Judy Chaikin is Director and a Writer ofGirls in the Band. She is best known for writing, producing, and directing the Emmy-nominated PBS documentary,Legacy of the Hollywood Blacklist. She received her second Emmy nomination for the documentaryBuilding on a Dream: The NoHo Art Project.Recently she directed and co-wrote the short romantic-comedy film,Cotillion '65, which has appeared in 40 film festivals. She won the Blue Ribbon at the American Educational Film and TV Festival for the docu-dramaSojourner Truth: Ain't I A Woman.
come see the award-winning documentary about ground-breaking women jazz musicians:
THE GIRLS IN THE BAND
TheWAM CoalitionandNYWIFTinvite you to
a special screening of the documentary
THE GIRLS IN THE BAND
on Thursday, May 16
at Elinor Bunin Monroe Film Center
at 144 West 65th Street.
Screening time is 6:30 p.m.
q&a and reception
The screening will be followed by a question & answer session with the filmmakers and a reception.
Tickets are $10 for members of all full and affiliate member organizations of WAM Coalition. Full member orgs include: AEA, DG, LPTW, NYWIFT, SAG-AFTRA, SDC, and WGAE.
about THE GIRLS IN THE BAND from the New York Times (Top Pick)
May 9, 2013
Playing Jazz in High Heels and Skirts
By JEANNETTE CATSOULIS
"The Girls in the Band" is everything a worthwhile documentary should be, and then some: engaging, informative, thorough and brimming with delightful characters. Shining a long-overdue spotlight on the shamefully forgotten women who flourished as jazz musicians at a time when men ruled the beat, Judy Chaikin's beautifully assembled film gives voice to performers whose names are too often unknown even among their musical sisters of the present day.
Narrated by a sassy bunch of players who worked primarily in the 1930s and '40s - including the saxophonist Roz Cron and the pianist Marian McPartland - this is a story of punishing sexism bested by humor, determination and raw talent. Excluded from all-male bands, some women formed their own, enormously successful outfits like the International Sweethearts of Rhythm and the Melodears. Touring, however, was not without its perils.
"Traveling through the South is something we'd like to forget," Clora Bryant, the self-described "trumpetiste," tells us, recalling a Jim Crow law against mixed-race bands. Playing military bases during World War II was less hazardous and more fun, even if, as another interviewee points out, "a lot of girls had to go back to the kitchen" when veterans reclaimed their jobs.
Brilliant editing by Edward Osei-Gyimah arranges many of the film's priceless black-and-white performance clips into witty illustrations of the gals' anecdotes. So when one musician explains how women were expected to smile throughout a performance, her comment is followed by a montage of horn and trumpet players hilariously struggling to comply. I doubt anyone ever tried that with Dizzy Gillespie.