J u s t i n   S w i n g l e

  

n o v e l i s t  -  s c r e e n w r i t e r  -  n o v e l s  f r o m  t h e  s c r e e n p l a y s 

UNIVERSITY OF OKLAHOMA

FILM AND MEDIA STUDIES

 

Professor Emeritus

 

Justin Swingle's WHITE SHADOWS, BLACK DREAMS, is a compelling dramatic script based on the life of one of America's most important but least known women, Madam C.J.Walker. An African-American who was born the daughter of slaves, orphaned at seven, she became through both strength of character and good fortune, Madam C.J. Walker, the first self-made female millionaire in the country and champion of the rights of not only blacks and women, but of all people.

 

Swingle evokes the era as well as the character and aptly carries us through something of an epic "journey" not only of locations but of emotions as well. Humor, horror, humanity, and love mix and cross leaving us with an all too rare satisfaction in contemporary cinema, even when tackling historical figures; a sense of not only having enjoyed the "journey" along with Sarah, but of having been enlightened and uplifted as well through her pain and joys. 

         —Andrew Horton

 

Andrew Horton is an award-winning screenwriter, and the author of thirty books on film, screenwriting and cultural studies including, Screenwriting for a Global Market (University of California Press 2004) and Writing the Character Centered Screenplay (University of California Press, 2000, 2nd edition).  The Library Journal wrote about his Character Centered Screenplay, "Horton walks away with an Oscar in the valuable books for the prospective scripter category with his latest rendering."  His films include Brad Pitt's first feature film, The Dark Side of the Sun (1988), and the much awarded Something In Between (1983, Yugoslavia, directed by Srdjan Karanovic). 

 

 

 

Richard Walter

Chairman Screenwriting

UCLA

 

Department of Film and Television

 

Dear Justin Swingle:

 

Thank you very much indeed for the opportunity and privilege of reviewing your screenplay. Thank you, too, for your patience and understanding with respect to the length of time it has taken me at long last to respond to it. As you can imagine, my responsibilities on campus, coupled with my own writing, cause me, unfortunately, to fall behind in my reading from time to time. But, now that the rush of the holidays is over, I'm pleased to have the opportunity to catch up just a little bit.

 

White Shadows is a welcome addition to my reading list, and my hat's off to you for crafting an intriguing story with interesting, sympathetic characters. This is the gauntlet thrown down to all good writers: create characters worth caring about, and place them in scenes and settings filled with the sweet stress and tension required of all worthy dramatic writing since its inception. You've picked up the gauntlet, and I salute your efforts. Actresses perpetually—and with considerable justification—bemoan the paucity of substantial roles in film for women; so, is it any wonder then that Sarah is a role that will most assuredly have actresses salivating. It's a meaty part that requires a huge amount of range: She's strong, and yet she's vulnerable, too. In other words, Sarah is a complete, well-rounded, three-dimensional, flesh-and-blood character who leaps off the page and into the reader's imagination. How much more compelling a character will she be when audiences see her on the screen? It's hard to say, but my guess is that the sky's the limit.

 

I was delighted by the exchanged between Lucille, Becky and Eula Mae in almost every scene where they appear—but especially in church! You set a wonderfully high standards for yourself with these characters and their dialogue!

 

This story is frequently heartbreaking—as when Jeff is hung by the Klan—but also thoroughly up lifting. Here is a woman who has come so far, and it's hard not to be inspired by her strength and determination and tenacity.

 

You have demonstrated substantial talent and discipline as a writer with this effort which has tremendous potential. I salute and congratulate you and wish you the very best for the New Year and your writing and in all things. Write on! Perseverance and strength and stamina are the things that are rewarded in this dodge.

 

Cordially,

Richard Walter

Chairman Screenwriting

 

Kathy A. Cabrera

Media Manager for Richard Walter

678.644.4122

kathyacabrera@yahoo.com

 

Richard Walter is a celebrated storytelling guru, movie industry expert, and longtime chairman of UCLA's legendary graduate program in screenwriting.

 

 

HOLLYWOOD GATEWAY

SCREENPLAY COMPETITION

 

r e c o g n i z e s

 

WHITE  SHADOWS, BLACK DREAMS

 

By JUSTIN SWINGLE

 

Now Adapted Into the Novel

 

My Journey to Lewaro:

Stories Along the Way

 

  

WHITE SHADOWS, BLACK DREAMS is an extraordinary accounting of African-American life at the turn of the 20th Century written in epic form. It's the classic story of  triumphing over insurmountable odds to wealth, prosperity, leadership and independence. The formula has been attempted many times, but rarely does the storytelling transcend from telling the overwhelming story to taking the audience on the journey along with the central character. WHITE SHADOWS, BLACK DREAMS is in the company of THE COLOR PURPLE and ROOTS.

