The Proof Is In The مهلبية

Many have heard "the proof is in the pudding."

For "American Sniper" fans, critics and anyone wondering the truth about the so-called "Olympic sniper from Syria" portrayed as "Mustafa" by the actor Sammy Sheik, the blog post that follows affirms the proof is in the mahalabiya (مهلبية).

And like variations of this Arab world recipe, the pudding du jour is both sweet and nutty while officially condemning the creative work of Oscar-nominated "American Sniper" screenwriter Jason Hall and director Clint Eastwood.

The condemnation comes all the way from the president of the Syrian Olympic Committee, in writing and officially stamped by his staff.

On a hunch noted on this site last week, and from research completed by a fellow International
Society of Olympic Historians (ISOH) member Brian Carberry and myself since seeing "American Sniper" in theatres, I took time to write a letter to the Syrian Olympic Committee to ask specific questions as to the facts surrounding their competitors -- specifically shooting athletes -- entered in the Olympics prior to the early 2000s.

In an email reply received January 25, 2015, the executive director of the Syrian Olympic Committee provided a formal response signed by Gen. Mowafak Jomaa, president of the Syrian Olympic Committee, dated 22 January 2015.

The complete email correspondence (formatted as JPEGs to suit this blog posting template and to protect privacy/emails/phone numbers for the writers) is included with this post.

But I'll take a moment to quote Gen. Jomaa here:

"... we herewith assure you that the claimed Olympic shooter in the 'American Sniper' who is named 'Mustafa' is just a fictional character since we have no Olympic shooter as you tracked and your research as well."           

Gen. Jomaa continues with some direct feedback about the creative process chosen by the Oscar-nominated screen writer Jason Hall for "American Sniper" (specifically, the invention of "Mustafa").

"... using such a hint is an attempt to ... involve sportsmen in politics and the current situation in Syria. We strongly believe that sport should be separated from politics and war."

The letter goes on to condemn Hall, Eastwood and the film's involvement of the Olympic Family:

"We reassure that none has contacted our office and this character is merely a media propaganda to distort the Olympic movement in Syria ... (a) matter that we condemn."

Now, once upon time in Atlanta, I actually ran into Clint Eastwood (as reported here) while he was in town directing another sports film (sadly, a lesser film than "American Sniper" -- for the record, I again state the latter film is excellent in this blogger's opinion).

Boy, howdy. It sure would be interesting and make my day to get Eastwood's two cents on this Syrian Olympic Committee letter (not to mention Hall's response). So I'll next be typing notes addressed to Hollywood. Does anyone have Eastwood's email address handy?

"American Sniper" publicity still via Fandango. Other images are screen grabs of actual correspondence formatted for this site by Nicholas Wolaver. These images are copyright Nicholas Wolaver and may be used only by written permission.

American Sniper Puts Syrian Shooting Olympian In Film's Crosshairs

 

When I embarked to view the new Clint Eastwood film "American Sniper" -- which is excellent -- there was no expectation of an Olympic connection.

Much to my surprise, not long after Chris Kyle -- the Navy SEAL portrayed by Bradley Cooper -- reached the Middle East, the audience learned about a trained enemy sniper named "Mustafa" (played by Sammy Sheik) described as a skilled marksman who was once an Olympic shooter for Syria.

Eyebrows raised. Something did not seem right.

Then later in the film, as Kyle's team seemed to close in on the supposed Olympian at his clandestine residence, the Syrian athlete-turned-militant sharpshooter was portrayed as quickly loading rifles or packing other gear before barely escaping the U.S. forces in a Houdini-like departure.

During his urgent flight from home, the camera pauses briefly on a framed photograph with three flag-draped athletes on a victory stand presented like an Olympic medal podium and, you guessed it, the magical Mister Mustafa-lese posed on the top tier as though at attention for his national anthem.

Hmmmmm. Very odd.

Though my CV includes "lifetime member of the International Society of Olympic Historians (ISOH)" this status includes very little knowledge of Olympic shooting records.

But I was pretty sure the total number of Olympic shooting medalists from Syria was a "ZERO" bigger than the bull's eye on a Games target.

Emerging from the theatre, I checked the International Olympic Committee records and though there are three all-time Olympic medalists from Syria, none are Olympic shooters.

Fellow ISOH member Brian Carberry later did some quick research and found that there are a handful of Olympic shooting entrants from Syrian Arab Republic. But since this National Olympic Committee joined the Olympic Family in 1948, only one seemed age- and skill-appropriate for the film's early 2000s timing.

Carberry explained an athlete named Mohamed Mahfoud competed at the Sydney 2000 Olympic Games as a rifle shooter. However, Mahfoud placed 53rd out of 53 athletes in the target shooting events, hardly the result painted by the filmmakers.

His online bio states he was in his 40s -- and Syria's oldest Sydney entrant in any sport -- during the post-9/11 decade portrayed in the book and movie. So it seemed a stretch this guy joined Iraqi or other forces post-Games.

Still in search of answers, tonight I trekked to a bookstore and planted myself in a chair to read the entire bestselling book "American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History" from cover to cover.

