If Beale Street Could Talk

Based on the novel by James Baldwin, If Beale Street Could Talk is the story of a young woman who turns to her family for help in trying to free her lover who is wrongly charged with a crime as she hopes to free him before the birth of their first child. Written for the screen and directed by Barry Jenkins, the film is a period drama set in early 1970s Harlem as it play into a couple who meet and fall in love only for things to go wrong due to a false accusation. Starring KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry, and Regina King. If Beale Street Could Talk is an evocative and touching film from Barry Jenkins.

Set in early 1970s Harlem, the film revolves around a young couple whose life is in disarray when the man is accused of raping a young woman as those who know him are aware he’s innocent. Adding to the plight for this young man is that his girlfriend is pregnant as her family is trying to get him out of prison and prove he’s innocent in a world that is getting more complicated. It’s a film that play into the plight of two young lovers as they deal with the arrival of a baby as one family is willing to help yet the other, with the exception of the man’s father, chooses not to help. Barry Jenkins’ screenplay aims for a reflective narrative of sorts as it relates to the character of Clementine “Tish” Rivers (KiKi Layne) who looks back on her life with Alonzo “Fonny” Hunt (Stephan James) as well as the moment they conceived their child while cutting back to the present where Fonny is in jail as he just learned Tish is a few months pregnant.

The film moves back and forth to the times when Tish and Fonny were a couple as they knew each other since they were kids although Tish is a few years younger than Fonny. Their relationship is one filled with innocence and dreams as Fonny does whatever he can to learn a trade while also discovering his passion for being a sculptor. The flashback scenes also showcase moments of darkness such as a visit from Fonny’s friend Daniel Cartee (Brian Tyree Henry) who had just been released in prison as he reveals what he had seen as it would play into Fonny’s worries for the future following a terrible encounter with a racist police officer named Bell (Ed Skrein). The present narrative that play into Fonny’s time in prison as well as the impossibility of what had happened to this young woman in Victoria Rogers (Emily Rios) who suddenly returned to her home in Puerto Rico. While the Rivers’ attorney in Hayward (Finn Wittrock) is trying to help the family, there are complications prompting Tish’s mother Sharon (Regina King) to find Rogers herself as it present revelations about the severity of what happened to Rogers.

Jenkins’ direction definitely has this poetic tone to the film as it play into Tish’s recollections of her life with Fonny through voice over narration as well as playing into the ideas of the life she and Fonny could have but also be aware of the dark realities around them. Shot on location in New York City with Harlem being the predominant location as well as additional locations in the Dominican Republic as Puerto Rico. Jenkins does use wide shots to establish the locations but emphasizes more on close-ups and medium shots in carefully crafted compositions to maintain an intimacy between the characters. Most notably the scene where Tish and her family ask Fonny’s family for a drink where Tish’s father Joseph Rivers (Colman Domingo) and her older sister Ernestine (Teyonah Parris) are excited about the news of Tish and Fonny’s baby as is Fonny's father Frank Hunt (Michael Beach). Yet, Fonny’s mother (Aunjanue Ellis) and his sisters Adrienne (Ebony Obsidian) and Sheila (Dominique Thorne) aren’t happy with the news.

It’s among these simple yet tense scenes where Jenkins play into this tension as well as the severity of what Fonny is enduring as well as some of the fallacies into what he’s charged with as it relates to the different parts of New York City. The scenes at the prison where Fonny and Tish meet have Jenkins use some extreme close-ups but also medium shots for the setting as the latter is dealing with her pregnancy while there’s repetitious images of her at the subway. The film’s third act that play into Sharon going to Puerto Rico to find Rogers as it is this poignant sequence that play into Sharon’s desperation to get Rogers to tell the truth about Fonny and prove his innocence but it ends up being an uneasy task with lots of emotional repercussions.

Even as Jenkins reveals that what Fonny and Tish would deal with play into the fates of many others through pictures of African-Americans living in the ghettos during the 1970s and beyond but also show that they would find a way to maintain a sense of hope for their child. No matter how bad the circumstances can be and the injustice that many African-Americans have to suffer in the past and in the present as Jenkins reveals that despite all of these troubles. There is always hope through love. Overall, Jenkins crafts a rapturous and intoxicating film about a young woman hoping to free her lover from prison so he can be proved innocent and be with his family.

