Review: "For Colored Girls" is Sho Enuf Good

TRASH IN MY EYE No. 15 (of 2011) by Leroy Douresseaux

For Colored Girls (2010)
Running time: 134 minutes (2 hours, 14 minutes)
MPAA – R for some disturbing violence including a rape, sexual content and language
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon the play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf by Ntozake Shange)
PRODUCERS: Roger M. Bobb, Paul Hall, and Tyler Perry
CINEMATOGRAPHER: Alexander Gruszynski
EDITOR: Maysie Hoy

DRAMA

Starring: Kimberly Elise, Janet Jackson, Loretta Devine, Thandie Newton, Anika Noni Rose, Kerry Washington, Tessa Thompson, Phylicia Rashad, Whoopi Goldberg, Macy Gray, Michael Ealy, Omari Hardwick, Richard Lawson, Hill Harper, and Khalil Kain

For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf is a 1975 stage play written by American playwright and poet, Ntozake Shange. It is my understanding that the Obie Award-winning play is a series of 20 poems or poetic monologues that express the struggles and obstacles that African-American women face throughout their lives.

Tyler Perry, the playwright turned prolific film director, adapted Shange’s play into the 2010 film, For Colored Girls. The film explores the lives of nine modern African American women, interconnected by one way or another, and uses poetic vignettes to illuminate their struggles, suffering, and conflicts (abuse, rape, and abortion, among others).

Among the characters is Joanne “Jo” Bradmore (Janet Jackson), a magazine publisher whose husband, Carl Bradmore (Omari Hardwick), is unfaithful. Promiscuous Tangie Adrose (Thandie Newton) and troubled teenager, Nyla (Tessa Thompson), are estranged sisters who find their mother, Alice Adrose (Whoopi Goldberg), to be the thing between them. Crystal Wallace (Kimberly Elise), who works for Jo, fails to see the true danger her abusive boyfriend, war veteran Beau Willie Brown (Michael Ealy), poses to her and her children. Meanwhile, watching everything and hoping to bring everyone together is apartment manager, Gilda (Phylicia Rashad).

I’ve always thought that Tyler Perry is as capable of directing moving film dramas as he is at staging broad comedies, and For Colored Girls affirms that, although 2009’s I Can Do Bad All By Myself already proved Perry could do drama. I’m surprised that this film has gotten such negative reviews, especially because Perry has taken the black social pathologies this story depicts and has transformed them into riveting tales of human pathology with a universal appeal.

Perry’s nuanced staging and graceful directing of the camera transform what could have been downbeat into a mesmerizing panorama of compelling character dramas. Seriously, if For Colored Girls looked exactly the same and a white filmmaker like Stephen Daldry, David Fincher, or Christopher Nolan was credited as the director, film critics would be turning verbal cartwheels to praise this film. Perry’s work here as a director can be described as, at least, occasionally virtuoso, and while his screenwriting here is weaker than his directing, Perry, as both writer and director, has done a superb job turning these poetic vignettes into a powerful film.

Perry gets some fantastic performances from his cast, especially the actresses, who all hit strong emotional notes. I hate to single out any, but if I had to pick favorites, I would go with Kimberly Elise, Thandie Newton, and Phylicia Rashad. Every moment she is onscreen, Elise delivers magic; her every move and glance makes you believe that Crystal Wallace is real. Thandie Newton is effortless in her brilliance (as usual), and Rashad shows colors, shades, and textures in a performance that certainly surprised me. I never knew she was that good.

However, all the women in this film shine, giving stirring performances that help For Colored Girls to ring true. Even if Tyler Perry doesn’t get his due from critics and haters, he has given us our due – a great African-American drama about Black women.

9 of 10
A+

Friday, February 18, 2011

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Review: 2006 Oscar-Winning Best Picture "Crash" Still Powerful

TRASH IN MY EYE No. 2 (of 2006) by Leroy Douresseaux

Crash (2004/2005)
Running time: 122 minutes (2 hours, 2 minutes)
MPAA – R for language, sexual content, and some violence
DIRECTOR: Paul Haggis
WRITERS: Bobby Moresco and Paul Haggis; from a story by Paul Haggis
PRODUCERS: Cathy Schulman, Don Cheadle, Bob Yari, Mark R. Harris, Robert Moresco, and Paul Haggis
CINEMATOGRAPHER: J. Michael Muro
EDITOR: Hughes Winborne
Academy Award winner

