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A biographical film, or biopic ( /ˈbaɪɵpɪk/; abbreviation for biographical motion picture), is a film that dramatizes the life of an actual person or people. They differ from films “based on a true story” or “historical films” in that they attempt to comprehensively tell a person’s life story or at least the most historically important years of their lives.

Because the figures portrayed are actual people, whose actions and characteristics are known, biopics are considered some of the most demanding films of actors and actresses. Johnny Depp, Jim Carrey, and Jamie Foxx all gained respect as dramatic actors after starring in biopics: Depp as Edward D. Wood, Jr. in Ed Wood (1994), Carrey as Andy Kaufman in Man on the Moon (1999), and Foxx as Ray Charles in Ray (2004).

In rare cases, sometimes called autobiopics, the subject of the film plays himself or herself: Jackie Robinson in The Jackie Robinson Story; Muhammad Ali in The Greatest; Audie Murphy in To Hell and Back; Patty Duke in Call Me Anna; Arlo Guthrie in Alice's Restaurant; and Howard Stern in Private Parts.

Biopic scholars include George Custen of the College of Staten Island and Dennis Bingham of Indiana University-Purdue University Indianapolis. Custen tells the genre as having died with the Hollywood studio era, and in particular, Daryl Zanuck, but Bingham's 2010 study Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre^[1] shows how it perpetuates as a codified genre using many of the same tropes used in the studio era that has followed a similar trajectory as that shown by Rick Altman in his landmark study, Film/Genre.

Controversies over veracity[link]

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A certain amount of fabrication is expected, at least to reduce the risk of libel, but the films often alter events to suit the storyline. Events are sometimes portrayed more dramatically than they occurred, time is "condensed" to fit all important events into the film or several people are blended into a composite.

Although many viewers and critics forgive such fabrications for entertainment value, some biopics have come under criticism for allegations of deception. Historians noted the wayward chronology of Michael Collins, a team of Greek lawyers threatened to sue the makers of Alexander for implying that Alexander the Great was bisexual and many boxing fans resented the villainous portrayal of Max Baer in Cinderella Man. But a more controversial biopic in terms of accuracy is 1999's The Hurricane, about boxer Rubin Carter and his hotly-disputed triple murder conviction. Several details were altered to enhance the image of Carter and details about the police procedures that lead to the conviction conflicted with court records. Also, former middle weight champion Joey Giardello, who won a title bout against Carter, sued the film's producers for suggesting he won due to a racist "fix". The case was settled out of court.

Roger Ebert defended the The Hurricane and distortions in biographical films in general, stating "those who seek the truth about a man from the film of his life might as well seek it from his loving grandmother. ... The Hurricane is not a documentary but a parable."^[2]

Some biopics purposely stretch the truth. Confessions of a Dangerous Mind was based on game show host Chuck Barris' widely debunked, yet still popular, memoir of the same name, in which he claimed to be a CIA agent^{[citation needed]}, and Kafka incorporated both the life of author Franz Kafka and the surreal aspects of his fiction.^{[citation needed]}

The Errol Flynn film They Died With Their Boots On tells the story of Custer but is highly romanticised.

Casting can be controversial for biographical films. Some felt that Anthony Hopkins should not have played Richard Nixon in Nixon because of a lack of resemblance between the two.^{[citation needed]} Egyptian critics criticized the casting of Louis Gossett, Jr., an African American actor, as Egyptian president Anwar Sadat in the 1982 TV miniseries Sadat.^{[citation needed]} Also, some objected to the casting of Jennifer Lopez in Selena because she is Puerto Rican while Selena was Mexican-American.^{[citation needed]}

See also[link]

• Biographical novel
• Biography in literature
• List of biographical films

References[link]

1. ^ Rutgers University Press, 2010
2. ^ Roger Ebert. "The Hurricane". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=20000107/REVIEWS/1070302. ^{[dead link]}

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Farzaneh Milani is an Iranian-American scholar and author. She teaches Persian literature and Women’s Studies at the University of Virginia. Milani is Chair of the Department of Middle Eastern and South Asian Languages and Cultures. She is also a poet, award-winning translator, and a recipient of the Carnegie Fellowship and the National Endowment for the Humanities. Milani’s 1992 book Veils and Words: the Emerging Voices of Iranian Women Writers (Syracuse, 1992), is now in its sixteenth printing. Her latest book is Words, not Swords: Iranian Women Writers and the Freedom of Movement (Syracuse, March 2011).