Cinematographer James Laxton does incredible work with the film’s cinematography as its usage of lights for some of the daytime/nighttime interiors and nighttime exteriors as well as the usage of natural lighting play into the beauty of the times despite some of its ugliness. Editors Joi McMillon and Nat Sanders do amazing work with the editing with its usage of jump-cuts as well a montage involving Tish dealing with her pregnancy and other stylish cuts that play into the drama. Production designer Mark Friedberg, with set decorators Devynne Lauchner and Kris Moran plus art directors Robert Pyzocha, Oliver Rivas Madera, and Jessica Shorten, does excellent work with the look of the family home of Tish’s parents as well as the home she and Fonny were eager to live as it would be something really special plus the Puerto Rican restaurant they like to go to. Costume designer Caroline Eselin does brilliant work with the costumes in terms of the stylish clothing the characters would wear to play into the times while Fonny’s mother is presented in this very uptight demeanor in her clothing as if she represents this false idea of purity.

Visual effects supervisors John Bair and John Mangia do nice work with the visual effects where it is largely set-dressing for some of the exteriors to help play into the period of the times. Sound designers Odin Benitez and Bryan Parker, along with sound editor/mixer Onnalee Blank, do fantastic work with the sound in capturing the atmosphere of the locations as well as the sound of records being played from a record player and other sparse elements that is key to the film’s sound work. The film’s music by Nicholas Brittell is phenomenal for its rich and intoxicating orchestral score that has elements of lush string arrangements as well as operatic tones and other subtle themes as it is a major highlight of the film while music supervisor Gabe Hilfer creates a soundtrack that is filled with a mixture of blues, jazz, soul, Latin music, and other contemporary pieces of the time.

The casting by Cindy Tolan is wonderful as it feature some notable small roles and appearances from Dave Franco as a landlord who shows Tish and Fonny this big loft home, Diego Luna as a Puerto Rican restauranteur who is a friend of Fonny, Finn Wittrock as the Rivers’ attorney Hayward who does what he can to help them knowing that he’s up for a big legal battle, Pedro Pascal as a local Puerto Rican hood in Pierto Alvarez who meets with Sharon about Rogers, Milanni Mines and Ethan Barrett in their respective roles as the adolescent versions of Tish and Fonny, Ebony Obsidian and Dominique Thorne in their respective roles as Fonny’s sisters Adrienne and Sheila who aren’t excited about the news of Fonny’s new baby, and Emily Rios in a terrific performance as Victoria Rogers as a woman who had been raped and believes that Fonny is the one who raped her.

Michael Beach and Aunjanue Ellis are superb in their respective roles as Fonny’s parents in Frank and Mrs. Hunt with Beach as this man that is ecstatic about the arrival of a grandchild as he is eager to help his son get out of jail while Ellis has this chilling presence as a woman who is convinced her son is in jail because he sinned greatly against God. Ed Skrein is fantastic in his small role as the racist police officer Bell as a man that confronts Fonny one night and tries to get him arrested as he would later play a part in Fonny’s incarceration. Brian Tyree Henry is excellent as Daniel Carty as a friend of Fonny who had been paroled as he talks about his experience in prison as well as what he saw during his time. Colman Domingo and Teyonah Parris are brilliant in their respective roles as Tish’s father Joseph and older sister Ernestine as two people being supportive of Tish as well as do what they can to get Fonny out of jail and prove his innocence. Regina King is incredible as Tish’s mother Sharon as a woman that is supportive of her daughter as well as wanting to prove that Fonny is innocent as it’s an understated yet riveting performance from King who really is a major highlight of the film.

The performances of KiKi Layne and Stephan James are phenomenal in their respective roles as Tish and Fonny. Layne’s performance is one filled with innocence as a 19-year old woman trying to understand what Fonny is going through as well as deal with her pregnancy as it’s a calm yet radiant performance from Layne. James’ performance is one that is full of sensitivity and care but also someone who is aware of the dark aspects of the real world as he does show some anger during a confrontation with a man trying to harass Tish as well as the struggle he is having in prison. Layne and James together just have this natural chemistry in the way they spend time with one another as well as deal with the pain of being apart as they talk together in prison.