The result: Not a single reference to any one specific target taken out by Chris Kyle. Notes on the editing process, provided by the author, indicate the Pentagon or Navy's review of the text likely prevented such specifics from making the final version.

Determined to find out "who was Mustafa" I started searching the usual places including IMDB, the film's official site (in search of an online press kit) and reviews of the film. Nothing.

Then a Time magazine report detailing fact versus fiction in the big screen "American Sniper" yielded some details that suggest that although a "Mustafa" might have existed or even survived Kyle's attempts to take him out, this person's would-be Olympic creds were not likely verified in the script writer's efforts to bring this character to screen. The Time story does mention some of the writer's feedback on this, but without mention of the Games.

For now, my take is that the five-ringed mention was only for dramatic effect. How better to quickly establish a character's shooting prowess than to elevate her or him to Olympian status?

That said, it does seem to this writer that the "medal stand photo" on view in that enemy combatant's home was a bit much. But hey, the trick worked and it got at least one viewer's attention.

Still curious, I do intend to attempt contact with the Oscar-nominated screenwriter Jason Hall to ask specifically the extent to which the "Mustafa" character received O-ring research. I'm also sending an email to the Syrian NOC to inquire their point of view on this topic and the extent to which they were consulted.

Whether this outreach will generate responses or more clarification remains to be seen.

But it is certain that "American Sniper" will continue to turn heads and sell tickets; as of this post,
opening weekend in nationwide release brought in $90 million (!!!).

And the film is well made and Cooper does a fine job showcasing the range of emotions, concentration and stress experienced by Kyle. I enjoyed it more on screen than the book, though I do suggest folks read the updated text versions for the additional details provided by the author's widow and Hall.

Publicity stills via Fandango and ReelBrief.


January 29, 2015 UPDATE: After publishing this post, I did sent an email with questions to the Syrian Olympic Committee, which responded with a letter signed by the president of the organization. The complete correspondence, and letter -- in which the president condemned the film while confirming the "Olympic shooter from Syria" is fictional -- may be read on a follow-up post found here: http://bit.ly/1uVNlB7

Forgoing Myths of Earlier Films, Clint Eastwood Directs [Mostly] True Story of ’96 Olympic Hero

When the film “Richard Jewell” opens at theatres next month, audiences may enter the experience informed by the Warner Bros. tag line: The World Will Know His Name And The Truth.

When moviegoers exit the two-hour-nine-minute drama—stylishly directed by Clint Eastwood—ticket holders will be mulling over a mostly factual version of the Centennial Olympic Park security guard’s life before, during and after the ’96 Games of Atlanta. 

Jewell gets a fair treatment in this portrayal sure to aptly tilt the narrative to the ‘hero’ end of the opinion spectrum. He saved countless lives July 27, 1996, and deserves this history-correcting dramatization for a humble Georgia do-gooder whom heroically "done good."

“Richard Jewell” is a great film, built upon a solid foundation of heavily researched source material and adorned with many merits. 

Its solid cast and acting, strong writing, impactful scenes with attention to detail (though not always historically accurate), and a soothing albeit minimalist soundtrack combine for an entertaining photoplay sure to get folks talking.

Screenwriter Billy Ray relied heavily on Marie Brenner’s Vanity Fair 1997 article on Jewell, which will soon be reappear in a Simon & Schuster-published collection of the reporter's works timed for release with the film. 

Ray also pulled countless details from the new Abrams Press book “The Suspect” by Kent Alexander and Kevin Salwen (reviewed here).

With these and other factually rich and thoroughly vetted sources in Ray’s reach, it is curious, but not entirely surprising, the screenwriter embellished some facts and rearranged the timeline “for dramatic effect” in his creative process. More about that later in this review, and in this “Richard Jewell: Fact vs. Fiction” summary (beware of spoilers in both posts).

Accuracy debates aside, is “Richard Jewell” destined for awards nominations? Absolutely.

Will it win a bevy of these honors? Maybe.

Leonardo DiCaprio, an executive producer on “Richard Jewell” originally envisioned for the attorney role later filled by Sam Rockwell, may prove a topsy-turvy awards rival via “One Upon A Time … In Hollywood.” 

I cannot help but think 2019 blockbusters “Us” or “The Joker” and “Ad Astra” would sideline this five-ringed film in several categories, but Eastwood could be a home run candidate for “Best Director.” With that stated, even the film "Booksmart" (directed by Olivia Wilde, a star in "Richard Jewell") may outsmart Eastwood as the awards season unfolds. 

When compared with Clint’s other directorial works, “Richard Jewell” deserves placement in the top ten, maybe even the top five, but not as the crown of his long list of his many achievements. 

“Richard Jewell” does mark a return to Eastwood greatness not seen since “Million Dollar Baby” and “Mystic River,” but still plays loose with facts (as mentioned above), including some Olympic details, as in his more recent “American Sniper.”

Regardless of its rank in the Eastwood cannon, I enjoyed “Richard Jewell” and found it a powerful film, providing a thick and flavorful steak for audiences to dissect and savor. The film proves informative for all ticket holders, whether they were part of the Atlanta Games or learning about the park-related events for the first time.

