten major U.S. markets for eligible productions.
I mean, beyond the subjective prestige of being nominated for an Oscar instead of an Emmy?
As a cinephile, I must say that both “The Girl in the Cafe” (2005) and “Living” (2022), two films featuring Bill Nighy, hold a special place in my heart due to their thought-provoking themes. While “The Girl in the Cafe,” initially released on HBO and bagged an Emmy for Best TV Movie, has its unique charm, “Living,” which premiered in theaters and was nominated for two Oscars, offers a distinct cinematic experience that’s equally captivating.
For several decades, TV movies have been telling stories that theatrical films often avoided, tackling difficult and sometimes controversial subjects such as alcoholism (“Call Me Bill W.”), domestic abuse (“The Burning Bed”), sexual abuse (“Something About Amelia”), HIV/AIDS (“An Early Frost”), and racism (“Miss Evers’ Boys”). Before films like “Schindler’s List” and “CODA”, TV productions like NBC’s “Wallenberg: A Hero’s Story” and Hallmark Hall of Fame’s “Love Is Never Silent” paved the way.
Awards
To adapt with the shifting movie theater environment, the film academy has unveiled fresh best picture qualification criteria for the upcoming 97th Academy Awards.
Similar to “Hidden Figures” produced by 20th Century Fox and “Something the Lord Made” on HBO, “The Six Triple Eight” uncovers an enthralling tale that has been hidden for too long, partially due to the discrimination of its era. It’s astonishing how, despite our continued interest in World War II, the Women’s Army Corps have consistently been overlooked in cinema and television. While the British media highlights women’s roles during the war, such as Bletchley Park decoders, WRNS, WAAFs, and spies, American screenwriters have often sidelined the 150,000 women who served into minor plot points, romantic subplots, or comedic relief.
It’s worth noting that only those who were white were typically seen, but there were over 6,500 women of color serving in the Women’s Army Corps (WACs), among them were the 850 members of the 6888th.
At the leadership of Adams, the battalion was dispatched firstly to the United Kingdom and subsequently to France, in order to tackle the prolonged pile-up of letters from soldiers to their families that had been accumulating for years.
The movie “The Six Triple Eight” draws inspiration from the real-life story of Lena Derriecott Bell King, a WAC member who passed away in January. Before her demise, director Perry managed to screen a portion of his film for her. Portrayed by Ebony Obsidian, Lena enlists following the death of her boyfriend in combat. Their romance was clandestine – he was a white, affluent Jew – and like many others, she received no communication from him after he was deployed.
The silent longing to trace and encounter him forms the emotional backbone of the movie. However, the plot revolves around the establishment of the 6888th unit and Adams’ (Washington) struggle against racial barriers as he strived to send his troops to Europe for deployment.
Only the intervention of First Lady Eleanor Roosevelt and civil rights activist Mary McLeod Bethune (portrayed by Susan Sarandon and Oprah Winfrey in a scene that may be questionable in both authenticity and relevance) can make Adams’ wish come true, as sorting mail was not the task she had envisioned for her diligent and well-trained volunteers.
As a film enthusiast, I must admit that the task at hand is proving to be far more challenging and crucial than I initially anticipated. For months on end, soldiers and their families have been isolated from one another, and the spirits of those left behind have sunken low. The phrase “No mail, low morale” has become a rallying cry for the women who dared to confront U-boats, bombs, harsh weather, and prejudiced Army officers – all determined to see us fail in our mission. We’re tasked with sorting through towering piles of mislabeled, illegible, and partially destroyed letters and packages, in a race against time and adversity to ensure that the bonds between loved ones remain unbroken.
In many movies and TV shows, a pile of uncooked potatoes symbolizes the numerous, often underestimated tasks that arise during wartime – tasks which were not only mundane but also potentially hazardous at times. Lena’s and Adams’ storylines focus on their personal growth, yet Perry aims to portray a multi-faceted war experience through these women by highlighting the various battles they faced, drawing inspiration from an article in Smithsonian magazine.
Opposed to Germany, whose submarines and aerial attacks jeopardize their safety, yet simultaneously confronting racially and sexually biased military commanders, as well as challenging their own preconceived ideas about their capabilities.
As someone who appreciates cinematic artistry, I find this movie incredibly inspiring, albeit with moments that might be considered overly dramatic. Interestingly enough, while it’s not traditionally themed for holidays, its central themes of courage and resilience make it an ideal choice for a heartwarming gathering during the festive season, especially when gathered around our modern-day hearth – the television screen.
Television
This holiday season, Santa remains a beloved constant, with a diverse array of special programs featuring artists such as Sabrina Carpenter, Nate Bargatze, Jimmy Fallon, and legendary Motown acts on the horizon.
Despite the lower status often associated with TV movies, we’ve cherished many of our most impactful films over time. For instance, “Brian’s Song,” “The Autobiography of Miss Jane Pittman,” and “Sybil” were all television productions, just like Steven Spielberg’s initial professional work, “Duel,” which aired on ABC in 1971 as part of their Movie of the Week series. In 1983, the TV movie “The Day After,” also broadcast on ABC, was watched by an astonishing 100 million viewers.
As a movie enthusiast, I’ve always been captivated by the timeless productions of Hallmark Hall of Fame, long before they became synonymous with holiday films on the Hallmark Channel. Back then, they were responsible for creating masterpieces like “The Winter of Our Discontent,” “Sarah Plain and Tall,” “The Piano Lesson,” and “Promise.” These productions garnered five Emmys, two Golden Globes, a Peabody Award, and a Humanitas Prize, showcasing their undeniable quality.
While there may have been an abundance of poorly-made television films, it’s important to note that there are just as many disappointing theatrical releases too.
By the end of the ’90s, unfortunately, traditional broadcast networks were struggling due to the rise of cable programming. HBO emerged as the top choice for film genres with titles like “Too Big to Fail,” “Temple Grandin,” “You Don’t Know Jack,” “Recount” and “Behind the Candelabra.” However, in its most productive year, HBO would only release four or five films; since 2020, that number has been reduced by half.
It’s important to note that “The Six Triple Eight” shouldn’t automatically be ruled out for Oscar consideration, as Netflix films have previously won several awards and Apple TV+ took home the Best Picture award in 2022 with “CODA.” Ultimately, it’s up to each platform to decide which awards they wish to pursue.
Among the shows competing with Netflix this season, such as “Maria,” “His Three Daughters,” and “Emilia Pérez,” “The Six Triple Eight” stands out for its deep engagement with the social history of television movies. Unlike feature films, it explores areas that they can’t or won’t. Given that a significant number of viewers will see this film on personal screens rather than in theaters, and considering that even Academy voters often rely on screeners over screenings, Netflix could make a strong statement by championing the potential and power of TV movies. With an impressive original movie lineup this year, including “Scoop,” “The Deliverance,” “Woman of the Hour,” “Joy,” the holiday thriller “Carry On” set at LAX, and “The Six Triple Eight,” Netflix could effectively reverse the trend of dwindling TV movies by emphasizing their strength.
Oscars are great, but so are Emmys. And a resurrection like that would be its own form of trailblazing.
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2024-12-19 14:38