Biography[link]

A native of Tehran, Milani had an international educating, attending French schools in the lower grades before relocating to the United States. There, she attended the California State University at Hayward, graduating with a BA in French Literature in 1970, and the University of California in Los Angeles, obtaining a PhD in Comparative Literature in 1979. In 1986, after a four year stint at her alma mater as an instructor of Persian Language and Literature, she took a position at the University of Virginia.

At the University of Virginia, she has been the recipient of several awards, including the All University Teaching Award in 1998, a nomination for Virginia Faculty of the Year in 1999, and a University Seminar’s Teaching Award in 2001. She received a Storr’s Fellowship in 2001, a National Endowment for the Humanities grant in 2002-2003, and was a Carnegie Fellow from 2006-2007. Her translation (with Kaveh Safa) of A Cup of Sin: Selected Poems of Simin Behbahani won the Lois Roth Literary Award in Translation.

Milani is the author of over 100 articles, op-eds, prologues, epilogues, forewords and afterwords in both Persian and English. She has guest edited two issues of Nimeye-Digar, a Persian-language feminist journal, IranNameh, and Iranian Studies: A Journal of the International Society for Iranian Studies. Her work has appeared in the New York Times, the Washington Post, Ms. Magazine, Readers Digest, USA Today, Christian Science Monitor, and N.P.R.’s All Things Considered. She has presented more than 150 lectures in the United States and around the world.

From 1994 to 1996, Milani served as President of the Association of Middle Eastern Women Studies in America. In addition, she has served as Executive Officer of the American Association of Persian Teachers (1990-1993), on the Board of Executive Directors of Middle East Studies Association of North America (1991-1994), on the Editorial Board of the Virginia Quarterly Review (2002-2005), on the Advisory Editorial Board for The Encyclopedia of Women in Islamic Cultures (Brill Academic Publishers), and on Governor Warner’s Council on the Status of Women in Virginia (2002-2005).

Books[link]

• 1992: Veils and Words: The Emerging Voices of Iranian Women Writers
• 1999: A Cup of Sin: Selected Poems of Simin Behbahani (translation, with Kaveh Safa)
• 2011: Words not Swords: Iranian Women and the Freedom of Movement
• Selected poems published in "Nimeye Digar", "Par", "Barrayand", "Daneshju", "Omid", and "Avaye Portland"

References[link]

• “Farzaneh Milani”. Department of Middle Eastern and South Asian Languages and Cultures homepage.
• “Farzaneh Milani”. Program of Studies in Women and Gender homepage.
• Veils and Words: The Emerging Voices of Iranian Women Writers (ISBN 978-0815602668)
• Words Not Swords: Iranian Women Writers and the Freedom of Movement (ISBN 978-0815632788)
• A Cup of Sin: Selected Poems by Simin Behbahani (ISBN 978-0815605546)
• “Lipstick Politics in Iran” (New York Times)
• “On Women’s Captivity in the Islamic World” (Middle East Report)

Miriam Makeba
Makeba during a performance
Background information
Birth name	Zenzile Miriam Makeba[1]
Also known as	Mama Afrika
Born	(1932-03-04)4 March 1932 Prospect Township, Johannesburg, South Africa
Died	10 November 2008(2008-11-10) (aged 76) Castel Volturno, Italy
Genres	Marabi, World music, folk, pop rock, jazz
Occupations	Singer-songwriter, actress
Years active	1954–2008
Labels	Manteca, RCA, Mercury Records, Kapp Records, Collectables, Suave Music, Warner Bros., PolyGram, Drg, Stern's Africa, Kaz, Sonodisc
Website	Official website

Miriam Makeba (4 March 1932 – 10 November 2008), nicknamed Mama Africa, was a Grammy Award winning South African singer and civil rights activist.