On some fronts, “Richard Jewell” is a thriller, but like other Eastwood-directed films, inclusive of slow burns punctuated by occasional moments of intensity, which I think will resonate with a wide audience.

In the title role, Paul Walter Hauser vividly and effectively portrays the anti-machismo of Jewell, whose idiosyncrasies may one day resonate like the title character of “The Outlaw Josey Wales" or any one of the Western’s quirkier roles. It is fun to see Hauser in the lead on the heels of his cameo in “BlacKkKlansman.”

Perhaps prophetically for Hauser, a Jay Leno one-liner about the real guard-turned-suspect proved predictive about the actor. In 1996, the comedian joked that Jewell resembled Nancy Kerrigan’s fumbling attacker, a role Hauser brought to life as Shawn Eckhardt in “I, TONYA.” “What is it about the Olympic Games that brings out big, fat, stupid guys?” quipped Leno. 

Hauser plays it big and smart. 

Another key “Richard Jewell” strength is the film’s very authentic recreation of Centennial Olympic Park as it appeared during Games time. Little touches, like kids playing in the Olympic Rings fountain and huddled around a bag of lapel pins for trading, made me smile.

On a more somber note, the countdown to the explosion is one of the best scenes in any Clint Eastwood film, or any recent action film period. The arresting detonation feels real and the Dolby surround-sound and visuals left my heart pounding while my breath involuntarily joined the audible gasp filling the packed theatre. The blast had a way of making the audience jump as they did when Anne Archer uncapped a boiling pot of water in “Fatal Attraction.”

I liked that in lieu of gore, Eastwood and editors showed the injured bombing victims, and emergency workers tending to them, in a tasteful and artistic manner. There’s a personal moment with the mortally wounded Alice Hawthorne, the bomb’s lone fatality, but no mention of a Turkish camera operator who died of a heart attack on the scene.

Pooling blood, oozed into engraved names on Olympic park bricks, leaves no doubt how much worse the attack could have been if not for Jewell and other guards’ brave and swift response.  

Moments earlier, audiences are introduced to an FBI agent (Jon Hamm), as well as the tough-as-nails chain-smoking crime reporter for the hometown Atlanta-Journal Constitution, Kathy Scruggs (Wilde), who has all the moxie of Margot Kidder’s Lois Lane with blond hair, a taste for bourbon and a head-turning frankness that rubbed many the wrong way.

Sidebar: In “The Suspect,” colleagues and family share a more balanced view of Scruggs, taken at times to a crass extreme on screen, perhaps the Achilles’ heel of this otherwise great film.

From the morning after the explosion, the film quickly unleashes the fury of the FBI and media attention that overtook the Jewell household—Richard lived with his mother, Bobi (Kathy Bates)—after Scruggs got the Olympic-sized scoop from a source naming Richard the prime suspect.

Controversial and heavy-handed maneuvers by federal investigators, and the world’s media, foreshadow the worst versions of social media hurricanes to which the world’s grown accustomed.  

On the lighter side, the film also offers many subtle and surprise laughs, and the portrayal of Nadya (Nina Arianda), the Russian-born assistant to one of Jewell's attorneys, and their flirtatious banter got the loudest chuckles (unexpected fun, yes / неожиданное веселье, да). 

Some may wonder whether Mars, Inc., payed for product placement of Snickers candy bars, which often provided comic relief that satisfies. Perhaps the best line arrives as a reference to, or later resolution of, the film's own version of a quid pro quo.

There are tender moments of Jewell the individual and of Jewell with his mother, or his attorney (Sam Rockwell, performing a mash up of multiple real-life attorneys blended by Ray). I don’t think these are Oscar-level performance for Bates or Rockwell, but both play it strong, lending depth to what Eastwood described as “the perfect cast” during his remarks before the lights dimmed at the world premiere (more about the scene at AFI Fest in this post).

This is not the first Eastwood film in which the screenwriter took liberties with facts, inserting some five-ringed fiction during the creative writing process. For "American Sniper" there was no 'Olympic shooter from Syria' (a fact verified in writing, debunking Eastwood and screenwriter Jason Hall, creating the most popular topic in 10 years of writing this blog).

“Richard Jewell” plays it loose with its timeline, but mostly about Scruggs. For instance, according to scenes in "The Suspect" Jewell and his lawyers only met the reporter in years-later legal proceedings, never through impromptu visits to the newsroom, obviously added for dramatic embellishment.

The film is loosest when portraying tactics Scruggs used for reporting and getting 'the scoop' involving Jewell. Did she trade sex for the source of a suspect in real life? Probably not. 

Regardless, a steamy bar scene for Wilde and Hamm likely (and unfairly) will lead many to that conclusion.

I am eager to screen “Richard Jewell” again soon (for this critic, an eagerness to quickly repeat a screening is the fifth tenet of a great film after acting, writing, impact and soundtrack) to see if the world premiere version included the complete score composed by Arturo Sandoval, who previously collaborated with Eastwood for "The Mule."

