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There is this neurological phenomenon known as synesthesia. It’s when your senses kind of overlap. You might read numbers as colors. One is white, two is red, three is blue, four is yellow, for example. In other instances, you might taste noise. There’s not a lot known about the condition, but it affects approximately three percent of the world’s population. Some studies suggest it exists more predominantly in creative minds. Trevante Rhodes tells me that, to him, the color of
The United States vs. Billie Holiday is maroon.
Moonlight is magenta, in case you were curious.
Precious and
Monster’s Ball (the latter of which Daniels produced, and Marc Forster directed) both achieved stunning urgency in their depictions of pain and desperation.
The United States vs. Billie Holiday (★★☆☆☆) aims for stunning but mostly comes up short in its impressionistic account of jazz legend Holiday’s years-long war against the Federal Bureau of Narcotics.
The now-defunct agency, led by Commissioner Harry Ainslinger, in truth, waged a war against Holiday, portrayed with grit and compassion by “Rise Up” singer Andra Day. Troubled Holiday, dignified though self-destructive, is hounded through the ’40s and ’50s by Ainslinger (Garrett Hedlund), who targets the star as a prominent member of several communities he detests: drug users, jazz musicians, and Black people. He dispatches a Black agent, Jimmy Fletcher (
The United States vs Billie Holiday review: a biopic about the wrong subjects polygon.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from polygon.com Daily Mail and Mail on Sunday newspapers.