In the 1960s she was the first artist from Africa to popularize African music in the U.S. and around the world. She is best known for the song "Pata Pata", first recorded in 1957 and released in the U.S. in 1967. She recorded and toured with many popular artists, such as Harry Belafonte, Paul Simon, and her former husband Hugh Masekela.

She actively campaigned against the South African system of apartheid. As a result, the South African government revoked her citizenship and right of return. After the end of apartheid she returned home. She died on 10 November 2008 after performing in a concert organized to support writer Roberto Saviano in his stand against the Camorra, a mafia-like organisation local to the Region of Campania.

Early years[link]

Zenzile Miriam Makeba was born in Johannesburg in 1932. Her mother was a Swazi sangoma (traditional healer-herbalist). Her father, who died when she was six years old, was a Xhosa. When she was eighteen days old, her mother was arrested for selling umqombothi, an African homemade beer brewed from malt and cornmeal. Her mother was sentenced to a six-month prison term, so Miriam spent her first six months of life in jail.^[2][3] As a child, she sang in the choir of the Kilmerton Training Institute in Pretoria, a primary school that she attended for eight years.^[4][5]

At the age of seventeen, Makeba gave birth to her only child, Bongi Makeba. She was then diagnosed with breast cancer, and her first husband left her shortly afterwards.^[6]

Her professional career began in the 1950s when she was featured in the South African jazz group the Manhattan Brothers, and appeared for the first time on a poster. She left the Manhattan Brothers to record with her all-woman group, The Skylarks,^[7] singing a blend of jazz and traditional melodies of South Africa.^[2] As early as 1956, she released the single "Pata Pata".^[5] The single was played on all the radio stations and made her known throughout South Africa.^[8] Although she was a successful recording artist, she only received a few dollars for each recording session and no provisional royalties, and was keen to leave home.^{[citation needed]}

She had a short-lived marriage in 1959.^[6] Her break came in that year when she had a short guest appearance in Come Back, Africa, an anti-apartheid documentary produced and directed by American independent filmmaker Lionel Rogosin. The short cameo made an enormous impression on the viewers and Lionel Rogosin managed to organise a visa for her to attend the première of the film at the twenty-fourth Venice Film Festival in Italy, where the film won the prestigious Critics' Award.^[9][10][11] That year, Makeba sang the lead female role in the Broadway-inspired South African musical King Kong,^[4] alongside Hugh Masekela, who she married in 1964.^[6][2] She made her US debut on 1 November 1959, on The Steve Allen Show.^[5][12]

Exile[link]

Makeba then travelled to London where she met Harry Belafonte, who assisted her in gaining entry to the United States and achieving fame there.^[14] When she tried to return to South Africa in 1960 for her mother's funeral, she discovered that her South African passport had been cancelled.^[15] She signed with RCA Records and released Miriam Makeba, her first U.S. studio album, in 1960.^[15] In 1962, Makeba and Belafonte sang at John F. Kennedy's birthday party at Madison Square Garden, but Makeba did not go to the aftershow party because she was ill. President Kennedy insisted on meeting her, so Belafonte sent a car to pick her up and she met the President of the United States.^[16] In 1963, Makeba released her second studio album for RCA, The World of Miriam Makeba. The album, an early example of world music, peaked at number eighty-six on the Billboard 200.^[15][17] Later that year, after testifying against apartheid before the United Nations, her South African citizenship and her right to return to the country were revoked.^[4] She was a woman without a country, but the world came to her aid, and Guinea, Belgium and Ghana issued her international passports, and she became, in effect, a citizen of the world.^[15] In her life, she had nine passports,^[2] and was granted honorary citizenship in ten countries.^[16]