Unlike other music-rich Eastwood releases, the Nov. 20 version of “Richard Jewell,” which may have been only hours old from a near final edit, had such a sparse soundtrack, I cannot help but wonder if more score will be added before the Dec. 13 worldwide release.

With all due respect to Kenny Rogers and Los del Río, whose respective hits “The Gambler” and “Macarena” appear in early Centennial Olympic Park scenes, the soundtrack is otherwise so minimalist the Sandoval music seemed barely there until the final credits.

Some lucky Atlantans will get an advance peek at "Richard Jewell" when its local premiere takes place Dec. 10. 

For everyone else looking for a great film, mark calendars for Dec. 13, when the world will at last enjoy a (re-)introduction to an unsung Olympic hero. 

First image via Avcesar.com from their trailer screen grab via Warner Bros. All other images from various websites which enjoyed access I don't have to the media log-in pages of Warner Bros. (in spite of multiple requests via their press office pages). 

Jewell Film May Rile

During Christmas of 1996, I could not resist changing the lyrics to the popular holiday tune "Good King Wenceslas" thanks to a Georgia name that grabbed a lot of headlines during the Centennial Olympic Games held in Atlanta.

Good King Wenceslas looked out,

on the Feast of Stephen,

When the snow lay round about, 

deep and crisp and even;

Brightly shone the moon that night, 

tho' the frost was cruel,

When a poor man came in sight ...

is that Richard Jewell?

Nearly 20 years later, Richard Jewell -- the hero security guard of the 1996 Games -- still comes to mind each caroling season. For those in need pf a refresher on his story, the ESPN 30 for 30 short "Judging Jewell" provides a good recap. 

During winter/spring 2015, I got another reminder of Jewell in the form of a dateline Hollywood news article. 

Not quite Christmas in July, but noteworthy for Olympic film fans.

Turns out Jewell, who died at 44 in 2007, will get his own silver screen feature with the working title "The Ballad of Richard Jewell." 

According to published reports, Jonah Hill and Leonardo DiCaprio will play Jewell and his attorney, respectively, in a big budget release set for 2016, possibly in time for the Rio Olympics. 

The title comes from the headline to the famous Vanity Fair article by Marie Brenner, who landed one of the biggest 1x1 interviews of 1996 when Jewell agreed to his first media conversation before his acquittal for the Centennial Olympic Park bombing. Brenner is also known for in-depth writing that inspired the award-winning film "The Insider."

In Brenner's extensive post-Olympic "American Nightmare" article, Jewell unloaded months of pent--up rage and anxiety caused after his "right place at the right time" heroics earned scrutiny of the world's media (and just about everyone else) thanks to some loose-lipped law enforcement officials and an overzealous reporting team. 

Anxious for a global news scoop hours after the bombing, and imbued by "official sources," reporters at the Atlanta Journal-Constitution led with coverage of Jewell that -- like the Bee Gees lyrics to "I Started A Joke" -- started the whole world crying the security guard's name with specious accusations. 

Details for the new Hill/DiCaprio project remain sparse, but according to one report, Clint Eastwood was initially considered to direct the film. This turned out to be wishful thinking during all the attention for "American Sniper," however, as Eastwood put the kibosh on project speculation during a public Q&A. 

Just as well since Eastwood has a record of skewing Olympic facts, as reported here. 

With no Eastwood option, this writer hopes Martin Scorsese might direct Hill/DiCaprio again on the heels of their shared success for "The Wolf of Wall Street." 

Screenwriter Billy Ray -- working with Scorsese on his adaptation of "Devil In The White City" (starring DiCaprio) -- is confirmed to write the screenplay for "The Ballad of Richard Jewell" so maybe a Scorsese-Ray-Hill-DiCaprio combo pack for the Jewell bio may work (though not likely in time for Rio 2016, methinks).

No matter the director, I can hardly wait to see if the screenplay recreates the "Saturday Night Live" 1997 season opener scene during which beleaguered FBI Director Janet Reno -- masterfully portrayed by Will Ferrell -- absorbs a gut-busting punch by the real Richard Jewell, who followed the hit with a great one-liner: "Same time next week?" 

Later in the same SNL episode, Jewell sat in the guest chair for a funny "Weekend Update" interview with Norm MacDonald. 

I am also curious how the Atlanta Journal-Constitution marketing department and editorial staff will report on "The Ballad of Richard Jewell." The newspaper that "Covers Dixie Like the Dew" unfortunately stepped in poo through the whole Jewell episode, and its likely the AJC will gets its due -- in the form of unflattering publicity for a free press outlet gone awry at great expense to a private citizen -- when the film project gains steam. 

This copy of court documents related to Jewell's legal action against the AJC offers a peek at both sides of their cases which became moot upon Jewell's death.

When the film starts shooting, here's hoping Centennial Olympic Park may finally get some screen time as well. 

Photos via Hollywood Reporter, AJC.com, Associated Press, Hulu and Howard Berger blog.