DRAMA

Starring: Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Howard, Chris “Ludacris” Bridges, Thandie Newton, Ryan Philippe, Larenz Tate, Michael Peña, Keith David, Loretta Divine, Tony Danza, Nona Gaye, Yomi Perry, Daniel Dae Kim, Bruce Kirby, and Bahar Soomekh

The lives of a diverse cast of characters from various ethnic backgrounds, of different skin colors (also known as “different races”), and including immigrants: a Brentwood housewife (Sandra Bullock) and her District Attorney husband (Brendan Fraser); two police detectives who are also lovers (Don Cheadle and Jennifer Esposito); an African-American television director and his wife (Terrence Howard and Thandie Newton); a Mexican locksmith (Michael Peña); two carjackers (Chris “Ludacris” Bridges and Larenz Tate); a rookie cop and his bigoted partner (Ryan Philippe and Matt Dillon) collide over a period of 36 hours.

Crash is one of the very best films of 2005 and one of the best films about America in ages not just because co-writer/co-producer/director Paul Haggis (he wrote the screenplay for Million Dollar Baby) deftly connects so many Los Angeles-based characters of different “racial” or ethnic backgrounds to a single event with such glowing intensity. It is also great because the film shows the acute problem this country has with such diversity. American’s have created so many stereotypes that they have attached as belonging to particular ethnic, religious, “racial,” and even professional groups. Those stereotypes, in turn, affect how we judge people in those groups, how we interact with others, and what we believe about others. In the end, all that pre-judging and predestination causes us nothing but trouble.

Haggis and his co-writer, Bobby Moresco, give us so many examples of the problems these characters make for themselves because of prejudice and because they make assumptions about people that are often wrong (and sometimes even dangerous), and Haggis and Moresco still manage to make a solid, engaging, and enthralling beginning to end linear (for the most part) narrative. They’ve created so many scenarios, characters, events, actions, and attitudes with which we will personally connect because every American can lay claim to bigotry and prejudice. Crash is as if Haggis and Moresco have turned the American film into a mirror and pointed it at us.

Of the many great scenes, one in particular defines why Crash is such a great American film. A Persian storeowner who is obviously an immigrant goes to a gun store with his daughter to purchase a gun that he really believes he needs to protect himself, his family, and, in particular, his business. The gun storeowner is not patient with a Persian who doesn’t speak English well, and though his daughter tries in vain to mediate the transaction, it goes badly between Persian and the “native” American storeowner – a white guy. The storeowner calls the Persian an Arab (all people from the Middle East are not Arabs), and makes the most ugly, most bigoted remarks about 9/11 connecting all Middle Easterners and/or Arab-types to the terrorist act that I’ve ever heard.

Watch that scene alone, and you’ll understand the power Crash holds in its bosom. If the film has a message, it is that sometimes we should stop and think. Despite differences in what we believe, in skin color, or in customs, we are more alike than we’d like to believe. The static of difference between us can be the thing that stops us from helping or understanding. Allowing the static to remain can lead to tragedy when we crash into each other.

That a message film can come with such powerful ideas and not be preachy, but be such a fine and intensely engaging film is what makes Crash a great one. Add a large cast that gives such potent performances (especially Matt Dillon, who redefines his career with his role as a conflicted, bigoted patrolmen, and Terrence Howard, who adds to his 2005 coming out party with this) and Crash is a must-see movie.

10 of 10

NOTES:
2006 Academy Awards: 3 wins: “Best Motion Picture of the Year” (Paul Haggis and Cathy Schulman), “Best Achievement in Editing” (Hughes Winborne), and “Best Writing, Original Screenplay” (Paul Haggis-screenplay/story and Robert Moresco-screenplay); 3 nominations: “Best Achievement in Directing” (Paul Haggis), and “Best Achievement in Music Written for Motion Pictures, Original Song” (Kathleen York-music/lyrics and Michael Becker-music for the song "In the Deep"), and “Best Performance by an Actor in a Supporting Role” (Matt Dillon)

2006 BAFTA Awards: 2 wins: “Best Performance by an Actress in a Supporting Role” (Thandie Newton) and “Best Screenplay – Original” (Paul Haggis and Robert Moresco); 7 nominations: “Best Cinematography” (J. Michael Muro), “Best Editing” (Hughes Winborne), “Best Film” (Cathy Schulman, Don Cheadle, and Bob Yari), “Best Performance by an Actor in a Supporting Role” (Don Cheadle), “Best Performance by an Actor in a Supporting Role” (Matt Dillon), “Best Sound” (Richard Van Dyke, Sandy Gendler, Adam Jenkins, and Marc Fishman) and “David Lean Award for Direction”( Paul Haggis)