In 1966 Makeba received the Grammy Award for Best Folk Recording together with Harry Belafonte for An Evening with Belafonte/Makeba.^[10][17] The album dealt with the political plight of black South Africans under apartheid, and it was one of the first American albums to present traditional Zulu, Sotho and Swahili songs in an authentic setting.^[15] From the time of her New York debut at the Village Vanguard, her fame and reputation grew. She released many of her most famous hits in the United States, including "The Click Song" ("Qongqothwane" in Xhosa) and "Malaika". Time called her the "most exciting new singing talent to appear in many years," and Newsweek compared her voice to "the smoky tones and delicate phrasing" of Ella Fitzgerald and the "intimate warmth" of Frank Sinatra.^[2] Despite the success that made her a star in the U.S., she wore no makeup and refused to curl her hair for shows, thus establishing a style that would come to be known internationally as the "Afro look".^[9] In 1967, more than ten years after she wrote the song, the single "Pata Pata" was released in the United States and became a worldwide hit.^[5]

Her marriage to Trinidad-born civil rights activist, Black Panther, and Student Non-violent Coordinating Committee leader Stokely Carmichael in 1968 caused controversy in the United States, and her record deals and tours were cancelled.^[5] As a result, the couple moved to Guinea,^[4] her home for the next 15 years, where they became close with President Ahmed Sékou Touré and his wife, Andrée.^[2][19] Makeba was appointed Guinea's official delegate to the United Nations, for which she won the Dag Hammarskjöld Peace Prize in 1986.^{[5][10][20][21]} She also separated from Carmichael in 1973 and continued to perform primarily in Africa, Europe and Asia, but not in the United States, where a de facto boycott was in effect.^[18] Makeba was one of the entertainers at the 1974 Rumble in the Jungle match between Muhammad Ali and George Foreman held in Zaïre.^[22] She addressed the United Nations General Assembly for the second time in 1975.^[2] She divorced Carmichael in 1978 and married an airline executive in 1980.^[6]

After the death of her daughter Bongi in 1985, she decided to move to Brussels.^[2] In the following year, Hugh Masekela introduced Makeba to Paul Simon, and a few months later she embarked on the very successful Graceland Tour, which was documented on music video.^[23][18][24] Two concerts held in Harare, Zimbabwe, were filmed in 1987 for release as Graceland: The African Concert. After touring the world with Simon, Warner Bros. Records signed Makeba and she released Sangoma ("Healer"), an a cappella album of healing chants named in honour of her mother who was an "isangoma" ("a healer").^[18] Shortly thereafter her autobiography Makeba: My Story was published and subsequently translated from English into other languages including German, French, Dutch, Italian and Spanish.^[5] She took part in the Nelson Mandela 70th Birthday Tribute, a popular-music concert staged on 11 June 1988 at Wembley Stadium, London, and broadcast to 67 countries and an audience of 600 million.^[25] Also referred to as Freedomfest, Free Nelson Mandela Concert, and Mandela Day, the event called for Mandela's release.

Return to South Africa[link]

Makeba and Dizzy Gillespie in Calvados, France, 1991

Nelson Mandela's 70th Birthday Tribute increased pressure on the government of South Africa to release Mandela, and in 1990, State President of South Africa Frederik Willem de Klerk reversed the ban on the African National Congress and other anti-apartheid organisations, and announced that Nelson Mandela would shortly be released from prison.^[26] Mandela, who was effectively released from Victor Verster Prison in Paarl on 11 February 1990,^[27] persuaded Miriam Makeba to return to South Africa. She returned home on 10 June 1990, on her French passport.^[2][28]

In 1991, Makeba, with Dizzy Gillespie, Nina Simone and Masekela, recorded and released her studio album, Eyes on Tomorrow. The album combined jazz, R&B, pop, and African music, and was a hit in Africa. Makeba and Gillespie then toured the world together to promote it.^[18] In November of the same year, she made a guest appearance in the episode "Olivia Comes Out of the Closet" of The Cosby Show. In 1992 she starred in the film Sarafina!. The film's plot centers on students involved in the 1976's Soweto youth uprisings, and Makeba portrayed the title character's mother, "Angelina". The following year she released Sing Me a Song.