In case Billy Ray is reading, here's my contribution to "The Ballad of Richard Jewell" screenplay drafts: 

INT. JEWELL FAMILY APARTMENT - SUMMER AFTERNOON

RICHARD enters from bedroom as his mother places home-cooked meal on small dining table by window facing suburban apartment complex parking lot. He is wearing an Olympic security uniform and ball cap. She adjusts the volume on small TV screen to soften Tom Brokaw's NBC evening report on monitor. 

RICHARD

(while sitting at table and scooping food onto his plate)

Looks good, momma. 

Glad to eat quick before heading downtown. 

This beats that fast food from last night

that upset my stomach.

MOTHER

You eat your veggies. 

I don't want you getting 

hungry on your late shift.

(BROKAW on monitor talking about the first week of the Atlanta Olympics reaching the weekend, highlights from the day's competition, and live shots of crowds at Centennial Olympic Park -- audible volume but part of background while RICHARD and MOTHER meal conversation continues)

MOTHER (CONT'D)

(looking at screen while talking with cheek full of food)

Looks like it'll be a busy night for you down there.

RICHARD

Should be. 

I'm glad for the peace 

and quiet here at home. 

It gets noisy there. 

(RICHARD and MOTHER continue eating and chatting inaudibly as camera pans back to show relative calm of tree-lined apartment parking lot out the window).

MOTHER

(cheerfully)

I just love Tom Brokaw. 

He is so handsome. 

He's always been one of my favorites.

The film advances through the evening of the bombing, Richard's heroic actions, and initial interviews with investigators. The film later resumes in the same apartment during breakfast a couple of days later. 

INT. JEWELL FAMILY APARTMENT - MORNING LIGHT OBSCURED BY WINDOW BLINDS

RICHARD enters from bedroom in boxer shorts and T-shirt, rubbing eyes after a near-sleepless night as his mother places scrambled eggs and bacon on dining table by window. The TV is off.

(Audible muttering heard from outside window)

MOTHER

Come get something to eat. It's been so noisy outside. 

They must finally be getting around to painting things. 

I keep hearing the painting crew yelling at each other 

but I didn't open the blinds since I'm in my robe. 

I didn't even go out to get the paper yet. 

RICHARD

Oh, I'll get the paper. 

I want to see the latest reports 

from the other night.

RICHARD opens door to reach down for paper on welcome mat. 

(Off-screen REPORTER yelling "There he is!" as flashbulbs pop reflected in apartment entryway)

RICHARD quickly shuts door and steps back slowly, startled and bewildered. Holding newspaper, he turns attention to table as MOTHER reaches for the window blind string to draw up the blinds. Camera across room facing table and window shows RICHARD and MOTHER from behind and their view as the raised blinds reveal a sea of hundreds of television news cameras, reporters, photographers and bystanders -- some in the threes or atop news trucks -- peering at the Jewell breakfast scene. 

MOTHER

(gasps from shock of the scene, quickly lowers blinds for concealment)

Oh, my God! What in the world?!

As if to distract herself, MOTHER quickly turns on the television which is still tuned to NBC. On screen, Tom Brokaw is speaking about the Olympic Park bombing from earlier evening. RICHARD and MOTHER watch intently as camera zooms in on BROKAW on screen.

BROKAW

(with photo of RICHARD on screen)

They probably have enough to arrest him right now, probably enough to prosecute him, but you always want to have enough to convict him as well. There are still holes in this case.

MOTHER

(lips quivering) 

What is he talking about? 

(she starts to cry as RICHARD looks down, somberly shaking his head as he unfolds the newspaper to reveal his photo on the cover and an accusatory headline above the fold)

# # #

Clint Eastwood Crew Films Family Jewell In Atlanta

Olympic park/Eastwood mash up image via JoBlo.com

For film buffs and Atlanta residents, summer headlines about Warner Bros. casting a new feature based on Richard Jewell may be old news.

For those further afield, the following roundup includes updates and photos from the set of the upcoming movie centered on the hero of the July 1996 Olympic Park bombing.

Hopefully a detail or two may also serve as informative updates for local readers.

I enjoy Clint Eastwood, a longtime favorite of this writer, equally for his behind-the-camera work and for original characters he created as an actor.

His film career spanning seven decades seldom includes five-ringed themes, but that's quickly changing with Eastwood directing a new picture based on the 1997 Vanity Fair article by Marie Brenner titled "American Nightmare: The Ballad of Richard Jewell," about which I first posted details in 2015.

At that time, Jonah Hill and Leonardo DiCaprio were set to star as the 1996 Olympic park security guard hero-turned-bombing suspect and one of his attorneys, respectively.

Consider me anxious -- for nearly four years and counting -- to experience this film.

For context: Getty Images photo of bomb investigation site taken July 27, 1996

Thanks to an online post by a fellow writer, earlier this month while my girlfriend visited from Russia, we enjoyed an extended peek at one of the Atlanta sets created for the film. For almost a week, Centennial Olympic Park's north end served as a closed set for Eastwood's team.

We snapped two night photos and several daytime images, sprinkled about this post (though not one is worth a thousand words in this case).

The image at right, for instance, offers a little taste of the set designers' take on Atlanta's "look of the Games" complete with an original Olympic torch logo created for the film.

