This is a guest essay from Matt Boedy, a professor of English at the University of North Georgia who teaches in its First Year Composition program, as well as upper-level courses in writing and publication. He is the author of Murder Creek, chronicling the story of the last man to die in Georgia’s electric chair, and Speaking of Evil, an examination of the question of why God would allow for the existence of evil through a rhetorical prism.
The old black and white film, scratchy now with age, begins with a little boy – a Black boy, maybe six or seven – running down a dirt road.
What sounds like a soft flute creates a happy soundtrack as the boy scrambles onto a front porch to meet his mother. Then the camera pans to the porch swing, where his father sits next to another child. Our running boy bounces into his father’s arms.
The voiceover narrates: “Can parents help their children grow up? Let’s see how one couple is trying.”
The viewer is introduced to a family living at 511 Palmour Street in Gainesville, Georgia, circa 1949. The three numbers are posted just above the mail box next to the front screen door as seen in the introduction or “trailer” to the film.
This family – given a fictional surname – are real people acting out a beneficial public mental health message.