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Closed Caption; Audio commentary with director Joseph Sargent, writer Peter Silverman and executive producers Robert W. Cort and Eric Hetzel; Featurette; Making History slide show
Full Product DetailsSide #1 --
1. A Carpenter's Son
2. To Study Medicine
3. A Brilliant Assistant
4. Toasts of Baltimore
5. Johns Hopkins
6. Work Begins
7. Growing Closer
8. Course of Blood
9. Parents' Consent
10. Do Not Touch
11. Surgery
12. Written in History
13. Separate Ways
14. Words of Respect
15. Dr. Thomas
16. End Credits
Cut along familiar lines but extraordinarily affecting nonetheless, this made-for-HBO film dramatizes the remarkable achievements of a white surgeon and his black laboratory assistant, who pioneered lifesaving cardiac surgery together but shared the credit unequally. The story's high point occurs in 1944, when Dr. Alfred Blalock (Alan Rickman) manages to redirect blood flow in the heart of a terminally ill baby. At his side is Vivien Thomas (Mos Def), a gifted assistant with only a high school education. Although sufficiently open-minded to recognize Thomas's contribution to the procedure, the egotistical southern surgeon can't quite bring himself to publicly share the credit with his African-American helper, who dreams of attending medical school. The oddly cast Rickman affects a convincing Dixie drawl and displays several personality quirks that mark Blalock as a complicated man, while former hip-hop star Def does surprisingly well by Thomas, suggesting the unvoiced frustration of a proud man who endures much in the service of a greater good. The largely female supporting cast lends a great deal to the movie's mood and texture: Gabrielle Union confidently plays Clara Thomas, the strong woman who supports and encourages her husband; Kyra Sedgwick shines as Blalock's feisty wife; and Mary Stuart Masterson contributes a dignified but powerful performance as the founder of pediatric cardiology, Dr. Helen Taussig. Joseph Sargent's direction exhibits keen sensitivity to the emotions of these characters, milking the situations for dramatic effect without making them seem too trite and predictable. Though it thoroughly condemns segregation, Something doesn't wear its politics on its sleeve; the story is tightly focused and intensely personal -- and is all the more powerful for it. Ed Hulse, Barnes & Noble
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