More on what we learned around the site, where one overnight sequence involved detonating noisy pyrotechnics, follows later in this post, but first a bit more recent background.

During spring 2019, online sources said Eastwood reconfirmed involvement with the project in May, a cast was locked in within weeks, and shooting began in July. As of two weeks ago filming remained underway at multiple locations across Atlanta, with reported sightings of cast and crew both downtown and the city's upscale Buckhead district.

Paul Walter Hauser landed the title role. Some may recall his Olympic-tethered scenes in "I, Tonya" with pivotal action (sans Nancy Kerrigan knee-bashing gear) set inside Decatur's local favorite Asian restaurant, The Golden Buddha.

Paul Walter Hauser in "I, Tonya"

There's definitely a Hauser resemblance to Richard Jewell in other "I, Tonya" scenes as well.

Richard isn't the only Jewell family member who'll appear in Eastwood's project. Misery loves company as Kathy Bates signed on in (what I guess to be) a supporting role as Bobi Jewell, the security guard's mother with whom he resided, and endured throngs of media staked out at their apartment, when their lives were upended.

The film also stars Olivia Wilde as the Atlanta Journal-Constitution reporter whose cover story about the bombing investigation put Jewell in a global spotlight, while Jon Hamm will don, er, drape the shoes and uniform of Tom Shaw, possibly a pseudonym for Georgia Bureau of Investigation officer Tom Davis, who helped Jewell to relocate bystanders before Eric Rudolph's pipe bomb detonated.

Sam Rockwell stars as Richard's criminal attorney Watson Bryant. It remains unclear whether Jewell's libel attorney, who made a name for himself by representing pariah clients, will be portrayed.

Now back to the local sets for the film.

In Centennial Olympic Park, Eastwood's crew built a replica of the AT&T stage, sound/lighting tower and concert area that operated in the summer of 1996. As a one-time Atlanta Committee for the Olympic Games employee who watched the stage's original construction from the lunch room balcony of The INFORUM (ACOG's headquarters), no matter the angle the modern rebuild looked authentic.

From our western-edge vantage to view filming, we noted some of the finer details of the set, such as the mock Atlanta Olympic banners donning many stage elements.

In the rain, when some extras retreated to a staff tent and others stopped along the fence line to visit with non-cast friends, we noted their costumes included Olympic-branded gear with logos that matched the banners (both are of mock logos, not the actual AGOG trademarks and rings).

Nice touches, right down to the security guard pith helmets and baseball caps.

According to the Vanity Fair article, on the evening of July 26, 1996, a band named Jack Mack and the Heart Attack was playing just before the bomb exploded. We neither saw nor heard any music, as the evening of our scouting they were already filming post-explosion emergency response.











We also saw no EMT vehicles in scenes being filmed at night, but the following afternoon we spotted ambulances and police cruisers circa 1996 (or at least dressed to resemble the era) parked on the set as well. The blue pickup truck has a resemblance to Richard Jewell's personal vehicle, and the FBI investigations van (see photo) also looked "real" in broad daylight.

The centerpiece of the set was a recreation of the sound tower including a park bench like the one under which the original Jewell discovered Rudolph's backpack.

The set designers really nailed it (no pun intended) with "the look" of the damaged tower as it appeared during the 1996 investigation and as the park reopened with Ambassador Andrew Young leading the ceremony all those years ago.

A security guard hired for the film set informed us that the mock bombing, which took place in the middle of the night, brought at least one disgruntled hotel guest to the set to express her frustration for getting jarred out of bed without warning.

I am really curious who created the Olympic sport pictograms that decorated the set, and would love to know who was involved with the fictional XXVI Games banners. The color schemes are this close to authentic. Too bad, but the costume designer did not resurrect the brown skorts donned by summer of '96 female volunteers ... well, not "too bad," actually (they were terrible).

Our study of the set gave me hope Eastwood is committed to creating an authentic audience experience.

Reflecting on "The Ballad of Richard Jewell" article and its conversion for the screen, taken on by Billy Ray of "The Hunger Games" and "Flightplan" fame, I admit to biting my nails about the screenwriter taking liberties with Olympic facts as did the scribe for an earlier Eastwood film.

In 2014, Eastwood and Jason Hall -- screenwriter for "American Sniper" -- played fast and loose with five-ringed details, inspiring the most-read post on this blog (and the second-most read) in which the facts about an "Olympic sniper from Syria" are verified by the Arab state's national Olympic committee (there was no such character in real life).

For the Jewell feature, it's been reported the 2019 AT&T stage set included an actor portraying Kenny Rogers, the Georgia-based singer who did perform in the park in 1996 but, according to the Vanity Fair article, appeared in concert earlier in the week (not the bombing eve).

One wonders: when the final cut hits theatres, will Rogers show up in place of Jack Mack and the Heart Attack during the climactic bombing scene Eastwood & Co. recreated?

I am eager to see how and whether other International Olympic Committee, ACOG or USOPC (then USOC) players may show up in Eastwood's picture. For instance, an archived joint press conference hosted by the IOC, ACOG and FBI includes officials who are potentially quotable in Ray's screenplay, but only the FBI official is listed in IMDB.

