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Five Cent Cine At Home: If Beale Street Could Talk

Doomed lovers in 1970s racist America

“If Beale Street Could Talk,” the James Baldwin tale of young lovers doomed by an unfair imprisonment of the young man, is the latest in the recent “black canon” of films about being black in America.

Director Barry Jenkins, whose “Moonlight” improbably — and in our eyes, deservedly — won the Oscar for Best Picture in 2017, draws from his lead actors KiKi Layne (Tish) and Stephan James (Fonny) simmering sexuality and anger that lies barely restrained. As he did with Mahershala Ali in “Moonlight,” Jenkins elicits performances that produce an unrelenting tension throughout the film.

Baldwin’s intense and poetic reaction to the racism of his 1974 America is filmed melodramatically and yet sparingly by Jenkins. In one of the film’s most revealing scenes, Tish, a counter girl in the perfume department of a mostly white department store, narrates her treatment by customers — the stares and touching —telling us all we need to know about the reactions of black and white, male and female, to a pretty young black woman.

A conversation that begins casually ends with a dramatic relating of what life in prison has done to Fonny’s friend Danny (Brian Tyree Henry). It’s the subtle set-up for why Danny won’t end up providing an alibi for Fonny, and yet it is much more than that. Danny’s story takes us deep into the emotional toll prison takes on young black men.

While its trajectory is one of impending tragedy, “If Beale Street Could Talk” has its comedic moments, especially the scene in which the parents and siblings of the two lovers gather in Tish’s parents’ tiny apartment and react to the news that she is pregnant. Tish’s loving, practical mother (Regina King), and Fonny’s “holy roller” mother (Aunjanue Ellis) are just two of Jenkins’ black characters that have dimension, power, and nuance. The few white characters remain stereotypes, in the case of the white cop (Ed Skrein), garishly so.

Jenkins, who wrote the screenplay from Baldwin’s novel, has an impeccable sense of time and space, creatively using flashbacks to jolt the audience into the past or present.

“If Beale Street Could Talk” joins films such as “Black Panther,” “BlacKkKlansman,” “Green Book,” “Hidden Figures,” “Sorry to Bother You,” “Moonlight,” “Mudbound,” “The First Purge,” ”Get Out,” “Marshall,” “I Am Not Your Negro,” and “Fences”— all of which we’ve reviewed on this site in the past two years — and many others in examining the black experience for white and black audiences.

This is an important and exciting moment in black cinema, one that begs for an overall analysis and interpretation of these and other films of the genre.

This is an important and exciting moment in black cinema, one that begs for an overall analysis and interpretation of these and other films of the genre. Some of the films, like “Green Book” and “Hidden Figures” — both period pieces —encode a positive message of black progress and racial integration. Others, including “Get Out” and “Beale Street,” are much more negative, the former featuring vile white people engaged in horrific genetic experimentation with black bodies, the latter deploying Baldwin’s voice of anger and rage to vilify whites and the American system of justice. Perhaps together, and with the other films, some larger truth about the black experience, whether historical or contemporary, is being told.


Date: 2018

Director: Barry Jenkins

If Beale Street Could Talk ★★★ ½ (our of 4 stars)

Starring: KiKi Layne, Stephan James, Brian Tyree Henry, Regina King, Aunjanue Ellis, Colman Domingo.

Oscars: Won: Best Performance by an Actress in a Supporting Role (Regina King); Nominee: Oscar Best Achievement in Music Written for Motion Pictures (Original Score) (Nicholas Britell); Best Adapted Screenplay (Barry Jenkins)

Runtime: 119 minutes

Available: Streaming on Hulu; rent or purchase on Amazon, Redbox, and elsewhere.  See JustWatch here.

This review first appeared in January, 2019


Also see reviews on…

“L’Innocente”

I Am Not Your Negro

The Painter and The Thief

Bad Times at the El Royale

Bad Education

Three Billboards Outside Ebbing, Missouri

Manchester by the Sea

Until The Birds Return

Sing

Two Popes

Can You Ever Forgive Me?

The Lighthouse

Eighth Grade

The Traitor (Il Traditore)

Free Solo

Never Rarely Sometimes Always

Sorry to Bother You

Midsommar

Hidden Figures

Ford v Ferrari

Captain Fantastic

First Cow

Seberg

Ordinary Love

Portrait of a Lady on Fire

Uncut Gems

Les Misérables

The Last Black Man in San Francisco

Bombshell

1917

Little Women

Marriage Story

Queen & Slim

The Irishman

Roma

Cold Brook

Jojo Rabbit

Pain & Glory ( Dolor y Gloria)

Joker

Parasite

Downton Abbey

Ad Astra

Once Upon A Time In Hollywood

The Goldfinch

Good Boys

Written by 2 Film Critics

2 Film Critics

William Graebner is Emeritus Professor of History, State University of New York, Fredonia, where he taught courses on film and American culture. He is the author or co-author of 11 books and more than 50 scholarly articles, including essays on “The Treasure of the Sierra Madre,” “McCabe and Mrs. Miller,” “The Poseidon Adventure,” and zombie films as they relate to the Holocaust. Dianne Bennett, the first woman to head a large U.S. law firm, is a retired U.S. tax lawyer.

Dianne and Bill were early and passionate attendees at the Toronto Film Festival, and today enjoy the film scenes of Los Angeles, Rome, London, and Buffalo, New York. They began reviewing films for the Rome-based website “TheAmerican/inItalia” in 2016, have maintained a blog on Rome for a decade, and published two alternative guidebooks to the Eternal City. They still can’t resist going to the movies, not to mention the ensuing discussions, sometimes heated, over a bottle of Arneis at the nearest wine bar.

​And that's just the beginning of our reviewing process. For one or two hours we discuss the film, as one of us takes notes. The notetaker transcribes the notes and prints two copies. Dianne or Bill (usually depending on who had the most compelling understanding of the film, or who was most taken with it) writes the first draft of the review--supposedly taking into account the views of the other--which is followed by 3, 4, or even 7 more drafts. At some point, sometimes days later, when we're both comfortable with the result (or accepting of it, anyway), it's done.

https://www.2filmcritics.com

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