Beautiful, interesting, incredible cinema.
In Joel Katz’s Bravo-style essay Strange Fruit, the sequined Billie Holiday, swaying on a 1957 Paris stage, unleashes the grievous moans of the titular lament adding the pathos of a further marginalized female observer to composer Abel Meeropols humanist outrage.
In Joel Katz’s Bravo-style essay Strange Fruit, the sequined Billie Holiday, swaying on a 1957 Paris stage, unleashes the grievous moans of the titular lament adding the pathos of a further marginalized female observer to composer Abel Meeropols humanist outrage.