Olympian Janet Evans appeared in explosion footage during a live interview that took place on the fateful night -- no listing for her portrayal in Eastwood's film, however.

And though the recreated AT&T stage includes several NBC affiliate studio spaces branded on the set, there are no IMDB-listed credits for cast members portraying NBC, CNN nor other national network reporters who covered the bombing and investigation.

As of this post, the only exception found in IMBD is a cast listing for an actor portraying Bryant Gumbel, who interviewed Jewell in the latter months of 1996, according to Vanity Fair.

It's my understanding "The Ballad of Richard Jewell" filming remains underway in Atlanta. I'll be on the lookout for signs with the production code "KIKI" and post updates as additional details emerge (please share via comments if you have them -- would love to hear from the extras selected for the film).

Photos by Nicholas Wolaver and Valentian Kucheriavenko except the movie still of Hauser from "I, Tonya" via Neon; top image of Eastwood via this site; Getty Images photo of bombing investigation at sunrise 7/27/1996 via this CNN archive link. 

Kind Words For 'Race'

Movie buffs and Olympic fans are getting treated to several new five-ringed films this year, and next to hit the big screen is the Jesse Owens biopic "Race."

Focus Features hosted a star-studded Atlanta premiere earlier this month, and there are plenty of good reasons to experience this portrayal of an American and worldwide Olympic hero, and those forming his inner and outer circles of influence, on the road and boat to the Berlin 1936 Olympiad.

Ambassador Andrew Young, Chris Bridges (a.k.a. Ludacris), Regina Belle, Anthony David and Kim Fields were among the honored guests on site.

Rising track star and Rio Olympic hopeful Candace Hill also attended to enjoy what she called her first real red carpet experience. I was hoping to spot other Georgia Olympians, or the team from the upcoming documentary "Olympic Pride, American Prejudice" (a work in progress also featuring Owens) during the festivities.

Addressing the audience before the special screening, the actor in the title role, Stephan James, explained how he drew inspiration from the Olympic champion.

"Jesse Owens was a humanitarian," said James. "Of all things I learned about him, nothing [compared] to that aspect of his life."

James described Owens' courage to travel to Berlin as one of the first black Team USA Olympians also running against strong headwinds of Nazism in Germany and racism at home in the USA.

"I took it as a responsibility to bring a level of humanity to him and bring that to the screen," said James. "I hope [audiences] enjoy the film and they learn something from it, but most importantly I hope [they're] inspired the same way I was."

Through a red carpet interview informed by an Atlanta Journal-Constitution report, I asked James about his training for the film on the tracks at Georgia Tech during his time away from filming "Selma" (in which he portrayed a young Congressman John Lewis).

While responding, James also described how his study of "Olympia" -- the original Olympic film and award winning documentary by Leni Riefenstahl -- factored into his Owens performance. James seemed humbled by the opportunity to portray the gold medalist, and the actor's responses may be viewed here:

I liked "Race" not only for its attention to small Olympic details but also its script directly addressing race relations, leaving no doubt about the title's double entendre while subtly proving the premise of the "Avenue Q" song "Everyone's A Little Bit Racist Sometimes." Just about all of key characters in "Race" had strong though inappropriate words about their fellow man. 

Prepare to wriggle in your seat if you're uncomfortable with epithets like coon, cracker, darkie, eight ball, Kraut, the n-word or peckerwood. They're all in there, though not in succession as in the dugout confrontation of "42."

Some of the most honest conversations in "Race" are between Owens and his coach Larry Snyder (Jason Sudeikis). As the arc of their relationship evolves from coach:athlete to mentor:mentee then close friendship, their "tell it like it is" comfort levels increase, eventually shining as they defend each other to narrow-minded peers. This crescendos with the film's most direct statement on race (for a spoiler, see 1:35 to 1:45 of the trailer).

I think both characters grew from their open and direct conversations, and perhaps moviegoers may also. And, by the way, the second nod to a previous sports film comes through a few Sudeikis coaching scenes akin to Ian Holm in "Chariots of Fire."

If a goal of "Race" is to get audiences talking frankly about the topic race, the filmmakers succeeded -- the diverse premiere audience definitely shared conversations upon exiting the theatre. This writer sort of anticipated mention of Richard Pryor's response to Chevy Chase on "SNL" to creep into the post-screening banter.

I spoke with Ambassador Young, Fields and Belle about their observations.

Young described "Race" as "probably his favorite" Olympic movie because it took him back to his first lessons in race relations at age four. Conversing with me as the credits rolled, Young said his boyhood home street included some pre-WWII German neighbors who publicly saluted Hitler, and early newsreels of Jesse Owens' victory provided fodder for some father-son conversations.

"It taught me 'don't get mad, get smart!" said Young, who added that he never met Owens or his family members, but he did serve in Congress with Owens' teammate/Olympic gold medalist Ralph Metcalfe.

