The Ending Scene From Reds

from youtube description:

Heartbreaking final scene from Warren Beatty's 1981 tour de force as (co-)writer, director, actor and producer, the Academy Award winning "Reds". Even for those not interested in (socialist) politics, this movie is a lesson in great film making. Innovative, as Beatty was the first to use the "talking heads" of the so called witnesses to tie the scenes together. Engaging, for by weaving the romance between John Reed (Beatty) and Louise Bryant (Diane Keaton) through the political and analytical scenes, Beatty manages to never let the movie become dull or too serious, despite the subject matter. Some of the impressive cast play the roles of their lifetime. Keaton has never been better, Nicholson is brooding, Stapleton deservedly won an Oscar for her role as Emma Goldman. A must see, if only for the beautiful cinematography by Vittorio Storaro and the best acting many of the actors involved.

Emma Goldman Newsreel, 1934

Maureen Stapleton As Emma Goldman In Reds

One of the greatest films of all time

Dangerous Woman: Emma Goldman

There's a great new graphic novel about Emma Goldman. It's called Dangerous Woman and it's by Sharon Rudahl I scanned a few of the pages and added a Howard Zinn talk about Emma and "The Night That Goldman Spoke At Union Square" from Ragtime as accompaniments
from the review:

Deploying the smack-'em-in-the-face descriptive style of Will Eisner for a graphic biography may not seem like the best idea. But when it comes to the life of famed anarchist Emma Goldman, Rudahl's punchy, exclamation point-heavy method feels just right to cover the crusader's life. Born in Russia in 1869 at a time when women, particularly Jewish women, were to be downtrodden and not heard, Goldman lost no time upsetting the status quo with her big mouth and restless curiosity. After following her sisters to America, the newly married Goldman was just starting to learn about leftist politics when she became radicalized by the 1886 Haymarket bombing in Chicago, leading to more than a half-century's worth of nearly nonstop protesting, fiery speechmaking and organizing across North America and Europe, and even a few passionate affairs. Rudahl's earnest admiration for Goldman and her refreshingly smart approach to the cause is clear in her excited artwork, all cramped frames and twirly action. The volume is well-suited for libraries because of its knowledgeable but shorthand approach to history, exemplified in a scene where Teddy Roosevelt holds a copy of Upton Sinclair's The Jungle and declares, I don't want fingers in my sausage!!! Hurry up and pass some food and drug laws!