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In 1995, filmmaker Steve James returns to Pomona, a beautiful rural hamlet in Southern Illinois to reconnect with Stevie Fielding, for whom James once served as an advocate Big Brother. He finds that the once difficult, awkward child has become ten years later an angry and troubled young man. Daughters Of The Moon Series Pdf Converter.

Buckminster Fuller Cosmography Pdf To Excel here. Part way through filming, Stevie is arrested and charged with a serious crime. He confesses to the crime and then later recants. The filmmaker himself is drawn into the film as he tries to sort out his own feelings, past and present, about Stevie and how to deal with him in the wake of his arrest. What was to be a modest profile of Stevie, turns into an intimate four and a half year chronicle of a dysfunctional family's struggle to heal.

'Stevie,' the latest documentary by one of the modern masters of the form, Steve James of Chicago's Kartemquin Films, is a film so troubling and unflinchingly honest, that watching it becomes a test of empathy and compassion. James' 'Hoop Dreams' has a subject easy to get behind--the story of two likable inner-city African-American kids trying to achieve dreams of basketball stardom and, in some ways, getting rooked by the system. But 'Stevie' is harder stuff. It is the disquieting tale of a dysfunctional family in rural Southern Illinois, and the 'monster' they seemingly produce: a gap-toothed, balding, long-haired, tattooed, profane, chronically unemployed troublemaker named Stevie Fielding, who has lived a life of institutionalized rebellion and petty crime. During the course of this film, Stevie was arrested and prosecuted for sexually molesting his own 8-year-old cousin.

Most probably, the film concludes--and so do we--Stevie is guilty of that and much else. For some, Stevie will be the ultimate loser and maybe the ultimate nightmare: poor white trailer trash living in a nondescript rural town (Pomona, Ill.), with a physically challenged girlfriend and a feuding family (a mother who beat him and the elderly step-grandmother who brought him up).

He is an outcast with no special aspirations and few enjoyments beyond booze, sex, drugs, rock 'n' roll--and a little fishing with his buddy. Why is Stevie so interesting to James and why does he consider him a good subject for a probing 2 1/2 hour documentary? Because, we soon learn, James has known him since Stevie was a troubled 11-year-old and James became his Big Brother while attending Southern Illinois University. And because he is torn with guilt at having abandoned Stevie twice: first, by leaving Carbondale when Stevie was in his early teens to emigrate to Chicago and a filmmaking career, and second, by having lost touch with him again after starting this film in 1995--the two year interlude during which James made 'Prefontaine' and Stevie was arrested. It is James' remorse at having been in close contact with a human being whose life is now unraveling but who trusted him--first as a role model and second as a filmmaker--that makes this film so riveting and poignant. The child Stevie, we learn, was constantly beaten by his mother and then raped and beaten during his tours of state orphanages and foster homes.