Fields, who was emcee for a brief in-theatre presentation for James, said she enjoyed the film. The "Facts of Life" star who now resides in Atlanta thought it would be an inspiration for many, as did Belle, who answered a few questions on camera, specifically citing one of the film's best lines about freedom and sport relevant to anyone's chosen passion.

Returning to attention to detail in "Race," a few other finer points are notable.

For the second or third time in recent film history (following "Unbroken" and "Berlin 36"), the German Olympiastadion is vividly brought to life through rich, modern animation.

An over-the-shoulder lens follows Owens through the vomitory and onto the field with 100,000 seated fans. This long take seamlessly presents an on-screen Owens transformation from national track star to international icon. This I liked, and many in the audience gasped at the stadium views inclusive of the 1936 Olympic cauldron.

I also enjoyed how everything from Riefenstahl's camera angles and lipstick to the long jump judges' correct Olympic pin and ribbon colors really popped. Earlier, during the opening scenes, there's an homage to "Rocky" with Owens taking a training run through depression era Cleveland. Everyone's got the right pinstripe suit, hat and rumble seat sedan, proving the costume and set decoration teams did their homework.

They even put an Olympic oak seedling in Jesse's hands during his medal ceremony, accurately depicting the special takeaway gift presented to each winner of gold, silver and bronze (the fate of many Olympic oaks was documented by an International Association of Olympic Historians member, with at least one Owens oak still possibly alive at his his high school or college alma mater, Ohio State University).

The hand-held seedlings got a lot of surprised responses from the audience: "A tree?!?" and "What's Jesse going to do with a tree?"

Where I took issue with "Race" is through the broad and purely fictional liberties taken by the writers to showcase the politicking of Team USA and Third Reich. If the filmmakers went out of their way to get the right lapel pins on the actors, why create such preposterous scenes on other Olympic fronts?

The most outlandish set up features multiple conversations during which Riefenstahl, the documentary filmmaker, personally translates conversations between Joseph Goebbels and Avery Brundage, the German propaganda minister and the U.S. Olympic Committee delegate, respectively. Ridiculous!

These scenes seemed false on a level akin to another purely fictional Olympic film character, the so-called "Olympic shooter from Syria" written into "American Sniper" for distracting-to-this-blogger dramatic effect (more on that fiction here). More forgivable but perhaps just as fictional are post-race scenes during which Hitler snubbed Owens (facts still debated my many historians).

Two casting choices -- specifically regarding Jeremy Irons and William Hurt -- struck me funny as well.

While Irons' CV is chock-full of douche bag villain roles (his love to hate them characters in "Lolita," "Reversal of Fortune," "Damage" and "Margin Call" among my favorites), and I get it that Irons as Brundage is a new addition to the list, it seemed to me the balding William Hurt, who also played some jerks (see "Broadcast News," "Mr. Brooks" and "A History of Violence") had a better hair line match to Brundage.

Instead, Irons dons the spectacles and Hurt carries his tail between his legs as Jeremiah Mahoney, the U.S. athletics official who -- at least in the script for "Race" -- failed to sway votes for a 1936 Olympic boycott (more creative writing liberties, I suspect -- though the boycott vote did take place it's doubtful such speeches were uttered by those in attendance).

Two German performers shine as Riefenstahl and Goebbels, who share some verbal fencing just as directy as Owens and Snyder.

Barnaby Metschurat filled his S.S. costume with stern angst, and Carise van Houten dished out some clever schadenfreude for Hitler's closest minion.

"This is my Olympics," said Goebbels, to which Riefenstahl aptly retorted, "This is my film; without it, your Olympics will be forgotten in one year!"

Other brief notes: Though the exact duration of the film is not yet published, audiences may wish to pace themselves for a marathon not a sprint to the finish.

Also, the soundtrack to "Race" leaves a bit to be desired -- seemed like a missed opportunity for the filmmakers to engage Vangelis, John Williams or one of several talented African American composers for a stronger score (the team at Back Lot Music just didn't come through on this one).

I was very impressed by Stefan James filling some big Olympian shoes** in "Race." This was his second five-ringed film (he previously appeared in the made for television movie "The Gabby Douglas Story") and it hopefully will be the first of many major roles for James' career.

One key scene in the rain, during which Owens stares with optimism at the woman he hopes to marry, resembled the Pulitzer Prize winning photo of President Obama gazing into a challenging future, and down the road I think James could fill the shoes of our commander-in-chief on film.

Might also be fun to see James again in the eventual "Carl Lewis Story" or "Bolt -- Usain's Journey" down the road. Until then, my suggestion is to run, don't walk, to see "Race."

Premiere event photos and videos by Nicholas Wolaver. Hurt-Brundage-Irons images via IMDB. Stills and posters from "Race" via Focus Features.

**A pair of Jesse Owens' shoes may be on view in the upcoming High Museum of Art exhibition "Out of the Box: The Rise of Sneaker Culture" opening June 11; the exhibition catalog features images of a pair of Owens' spikes. "Race" includes a curious reference to these shoes via Coach Snyder clumsily trying to locate Adidas founder one night in Berlin -- another fictionalized, albeit interesting, Olympic trivia element in the film.