If Beale Street Could Talk is a tremendous film from Barry Jenkins. Featuring a great ensemble cast, gorgeous visuals, Nicholas Brittell’s gorgeous score, and themes of love and family trying to help one another. It’s a touching drama that play into the period of racial injustice and unfairness during 1970s Harlem as well as show what some people will do to provide some hope and love in these troubled times. In the end, If Beale Street Could Talk is a spectacular film from Barry Jenkins.

Barry Jenkins Films: Medicine for Melancholy – Moonlight - (The Underground Railroad (2021 Limited TV Series) - (Mufasa: The Lion King)

© thevoid99 2019

Undercover Brother

Directed by Malcolm D. Lee and written by John Ridley and Michael McCullers, Undercover Brother is the story of a freelance agent who joins a secret African-American organization in a battle against a mysterious villain known as the Man who wants to spread white culture into African-Americans. The film is a spoof of sorts on spy films as well as the world of 70s blaxploitation films as the titular character is played by Eddie Griffin. Also starring Chris Kattan, Dave Chappelle, Denise Richards, Aunjanue Ellis, Neil Patrick Harris, Gary Anthony Williams, Chi McBride, and Billy Dee Williams. Undercover Brother is a hilarious and engaging comedy from Malcolm D. Lee.

Set in a world where African-American pop culture is in a state of decline since the 1980s due to the efforts of a mysterious figure known as the Man, the film is a 70s blaxploitation-inspired spoof on the spy movies where an agent named Undercover Brother fights against the Man and his evil forces as he becomes a member of a secret organization known as the B.R.O.T.H.E.R.H.O.O.D. to fight against the Man. When a revered general named Boutwell (Billy Dee Williams) becomes a victim of the Man’s plot against Black America by announcing his own fried chicken franchise. Undercover Brother and the rest of the B.R.O.T.H.E.R.H.O.O.D. organization do whatever they can to stop the Man and his lackey Mr. Feather (Chris Kattan) who would go to great lengths to stop Undercover Brother and his team. All of which is told in a very lively fashion as it plays into a lot of things about African-American culture as well as certain prejudices between White America and Black America.

The film’s screenplay definitely plays into the world of black and white culture as it features some narration by J.D. Hall about this war between the B.R.O.T.H.E.R.H.O.O.D. and the Man. With Undercover Brother leading the way, the team would include the very angry Chief (Chi McBride) who is a variation of every angry African-American boss. There’s also the brash Sistah Girl (Aunjanue Ellis) who is the film’s conscience of sorts, the nerdy Smart Brother (Gary Anthony Williams), the always angry and paranoid Conspiracy Brother (Dave Chappelle), and a white intern named Lance (Neil Patrick Harris) who is part of the organization due to affirmative action. While they all try to fight the Man and Mr. Feather, Undercover Brother goes through challenges in his line of work as he would endure the world of white culture and the Man’s secret weapon in a white woman known as White She-Devil (Denise Richards).

Part of the script’s genius isn’t just about its riff on popular culture and the idea of black people acting white but also some of its prejudices. There’s one notable scene where Undercover Brother arrives to give his report as he is suddenly dressed up in corduroys and drinking a guava-mango smoothie while talking in a white language. What makes the moment so funny is how his fellow employees react to the news that he slept with a white girl yet Sistah Girl isn’t happy about it. There’s also some prejudices as it relates to white people as Lance is often bullied by Conspiracy Brother where Lance believes that just because a black man does certain things and he’s called a sell-out which shows a lot of contradictions. While it’s a script that showcases a lot of things about certain prejudices in all forms of races plus the way blacks and white often deviate into their own forms of stereotypes. A lot of is presented in a very humorous fashion as the screenplay is often consistently funny.

