"A remarkable testament to the creative process, which, like much of Jones's best work, is centered around themes of history, identity, and love." - Slant Magazine / The House Next Door
“We watch his creation take shape as a kind of autobiography in motion.” - Chicago Sun-Times / Roger Ebert's On Demand Blogs
"Fascinating" - New York Daily News
"Jones is larger than life and then some." - San Francisco Chronicle
"I love this doc for the way it doesn’t sugar coat Jones or Lincoln. As the subject says, he’s no saint. He’s still a good man — actually, he’s a great one." - Documentary Channel
The acclaimed documentary A Good Man is now available on DVD. The film shows choreographer Bill T. Jones (Last Supper at Uncle Tom’s Cabin, Still/Here, FELA!) as he and his company create their most ambitious work, Fervently Do We Hope, Fondly Do We Pray..., an original dance-theater piece in honor of Abraham Lincoln’s Bicentennial. Through two tumultuous years, we witness raw moments of frustration as Jones struggles to communicate his vision to his dancers and collaborators, as well as moments of great exhilaration when movement transcends the limitation of words. Jones and his company come face to face with America’s unresolved contradictions about race, equality and the legacy of our 16th President. Initially an indictment of The Great Emancipator, the work evolves into a triumph of hope for our struggling democracy, with Jones revealing that Lincoln was “the only white man I was allowed to love unconditionally.” Premiering on the heels of Jones’s Tony Award for FELA! and 2010 Kennedy Center Honor, A Good Man is a window into the creative process and, indeed, the creative crisis of one of our nation’s most enduring, provocative artists as he explores what it means to be a good man, to be a free man, to be a citizen.
A Good Man is a co-production of Kartemquin Films, AMERICAN MASTERS, Independent Television Service (ITVS) and Media Process Group, in association with Ravinia Festival.
Please be advised that this film contains explicit language and brief, non-sexual nudity.
Nine Additional Scenes
Behind the scenes of editing "A Good Man"
Bill T. Jones commenting on historical text used in "Fondly Do We Hope... "
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