Reliably a month behind on the blog, this was the first movie we watched in 2019. I maybe shouldn’t have read a (different) James Baldwin book right before watching this, since his language is never going to come through in a movie, but Jenkins tries hard to replace it with rich visuals. He gave the movie a “happy ending” which is that Fonny sees his family on weekends while doing years in prison on a trumped-up rape charge, so I wonder how he ends up in the book.
Our young couple is KiKi Layne and Stephan James (of the new series Homecoming). Her parents are Regina King (voiced both brothers in the Boondocks cartoon, played wives of Ice Cube, Will Smith and Cuba Gooding in the 90’s) and Colman Domingo (the Bishop’s accuser in Red Hook Summer), with sister Teyonah Parris (star of Chi-Raq, Coco in Dear White People). Fonny’s parents come over for the big announcement and get in a major fight – the movie has some surprisingly badass insult dialogue. Fonny’s restaurant bud is Diego Luna, Dave Franco plays a decent white(ish) landlord, and on the day of the crime they are hanging out with Brian Tyree Henry (Atlanta), who presumably betrays them in exchange for a deal on his own arrest. Cops do not come across well in this movie, nor in most movies. Despite the cops, the prison, the rape, the uncooperative witness, the systemic abuses – the movie is pure loveliness.
I didn’t know who James Baldwin (writer/activist) was, nor one of the friends/subjects of his unfinished manuscript, Medgar Evers (killed for working for the NAACP to integrate schools). So I watched this half as history lesson and half as experience, taking in Baldwin’s great language and experiences, the director’s intercutting of film history (Baldwin commented regularly on the movies), and Sam Jackson’s narration in a low, very un-Sam-Jackson voice.
Baldwin’s prose focuses on his memories and observations of these three pivotal men, but also veers into other related questions: his sense of duty to leave his expat life in Paris behind and return to America at the height of the Civil Rights movement; the historical legacy of slavery and the culture of the South; the psychopathology of the white man; and his becoming reconciled with his position as a “witness,” a man of letters in the midst of a historical epoch too often cemented by bloodshed.
Sicinski comments positively on Peck’s filmmaking – M. D’Angelo counters:
The conceit of structuring this film around Baldwin’s unfinished manuscript requires Peck to find images to accompany the words … and he does a thuddingly literal job … Most of this just isn’t a movie — it’s a visual audiobook.
Second of the oscar-nominated documentaries we’ve seen at the Ross this month. We’re almost through the O.J. doc, about to watch Life Animated, and we’ll see if we can get to 13th before True/False.