Malcolm D. Lee’s direction is pretty straightforward in terms of compositions and such while he does infuse a lot of style that pays true to 1970s blaxploitation cinema. A lot of it is played for laughs in some of the fight scenes involving Undercover Brother as well as one between Sistah Girl and White She-Devil. There’s an intimacy that occurs in many of the scenes at the B.R.O.T.H.E.R.H.O.O.D. secret headquarters while there’s also some scenes where Lee uses some wide shots in some of the film’s locations. There’s also a lot of recurring jokes that Lee puts in such as General Boutwell’s fried chicken commercial, Mr. Feather’s struggle to maintain his whiteness against Undercover Brother, and all sorts of things. Overall, Lee crafts a very witty and thoroughly entertaining comedy about an African-American agent fighting the Man.

Cinematographer Tom Priestley Jr. does excellent work with the film’s cinematography with its emphasis on bright colors as well as some of the lighting in some of the film’s nighttime scenes. Editor William Kerr does amazing work in the editing with its stylish approach to montages plus some of the rhythmic cuts for its action and humorous moments. Production designer William A. Elliott, with art director Elis Lam and set decorators Ide Foyle and Clive Thomasson, does fantastic work with the set pieces from the secret headquarters of the B.R.O.T.H.E.R.H.O.O.D. to the look of the home base of Mr. Feather. Costume designer Danielle Hollowell does brilliant work with the costumes from the 70s clothing of Undercover Brother as well as the disguises he wears including the khaki/corduroy clothes he wears under the spell of White She-Devil.

Visual effects supervisor Gudrun Heinze does nice work in some of visual effects that is mostly low-key and minimal for some of the gadgets that Undercover Brother uses. Sound designer Benjamin Cheah and sound editor Paul Urmson do terrific work in the sound from some of the sound effects as well as some of the moments that occur in Mr. Feather‘s secret base. The film’s music by Stanley Clarke is wonderful for its mixture of funk and horn-based music to play into its action and humor while music supervisor Bonnie Greenberg creates a fun soundtrack filled with hip-hop and soul music from James Brown, Parliament-Funkadelic, Mary J. Blige, Earth, Wind, & Fire, Mary Jane Girls, Average White Band, Snoop Dogg, Rose Royce, Michael Jackson, Kool & the Gang, the O’Jays, and Wild Cherry plus some white-based pop from ‘Nsync, Willa Ford, and a hilarious karaoke cover of Ebony & Ivory.

The casting by Robi Reed is incredible as it features some notable small appearances from James Brown as himself, Jack Noseworthy as Mr. Feather’s assistant, and Robert Trumbull as the mysterious figure known as the Man. Billy Dee Williams is pretty good as General Boutwell who becomes a victim of the Man when he decides to open his own fried chicken franchise instead of running for president while Gary Anthony Williams is terrific as the nerdy scientist Smart Brother. Chi McBride is excellent as often angry Chief who is a version of every angry African-American leader as he carries a picture of Danny Glover. Denise Richards is pretty good as White She-Devil as this very seductive figure who would try to woo Undercover Brother into turning white. Aunjanue Ellis is superb as Sistah Girl as the film’s conscience of sorts as she tries to deal with her feelings for Undercover Brother while doing her job.

Dave Chappelle is hilarious as the very paranoid Conspiracy Brother who always spout some crazy things along with insane theories as he also talks down about the degradation of African-Americans and their stereotypes. The film’s big scene-stealer is Neil Patrick Harris as the white intern Lance where Harris is just awesome as a white guy who does white things while proving to be good at his job just as long as people don’t call him a sissy. Chris Kattan is wonderful as Mr. Feather as this devious henchman of the man who battles Undercover Brother while struggling to maintain his whiteness as it’s Kattan in one of his funniest roles. Finally, there’s Eddie Griffin in a marvelous performance as the titular character as this very lively and resourceful agent who can kick ass and do all sorts of things while Griffin is at his most funniest when he tries to act white as it is one of his best performances ever.

Undercover Brother is a fantastic film from Malcolm D. Lee. Armed with a great cast as well as a smart spoof on the spy films as well as a homage to 70s blaxploitation films. It’s a comedy that is entertaining while having something to say about racial prejudices and such. In the end, Undercover Brother is a solid yet funny film from Malcolm D. Lee.