2006 Golden Globes: 2 nominations: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Matt Dillon) and “Best Screenplay - Motion Picture” (Paul Haggis and Robert Moresco)

Wednesday, January 4, 2006

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Review: Thandie Newton Makes Star Turn in "Flirting" (Happy B'day, Thandie Newton)

TRASH IN MY EYE No. 64 (of 2006) by Leroy Douresseaux

Flirting (1991)
COUNTRY OF ORIGIN: Australia
Running time: 99 minutes (1 hour, 33 minutes)
MPAA – R for scenes of teen sexuality
WRITER/DIRECTOR: John Duigan
PRODUCERS: Terry Hayes, George Miller, and Doug Mitchell
CINEMATOGRAPHER: Geoff Burton
EDITOR: Robert Gibson

DRAMA/ROMANCE

Starring: Noah Taylor, Thandie Newton, Nicole Kidman, Bartholomew Rose, Felix Nobis, Josh Picker, Kiri Paramore, Marc Gray, Kiri Paramore, Jeff Truman, Marshall Napier, Kym Wilson, and Naomi Watts

Danny Embling (Noah Taylor) is a free-spirited young man attending St. Alban’s, an all-boys prep school in rural Australia, circa 1965. Called “Bird” by his classmates, Danny is an outcast. He meets Thandiwe Adjewa (Thandie Newton), a sophisticated girl from Uganda, the daughter of Ugandan dissidents living in Australia. Thandiwe is a student at Cirencester Ladies College, an all-girls prep school across the lake from St. Albans. Danny and Thandiwe began an interracial romance that blossoms despite some prejudice they face from fellow students. Nicole Kidman plays Nicola Radcliffe, at first a rival, then eventual confidant of Thandiwe.

Flirting, a follow up (or sequel) to the 1987 John Duigan film, The Year My Voice Broke, is one of the best and least contrived depictions of first love ever put to film. Taylor and Newton bring verisimilitude to this tale of surprising and unexpected love. One can just feel the spark between them and how their love grows, so that as the relationship progresses, their actions seem so natural.

The film also has a numerous supporting performances; many are small, but add just the right touch for the film’s setting and narrative. Bartholomew Rose as Danny’s friend, Gilbert “Gilby” Fryer, is full of advice for Danny and perhaps a little envious of him (or has a “boy crush” on him as boys sometimes do have on particular male friends). Nicole Kidman also adds a nice touch in a small but motherly role as the “it” girl at Cirencester. John Duigan’s gentle film has touches of John Hughes’ teen romances (Pretty in Pink) with the dramatic narrative detail of a John Sayles (Passion Fish, Lone Star) film.

8 of 10
A

Sunday, April 2, 2006

Lionsgate Releases First Image from Tyler Perry's "For Colored Girls"

This is the first image from Tyler Perry's upcoming film, For Colored Girls.

Pictured are from left to right: Anika Noni Rose (as Yasmine), Kerry Washington (as Kelly), Janet Jackson (as Joanna), Kimberly Elise (as Crystal), Phylicia Rashad (as Gilda), Loretta Devine (as Juanita), Tessa Thompson (Nyla) and Thandie Newton (Tangie) in "For Colored Girls." Photo credit: Patrick Harbron

Lionsgate recently announced that the film's release date has been moved up from the Martin Luther King holiday weekend in 2011 to November 5 2010.
 
To see this image at a larger size, go here.

"The Pursuit of Happyness" a Sterling Debut for Jaden Smith

TRASH IN MY EYE No. 252 (of 2006) by Leroy Douresseaux


The Pursuit of Happyness (2006)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – PG-13 for some language
DIRECTOR: Gabriele Muccino
WRITER: Steven Conrad
PRODUCERS: Todd Black, Jason Blumenthal, Steve Tisch, James Lassiter, and Will Smith
CINEMATOGRAPHER: Phedon Papamichael, ASC
EDITOR: Hughes Winborne, A.C.E.
Academy Award nominee

DRAMA

Starring: Will Smith, Jaden Christopher Syre Smith, Thandie Newton, Kurt Fuller, Dan Castellaneta, Brian Howe, James Karen, and Takayo Fischer

If an actor is going to star in an important, inspirational film that is based upon a true story of triumph over adversity, and that film is also bait for an Oscar nomination (or two), then, the least that actor can do is give a knockout performance. Will Smith does just that in his new movie, The Pursuit of Happyness.