On 16 October 1999, Miriam Makeba was nominated Goodwill Ambassador of the Food and Agriculture Organization of the United Nations (FAO).^[29] In January 2000, her album, Homeland, produced by Cedric Samson and Michael Levinsohn for the New York City based record label Putumayo World Music,^[30] was nominated for a Grammy Award in the Best World Music Album category.^[31] She worked closely with Graça Machel-Mandela, who at the time was the South African first lady, for children suffering from HIV/AIDS, child soldiers, and the physically handicapped.^[2]

In 2001 she was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, "for outstanding services to peace and international understanding".^[10] She shared the Polar Music Prize with Sofia Gubaidulina.^[10] The prize is regarded as Sweden's foremost musical honour. They received their Prize from Carl XVI Gustaf King of Sweden during a nationally-televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.^[32] She also took part in the 2002 documentary Amandla!: A Revolution in Four-Part Harmony where she and others recalled the struggles of black South Africans against the injustices of apartheid through the use of music. In 2004, Makeba was voted 38th in the Top 100 Great South Africans. Makeba started a worldwide farewell tour in 2005, holding concerts in all of those countries that she had visited during her working life.^[16]

Death and legacy[link]

On 9 November 2008, she became ill while taking part in a concert organized to support writer Roberto Saviano in his stand against the Camorra, a mafia-like organisation local to the Region of Campania. The concert was being held in Castel Volturno, near Caserta, Italy. Makeba suffered a heart attack after singing her hit song "Pata Pata", and was taken to the "Pineta Grande" clinic where doctors were unable to revive her.^{[33][n 1][34][35]} Her publicist notes that Makeba had suffered "severe arthritis" for some time.^[36] She and family members were based in Northriding, Gauteng, at the time of her death.

On 25, 26 and 27 September 2009, a tribute show to Makeba entitled "Hommage à Miriam Makeba" and curated by Grammy Award-winning Beninoise singer-songwriter and activist Angélique Kidjo for the Festival d'Ile de France, was held at the Cirque d'hiver in Paris.^[37] The same show but with the English title of "Mama Africa: Celebrating Miriam Makeba" was held at the Barbican in London on 21 November 2009.^[38]

Discography[link]

Studio albums[link]

• The Many Voices of Miriam Makeba (1960) (LP Kapp KL1274)
• Miriam Makeba (1960) (LP RCA LSP2267)
• The World of Miriam Makeba (1963) (LP RCA LSP2750) #86 (US)^[17]
• The Voice of Africa (1964) (LP RCA LSP2845) #122 (US)^[17]
• Makeba Sings! (1965) (LP RCA LSP3321)
• An Evening with Belafonte/Makeba (1965) (LP with Harry Belafonte; RCA LSP3420; Grammy Award for Best Ethnic or Traditional Folk Recording) #85 (US)^[17]
• The Magic of Makeba (1965) (LP RCA LSP3512)
• The Magnificent Miriam Makeba (1966) (LP Mercury 134016)
• All About Miriam (1966) (LP Mercury 134029)
• Pata Pata (1967) (LP Reprise RS6274) #74 (US)^[17]
• Makeba! (1968) (LP Reprise RS6310)
• Keep Me in Mind (1970) (LP Reprise RS6381)
• A Promise (1974) (LP RCA YSPL1-544)
• Miriam Makeba & Bongi (1975) (LP with Bongi Makeba; Guinea: Editions Syliphone Conakry SLP 48)
• Country Girl (1978) (LP Sonodisc ESP165518)
• Comme une symphonie d'amour (1979) (LP Sonodisc ESP 7501)
• Sangoma (1988) (CD Warner Bros. 25673)
• Welela (1989) (CD Gallo CDGSP3084) #6 (US)^[17]
• Eyes on Tomorrow (1991) (CD Gallo CDGSP3086) #10 (US)^[17]
• Sing Me a Song (1993) (CD CDS12702)
• Homeland (2000) (CD Putumayo PUTU1642)
• Reflecting (2004) (CD Gallo Music GWVCD-51) #12 (US)^[17]
• Makeba Forever (2006) (CD Gallo Music CDGURB-082)

Live albums[link]

• Miriam Makeba in Concert! (1967) (LP) (Reprise RS6253) #182 (US)^[17]
• Live in Tokyo (1968) (LP) (Reprise SJET8082)
• Live in Conakry: Appel a l'Afrique (1974) (LP) (Sonodisc SLP22)
• Enregistrement public au Theatre des Champs-Elysées (1977) (LP) (released on CD6508 as Pata Pata: Live in Paris in 1998)
• Live at Berns Salonger, Stockholm, Sweden, 1966 (2003) (CD) (Gallo Music GWVCD-49)