 

There is no question the writer knows the craft of screenwriting screenplays. The research and detail by the writer shows a strong grasp of the subject matter. The structure is solid, yet enormous. The concept and story ideas are compelling. All of the plot lines are well defined and hone to a fine tune.

 

The dialogue and main characters really make the script sing. The writer has a knack for dialect and is consistent throughout the script. The characters are real and very human, especially SARAH.

 

WHITE SHADOWS, BLACK DREAMS is a female star vehicle that could showcase true depth of human emotion and adversity and at the same time provides enormous amounts of dramatic action. There are several pivotal supporting roles that lends to having a strong, powerful cast. By having made the story personal, the script connects to people through core societal values and belief systems.

 

The movie would appeal to women, African Americans and anyone that relates to the triumph of the spirit. It's a family movie with adult themes.

 

CHARACTERIZATION:    EXCELLENT

 

DIALOGUE:    EXCELLENT

 

STRUCTURE:    VERY GOOD to EXCELLENT

 

STORY EXECUTION:    VERY GOOD to EXCELLENT

 

 

White Shadows, Black Dreams, a screenplay by Justin Swingle is a look at the all-but-forgotten African American heroine from the 19th and 20th centuries, Sarah Breedlove, a.k.a. Madam C.J.Walker. In several decades of studying women's issues, I had never come across this remarkable woman before Mr. Swingle made her the protagonist in his rich and worthy screenplay in which he displays an amazing feminist perspective.

 

This is the story of a black woman born into poverty immediately after the emancipation of slaves and her victorious rises to personal greatness, economic success, and public contribution as the seminal self-made female millionaire.

 

Mr. Swingle's dialogue brings his characters alive with sometimes heartbreaking veracity, but always with a warm sense of humor about human foibles. May we see many more stories like this inspiring woman.

                                          — Cathleen Rountree

 

ON CATHLEEN ROUNTREE

 

For her books of interviews, Cathleen met and interviewed such well-known artistic and public figures as Doris Lessing, Isabel Allende, Gov. Ann Richards, Betty Friedan, Sen. Barbara Boxer, Ellen Burstyn, Mary Travers, Gloria Steinem, Marion Woodman, Maxine Hong Kingston, Gloria Allred, Molly Haskell, Andrew Sarris, Jacob Lawrence, Gwen night, and Dolores Huerta, among many others. She is often referred to as "the Barbara Walters of interview books."

Her passion for movies has led to work as an archivist for the San Francisco International Film Festival and to writing for their festival catalogue, to being appointed as a board member of the Santa Cruz Film Festival, and to her own column "Femme Film Reflections" on www.HeadlineMuse.com. Her film commentaries and analyses are published in a variety of venues, including The San Francisco Jung Library Journal, on www.cgjungpage.org, and in the forthcoming anthology on the Argentine director Eliseo Subiela, Under Other Skies: The Films of Eliseo Subiela. (ed. Nancy J. Membrez). Her next book about how to "read" a film for deeper meaning and the potential transformative nature of movies will be published in 2003

 

references the novel-in-progress

 

Borrowed Dreams

 

 "I found the writing, subject matter and

general direction very powerful!

 

 This writing is astonishing beautiful

and sensitive — exceptional images."

 

Elizabeth Bedell

 Founding Editor

 KALLIOPE

 

 

 

Justin Swingle's WHITE SHADOWS, BLACK DREAMS is an excellent piece of writing. His characters are full and rich. The dialogue is excellent: natural, lyrical, expressive and economical. His dialect gives the work a wonderful flavor, without becoming confusing or hard to read.

 

There is a fascinating proto-feminist, socialist germ of a theme in Sarah's relationships with women, in particular her insisting that Eula Mae be paid for her services instead of just screaming at John Davis in a jealous rage—and this looks like it's going to be followed up and enhanced by Sarah "bonding" with Eula Mae—which would imply that as downtrodden women there are more important things that bond women than the one thing—foolish jealousy—which keeps them apart.

 

The Sarah Breedlove (Madam C.J.Walker) story is moving and important and Justin tells it well.

                                     — Peter Mellencamp, MA

 

CINEMA PRODUCTION and SCREENWRITING, USC

 

STORY ANALYST FOR MGM/UA, PARAMOUNT, TWENTIETH CENTURY-FOX, COLUMBIA, WARNER, UNIVERSAL and DISNEY AND INSTRUCTOR, AMERICAN FILM INSTITUTE