© thevoid99 2014

Lovely & Amazing

Written and directed by Nicole Holofcener, Lovely & Amazing is the story of a family of women and a child as they each deal with all sorts of insecurities as they deal age, body image, and other issues. The film is an exploration of the lives of three different women and a pre-teen African-American child as they all try to figure out their place in the world. Starring Brenda Blethyn, Catherine Keener, Emily Mortimer, Raven Goodwin, James LeGros, Clark Gregg, Jake Gyllenhaal, Dermont Mulroney, Aunjanue Ellis, and Michael Nouri. Lovely & Amazing is a poignant yet heartbreaking comedy-drama from Nicole Holofcener.

Jane Marks (Brenda Blethyn) is a middle-aged woman is set to have plastic surgery in hopes to look younger. While her adult daughters Michelle (Catherine Keener) and Elizabeth (Emily Mortimer) aren’t fond of the idea as is their adopted pre-teen African-American sister Annie (Raven Goodwin). They all are hoping for the best as Jane falls for her surgeon Dr. Crane (Michael Nouri) during the procedure. Michelle meanwhile, is dealing with issues with her artistic pursuits as it’s not bringing income to her family as she is at odds with her husband Bill (Clark Gregg). For the aspiring actress Elizabeth, she is still dealing with her physical insecurities as a photo shoot for her was a disaster for her while her relationship with boyfriend Paul (James LeGros).

With Jane wants the overweight and troublesome Annie to find a positive African-American role model in a swimming coach in Lorraine (Aunjanue Ellis). Annie has a hard time dealing with the fact that she’s an African-American while her older sisters try to help her out as she would often play with Michelle’s daughter Maddy (Ashlyn Rose). Unable to get money for her art, Michelle takes a job working at a one-hour photo shop as she befriends its 17-year old manager Jordan (Jake Gyllenhaal). Elizabeth’s acting career is starting to take off as she gains an audition with film star Kevin McCabe (Dermont Mulroney) which didn’t go well though McCabe thought she was good as they later went out for dinner.

When Jane’s surgery leaves her in a coma, the sisters all try to deal with what’s happening as Michelle embarks on a fling with Jordan while Annie starts to act out. With the premiere of Elizabeth’s new movie is happening, the sisters attend as they would all face their own problems about themselves and their mother.

The film is about four different women in different age groups and situations as they all try to come to terms with who they all are. With each hoping to make something of themselves, they would also face the certain realities of their own situations as it becomes harder for them to deal with. In reality, the film is a character study of sorts as well as displaying the kind of insecurities that women go through. For some, it’s a physical insecurity. For others, it something much more as Nicole Holofcener delve into these issues without going into a heavy-handed route by letting the audience figure out these characters.

For Jane, she’s a woman who is already a mother to two adult women as she is hoping to look and feel young in the surgery. What happens would force her to endure something unexpected as she also tries to flirt with her surgeon. For the eldest daughter Michelle, she is a woman who feels like her marriage is on the outs due to her unkind husband as she is also a kid of sorts who likes to watch cartoons and eat cereals with her daughter. Elizabeth is a woman with a nice figure but feels very insecure about herself as she would often take in stray dogs while her boyfriend becomes very uninterested. In the young Annie, she is a young African-American child living with a White family as she has a hard time dealing with her own racial identity while she just acts out and is becoming overweight.

The script allows Holofcener to figure these people out as they all want something to identify with while Michelle and Elizabeth each engage into different affairs due to their unhappy love life. Yet, the men they would be with for these affairs are very different individuals who appreciate who they are although they’re clearly not the right kind of guys to be with. Still, Holofcener does make them complex enough to be interesting men while maintaining her focus on the women as they try to figure themselves out.

Holofcener’s direction is truly engaging in the way she presents the film although many of the shots and compositions are pretty straightforward. Despite that lack of style, Holofcener does make up for it by being very up-front on the film’s dramatic moments while knowing when to put humor in a few scenes. One notable scene that is very confrontational involves a fully-nude Elizabeth asking Kevin McCabe what is wrong with her body. McCabe would be reluctantly honest as it is one of the most uncomfortable moments ever presented on film. It’s a moment in the film where nudity is allowed to help tell a story rather than just be a sex scene or an excuse just to have nudity.