In this fictional version of a true story, Chris Gardner (Will Smith) is a family man struggling to make ends meet as a marginally employed salesman. Linda (Thandie Newton), the mother of his five-year old son, Christopher (Jaden Christopher Syre Smith), is struggling to keep the family afloat by earning income in a dry cleaning factory. When Linda finally buckles under the constant financial pressure, she leaves for New York, but Chris won’t let her take their son with her.

Bright, talented, and ambitious, Chris wins a spot as an intern at a prestigious San Francisco stock brokerage firm, but the internship doesn’t come with a salary. However, the internship might land Chris a coveted, high-paying position as a broker at the firm. In the meantime, without a paying job, Chris and Christopher are soon evicted from their apartment and later from a motel. Forced to live and sleep in shelters, bus stations, bathrooms, etc., Chris remains a committed and loving father to his son while working hard to be the one intern out of the six-month program who gets a job.

Will Smith gives a stinging performance in The Pursuit of Happyness (the misspelling of “happiness” is deliberate and relates to a pivotal scene), one that is free of the genial, cocky, smart-mouthed guy that usually shows up in a Smith performance. It’s rare to see a subtle performance that embodies in equal measure hope and despair or confidence and resignation. Smith is clearly as hungry to be taken seriously as an actor as his character Chris is hungry to get a good job, and that’s the obvious hook of the movie.

The Pursuit of Happyness is directed by a foreigner, Gabriele Muccino, an Italian who has received good notices for his recent films. Because Muccino is not an American, he probably understands the spirit of the American dream better than many Americans, but he also understands the universal elements of the tale, which Chris Gardner’s wants and desires and he and his son’s plight – homelessness and financial struggles are. Muccino and writer Steven Conrad quietly but decisively compare the way Chris lives to that of the people with whom he starts to associate once he begins his stockbroker internship. Muccino even gets in a few digs at America for being so wealthy, yet having so many homeless people that there aren’t enough shelters for them.

Still, in the end, any claim to greatness that this film has rest on Will Smith. Yes, his real life son Jaden Christopher Syre Smith is very good as Christopher Gardner. Thandie Newton also takes the small, almost throwaway part of Linda and makes it stick for as long as she and the character are in the story. But this is Smith’s show, and he makes the pain of a man trying to crawl out of the nightmarish cracks that riddle the American dream authentic.

If the audience isn’t paying attention, they’ll miss the best part of Smith’s performance – that even a man with nothing in terms of material wealth can still honor his commitment to his children and just be a great dad. Chris Gardener wants to have a really good job so that he can provide his son with the finer things in life. He doesn’t need to love his son any more than he already does, and his son says quite firmly at one point during their homelessness that Chris is a “good papa.” That makes the triumph of The Pursuit of Happyness even sweeter.

7 of 10
A-

Sunday, December 17, 2006

NOTES:
2007 Academy Awards: 1 nomination: “Best Performance by an Actor in a Leading Role” (Will Smith)

2007 Black Reel Awards: 3 nominations: “Best Actor” (Will Smith), “Best Breakthrough Performance” (Jaden Smith), and “Best Film” (Will Smith, Teddy Zee, Steve Tisch, James Lassiter, Todd Black, and Jason Blumenthal)

2007 Golden Globes: 2 nominations: “Best Original Song - Motion Picture” (Seal-music/lyrics and Christopher Bruce-music for the song "A Father's Way") and “Best Performance by an Actor in a Motion Picture – Drama” (Will Smith)

Review: To Hell with the Razzies, "Norbit" Rocks!

TRASH IN MY EYE No. 32 (of 2007) by Leroy Douresseaux

Norbit (2007)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – PG-13 for crude and sexual humor, some nudity, and language
DIRECTOR: Brian Robbins
WRITERS: Eddie Murphy & Charles Murphy and Jay Scherick & David Ronn; story by Eddie Murphy & Charles Murphy
PRODUCERS: John Davis and Eddie Murphy
CINEMATOGRAPHER: Clark Mathis
EDITOR: Ned Bastille, A.C.E.
Academy Award nominee

COMEDY/ROMANCE

Starring: Eddie Murphy, Thandie Newton, Eddie Griffin, Terry Crews, and Cuba Gooding, Jr., Clifton Powell, Katt Williams, Lester “Rasta” Speight, and Marlon Wayans

