As an educator, I think the film provides an exciting, relatable snapshot of an important contribution to American history but does not, on its own, invite a critical investigation of that history. Many of the people involved in the film, from producer George Lucas to screenwriter John Ridley, cited their interviews with the Tuskegee Airmen as the most inspiring part of the project. Honoring these brave citizens’ stories was a driving force in bringing the film to the public. For me, the film did not do enough to harness the power of those testimonies. If I were to show this film in my class, I would hope to pair it with testimony – either filmed interviews with Tuskegee Airmen or even better, an actual visit. The website of the Greater Philadelphia Chapter, Tuskegee Airmen, Inc is a great resource for personal histories and information on scheduling a visit in my area. I would ask students to compare the primary sources (actual testimony) with the secondary source of the film. How might the demands and constraints of making a movie (satisfying plot, exciting characters, a “happy ending,” a time limit, etc.) distort its portrayal of history?
Another approach to using this film in a history class would be to ask students to explore the larger context that is occasionally hinted at but largely absent in the film. What was it like for African American soldiers to travel in Europe, where there was less institutionalized racism than in the US? To what extent are European attitudes about race reflected in the film and especially in the romance between Joe and Sofia? How did the soldiers’ experiences in Europe help shape the civil rights movement in the United States? What was it like for the Tuskegee Airmen to bear the double burden of representing their country and representing their race in combat? I might ask students what scenes they think are missing from the film, and I would invite them to pen or perform their own scenes.
Finally, I find the most compelling aspect of the film to be its role in the history of African Americans in the film industry. What challenges have African Americans faced in the American film industry? What are some of the stereotypes of African Americans in film and to what extent does Red Tails defy or reinforce them? Why were major studios unwilling to fund the production of Red Tails? What does the future of African American film look like? Are there any films that focus on contemporary issues of race and injustice in America? What films still need to be made?
In a brief interview at the NYC Premier, actor Nate Parker suggests that the film might inspire young people to tackle some of today’s injustices: “You look at these men and the adversity they faced. It’s not too different from the adversity we’re facing right now, the issues we’re facing whether it be education, the prison industrial complex, the economy, unemployment in our community . . .” This is what I imagine to be the best possible outcome of the film, and as always, I'm hungry for resources and strategies that will help me engage my students in conversations around these critical social justice issues. The latest New Yorker article (on mass incarceration on America) and the latest issue of Rethinking Schools (on the school-to-prison pipeline) have me brainstorming ways that I can incorporate an examination of the prison system into my curriculum. But unfortunately, kid-friendly resources on this topic are few and far between. Who's gonna make the exciting, relatable action movie about the prison industrial complex?