Other moments of Holofcener’s direction involves the Annie character as this young girl is definitely lost in her identity as Holofcener presents these subtle moments where she pretends to play dead while swimming in a pool. Holofcener presents Annie as a lost child who is unsure about who she is as she would be quite up-front about everything as she curses and likes to eat a lot of food. There’s a scene where she and Michelle have a moment as Annie asks if she likes her straightened hair. Michelle reveals her answer in a direct yet calm manner as she understands what Annie is going through without really saying more. It’s these little moments of drama and humor that makes the film so much more than just a typical comedy-drama as Holofcener creates a very broad yet heartwarming film.

Cinematographer Harold Bosmajian does an excellent job with the film’s low-key digital photography that is a bit grainy but very entrancing for its simple look. Notably in the nighttime interiors where it doesn’t need lots of light while maintaining a sense of mood for the dramatic moments of the film. Editor Robert Frazer does a nice job with the editing by playing it a bit straight while utilizing a few jump-cuts and rhythmic cuts for some of the intensity of the film’s dramatic moments. Production designer Devorah Herbert and art director Missy Parker do some terrific work in creating the set piece such as the homemade artwork that Michelle makes as well as the look of Jane’s clean, spacious home.

Costume designer Vanessa Vogel does a very good job with the costumes as a lot of it is quite casual for the men and women while it also includes some designer stuff that Elizabeth wears including the sheer dress she wears in the opening scene. Sound editor Kelly Oxford does some fine work in the sound editing from the intimacy of some of the locations that occur to the raucous atmosphere of the pool hall where Lorraine runs the swimming school. The music by Craig Richey is quite remarkable for its keyboard-driven score with folk-driven pieces to play up the drama that occurs in the film. Music supervisor Amy Rosen creates a soundtrack that is very low-key as it includes a lot of indie acts like Pillbox, Josh Rouse, Elwood, and Bleu.

The casting by Jeanne McCarthy is remarkable for the ensemble that is created as it includes small but notable performances from Christine Mourad as Elizabeth’s agent Cindy, Ashlynn Rose as Bill and Michelle’s daughter Maddy, Dreya Webber as Michelle’s friend Donna, James LeGros as Elizabeth’s cynical and disinterested boyfriend Paul, and Clark Gregg as Michelle’s smarmy and unsupportive husband Bill. Other noteworthy supporting roles include Michael Nouri as Jane’s attractive surgeon Dr. Crane, Dermont Mulroney as big-time film star Kevin McCabe, Aunjunae Ellis as Annie’s kind but concerned swimming coach Lorraine, and Jake Gyllenhaal as Michelle’s teenage photo-shop manager Jordan whom she would have a brief affair with.

Raven Goodwin is superb as the young African-American child Annie who is confused by her identity while acting out as she deals with her mother’s surgery as it’s a very raw yet charming performance for the young actress. Brenda Blethyn is excellent as the humorous and excited Jane who is hoping to look and feel young while trying to help her daughters with their own situations. Emily Mortimer is great as the insecure Elizabeth who is trying to get an acting career going while dealing with her own physical flaws as Mortimer delivers one of her most vulnerable moments by going full-on nude in front of a guy as it’s a truly confrontational yet unsettling performance from the British actress. Finally, there’s Catherine Keener in a brilliant performance as Michelle who tries to find success as an artist while dealing with a failing marriage as she also has to help out her other sisters as it’s a witty yet touching performance from Keener.

Lovely & Amazing is a spectacular yet smart film from Nicole Holofcener. Featuring an amazing ensemble cast led by Catherine Keener, Emily Mortimer, Brenda Blethyn, and Raven Goodwin. It’s a film that doesn’t stray into conventions about women and their own issues about their physicality, age, and identity while it’s also one that is quite strong. Even if the characters are flawed but real enough for people to be engaged by. Lovely & Amazing is a rich and poignant drama that is told with a sense of wit and realism better than its creator Nicole Holofcener.

Nicole Holofcener Films: Walking & Talking - Friends with Money - Please Give - Enough Said - The Auteurs #22: Nicole Holofcener

© thevoid99 2012