Compilations[link]

• The Best of Miriam Makeba (LP) Canada: RCA Victor LSP-3982, 1968
• Harry Belafonte and Miriam Makeba (as Harry Belafonte and Miriam Makeba) (2xLP) Camden PJL2-8042, 1975
• Miriam Makeba (LP) Italy: Record Bazaar RB 254, 1980
• The Queen of African Music (CD) Verlag Pläne 831 655-938, 1987
• Africa (CD) Germany: Novus 3155-2-N/ND 83155, 1991
• Miriam Makeba and The Skylarks: Volume 1 (as Miriam Makeba and The Skylarks; Remastered from 78/45 RPM recorded between 1956 and 1959) (CD) TELCD 2303, 1991
• Folk Songs from Africa (CD) SAAR CD 12514, 1994
• En public à Paris et Conakry (CD), 1996
• Hits and Highlights (CD), 1997
• Miriam Makeba and The Skylarks: Volume 2 (as Miriam Makeba and The Skylarks; Remastered from 78/45 RPM recorded between 1956 and 1959) (CD) TELCD 2315, 1997
• The Best of Miriam Makeba (CD) BMG, 2000
• Legend (CD) Next Music CDSL21, 2001
• Mama Africa: The Very Best of Miriam Makeba (CD), 2001
• The Guinea Years (CD/LP) STCD3017/SLP48, 2001
• Mother Africa: The Black Anthology (CD), 2002
• The Best of Miriam Makeba: The Early Years (CD) Wrasse WRASS 088, 2002
• The Definitive Collection (CD) UK: Wrasse WRASS 062, 2002
• Her Essential Recordings (2xCD) Manteca MANTDBL502, 2006
• Mama Afrika 1932-2008 (CD) Gallo, 2009

Extended plays[link]

• Makeba - Belafonte (as Miriam Makeba and Harry Belafonte) (Vinyl, 7", 45 RPM) Germany: RCA Victor EPA 9035, 1961
• The Click Song (Vinyl, 7", EP) France: London RE 10.145, 1963
• Chants d'Afrique (Vinyl, 7") France: RCA Victor 86.374, 1964

Singles[link]

• "Duze" (1956) (10-inch shellac 78 rpm mono Gallotone GB.2062)
• "Pass Office Special" (1957) (10-inch shellac 78 rpm mono Gallotone GB.2134)
• "The Click Song" / "Mbube" (1963) (7-inch vinyl London HL 9747)
• "Malaika" / "Malcolm X" (1965) (7-inch vinyl Kenya: Sonafric SYL 565)
• "Pata Pata" (1967) (7-inch vinyl Reprise 0606) #12 (US)^[17]
• "Malayisha" (1967) (7-inch vinyl Reprise)
• "Emavungwini" (1968) (7-inch vinyl France, Spain: Reprise)
• "I Shall Be Released" / "Iphi Ndilela (Show Me the Way)" (1969) (7-inch vinyl Germany: Reprise RA 0804)
• "Pata Pata" / "Click Song Number 1" (1972) (7-inch vinyl Germany, Netherlands: Reprise REP 14 217)
• "We Got to Make It" / "Promise" (1975) 7-inch vinyl with Instrumentalgruppe German Democratic Republic: AMIGA 4 56 044, 1974, and France: Disques Espérance)
• "Pata Pata" / "Malayisha" (1976) (7-inch vinyl Italy: Reprise 14 267, released in France in 1978)
• "Hauteng" / "Talking and Dialoging" (1978) (7-inch vinyl France: Disques Espérance ESP 155027)
• "Comme une symphonie d'amour" (1979) (7-inch vinyl France: Disques Espérance ESP 65.009)
• "Give Me a Reason" / "Africa" (1989) (7-inch vinyl Italy: Philips 875 308-7)
• "Pata Pata 2000" (2000) (CD Putumayo PUTU 919-S)

Filmography[link]

See also[link]

Notes[link]

References[link]

Sources[link]

Books