A look back on Dee's career and civil rights work.
Actress Ruby Dee, who first came to prominence as the star of n A Raisin in the Sun and Do the Right Thing, has died at the age of 91. Dee’s daughter, Nora Davis Day has confirmed the sad news.
"She died of natural causes," said Arminda Thomas, who works for Dee's family, for Reuters. "She was blessed with old age."
Dee wasn't just known for her considerable acting talent.
Continue reading: Beloved Actress And Civil Rights Activist Ruby Dee Dies At 92
The 'American Gangster' star has passed away.
Ruby Dee, star of stage, screen and written word, died yesterday at her home in New Rochelle, New York. A pioneer at a time when African-American actors were given very little space on stage or screen, Dee was the proud winner of an Emmy, a Grammy, a Screen Actors Guild award, and an Oscar nomination during her long and illustrious career.
A family member confirmed the new today, via NY Daily News, but declined to comment further on any more details, such as the cause of death.
Born Ruby Wallace on the 27th October 1922 in Cleveland, Ohio, Dee was raised in Harlem, New York. She made several appearances on Broadway before her first film role in 1949, in the musical drama That Man of Mine. She then played Rachel Robinson in The Jackie Robinson Story in 1950, and starred alongside Nat King Cole, Eartha Kitt and Cab Calloway in 1958's St. Louis Blues.
Continue reading: Ruby Dee Dies Aged 91: Remembering The Actress, Poet And Activist
Ridley Scott has a good thing going here, tossing these two Hollywood bigshots into the ring and letting them play cops and robbers while he slathers on the period detail with a trowel. There's some serious Superfly outfits (including a godawful $50,000 chinchilla coat that plays a surprisingly key part in a plot twist), a generous helping of soul music, enough fantastic character actors to choke a horse (Idris Elba, Jon Polito, Kevin Corrigan, an incredibly sleazy Josh Brolin, and so on), the specter of Vietnam playing on every television in sight, and the odd enjoyment one gets from watching cops in the pre-militarized, pre-SWAT days take down an apartment with just revolvers, the occasional shotgun, and a sledgehammer to whack down the door. Scott's smart enough to let the story cohere organically and without rush, keeping his main contenders apart for as long as could possibly be borne, making them fully developed characters in their own right and not just developed in opposition to the other. But there's something in this broad and expansive tale that can't quite come together, and it seems to start in Denzel's eyes.
Continue reading: American Gangster Review