If you were offended by the riotous 2003 Steve Martin/Queen Latifah comedy, Bringing Down the House, and considered it racially insensitive and filled with racial stereotypes, then the new Eddie Murphy comedy, Norbit, is not for you. Now, onto my glowing review:

Abandoned as a baby, Norbit Albert Rice (Eddie Murphy) was an orphan brought up by Mr. Wong (Murphy, again) at the Golden Wonton Restaurant and Orphanage. Lonely and feeling the need for a family, Norbit marries the hefty Rasputia Latimore (Murphy, yet again). A truly dysfunctional family, the monstrous Latimore and her three brothers – Big Jack (Terry Crews), Earl (Clifton Powell), and Blue (Lester “Rasta” Speight) – run Latimore Construction Company, and the Latimore boys use the company as an outpost to run the town of Boiling Springs, Tennessee, as they extort money from the town’s hard-working businesspeople.

Norbit is meek and held in contempt by the enormous Rasputia, and his only friends are two gregarious former pimps, Pope Sweet Jesus (Eddie Griffin) and Lord Have Mercy (Katt Williams). Norbit’s world takes a turn for the better when his childhood betrothed, the lovely Kate (Thandie Newton), returns to Boiling Springs to buy the orphanage from Mr. Wong. Norbit feels love swelling in his heart again, but Kate is engaged to her seemingly adoring fiancé, Deion (Cuba Gooding, Jr.). Deion, however, is a phony, and he’s conspiring with the Latimores to steal the Golden Wonton and turn the orphanage into a revolting strip club.

Meanwhile, Rasputia doesn’t like how chummy Norbit and the Kate have become, nor does she like Norbit’s new found assertiveness. She brings the pain, and now, Norbit must find a way to get through her, her brothers, and anyone else that stands in the way of him getting to his true love, Kate.

Norbit is Eddie Murphy’s return to the boisterous, ribald comedy that shot him to fame in the 1980’s. When he was a youngster (“The Kid”), he displayed this unruly comedy on “Saturday Night Live,” in his HBO comedy special Eddie Murphy: Delirious, and in the film, 48 Hrs. Rude, crude, and able to do impersonations by putting an uncanny spin on famous figures in American popular culture, Murphy made people laugh. His 1988 film, Coming to America, revealed his ability to play multiple characters while performing under the work of special effect make-up god emperor, Rick Baker. In the 1996 film, The Nutty Professor, Murphy took Baker’s make-up and his own ability to create multiple characters to play several characters with surprising grace and felicity. In Norbit, Rick Baker, the winner of six Academy Awards, again does amazing work creating two visually astonishing characters (Rasputia and Mr. Wong) for Murphy to play.

As Norbit, Rasputia, and Mr. Wong, Murphy takes everything he’s learned and all the skills he’s sharpened to turn in a bravura performance. This is not to say that the rest of Norbit’s cast doesn’t do great work. They’re funny, but they have very few moments in which they aren’t shining because they’re playing off Murphy. Even Thandie Newton is pitch perfect as the gentle sweetheart, Kate. Still, this is Murphy’s show, and he blazes.

I laughed myself to exhaustion, and cried with laughter the way many people cry with grief. Murphy plays Norbit with such subtlety. Norbit isn’t some nerd stereotype. Murphy has fully realized this character giving him physical habits and ticks (such his penchant for mumbling his frustration and rage). Through the make-up, Murphy humanizes Norbit; in fact, Murphy plays him so well that Norbit comes across as a put-upon man struggling to stand up for himself, rather than as just another movie nerd. This is a performance similar to the one Murphy gave as Professor Sherman Klump in The Nutty Professor.

Murphy’s performance as Rasputia is pure, screen brilliance. She’s over the top, but she is also multi-layered. Murphy plays Rasputia for full comic effect that is to comedy what a slew of Oscar-nominated performances are to drama. Some people wondered why Murphy just didn’t let Mo’Nique play Rasputia, but as funny as she is, Mo’Nique could never do what Murphy does with the character.

Norbit is rude and filled with crude, sexual humor, and despite its rating, the film is way too vulgar for a broad family audience. Still, I should not discourage anyone from having a chance to see Murphy. He is a great actor too often thought of as just a great comedian who acts. Basically, Norbit is a laugh-out-loud comedy and there are some talented comics and actors featured in this film. But Murphy’s trio of performances makes Norbit something really special.

8 of 10
A

Sunday, February 11, 2007

NOTES:
2008 Academy Awards: 1 nomination for “Best Achievement in Makeup” (Rick Baker and Kazuhiro Tsuji)

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