Moonlight For Melancholy.
117 Mins. Starring: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry & Regina King. Director: Barry Jenkins.
"I'll tell you a story, if I may." Riding between somewhere near Beale Street in New Orleans and satsuma coloured counties of California in the fall of this November gone, my loneliness was eased by reading the novel 'If Beale Street Could Talk'. A beautiful book that really spoke to me. As a matter of fact it did more than that. It sang to me. All in anticipation of this perfect prose being adapted into the latest picture from mesmerizing and moving 'Moonlight' director of face to screen, fourth wall, slow motion art on screen itself, Barry Jenkins. And father figure Colman Domingo speaking to Out magazine is right. James Baldwin does make you feel like you're not alone. A writer who when he was growing up, "was trying to find a connection. Between the life (he) saw and the life (he) lived", like he says on the beginning of a trilogy of testimonial trailers that end with the soft killing of Fugee, Ms. Lauryn Hill. And oh how he does now in his everlasting afterlife. The legendary activist author can even bring beauty out of something as base but right there on each and every one of us as our genitalia. Romanticising it all as he refers to it here as ones "sex". Poetry in history meets the modern language of love in the movies in the cinematic couplets of Jenkins. Circling like the spiral clouds of cigarette smoke in the craftsmanship wood workshop. And it's a match made in old Hollywood heaven. One that would be a power working couple in official collaboration if it wasn't for the aforementioned authors passing. But this prose is prolificly passed on generations later to give rhyme to reason once again. Jenkins ode isn't just a homage to this king of literature James, but a love letter to the classic city of New York and it's bountiful borough of Harlem in all its heralded heyday and jazz. Kneeling at those iconic brownstone steps like Romeo looking up to Juliet's window. And "if you trusted love before", don't panic my star crossed lovers as we lay our scene in fair New York, New York. "Trust it all the way".
Love is art and soul and romance is poetry. And with Baldwin's words, Jenkins knows how to paint the perfect picture from the heart of his cinematic canvas. And following the 'Moonlight' after melancholy of his Holy Trinity stages of life and its trifecta of triumphant actors now making their own individual mark in movies like 'Black Panther', 'The Equalizer 2' and 'Bird Box', Jenkins next approach to his terrific, traditional timeline is non-linear. But then again neither is love. But you really can trust it all the way in the man and woman of our two young leads destined for stardom no matter where their hearts will take them in this picture portrait. Playing 'Tish, forced with the shadow of the burdening threat of raising her child on her own after her love Fonny is wrongly incarcerated, KiKi Layne of the forthcoming 'Captive State' is formidable. As in a race against time she looks to get the love of her life and the father of her child out of jail before the baby comes. And it's this dual, mirroring theme in Baldwin's story of a baby being held inside, whilst a husband to be wants to be reborn from the labour of his struggle impregnated in prison. This metaphor from Baldwin's book is brought to the light of day and train tracks from Jenkins in a searing metaphorical moment of pure emotion. One were a stellar Stephan James (the Toronto, Canadian actor from the six of Amazon's Julia Roberts show 'Homecoming', 'Selma' and his own breakout, 'Race') runs down the subway stairs of an iconic N.Y.C. station and is trapped by the bars of the barriers he shakes with harsh crashing metal and his own painful screams, only just drowned out by the deafening, incoming train that threatens like their situation to derail everything. But touch your palm to the glass as these two talk through the perspex barrier of a visiting prison phone and you'll be really connected as these two young lovers are, showing no pane (like the atmospheric rain falling around them as they make love in perspiration and precipitation for the first time), or pain will drive them apart. No matter if these bars are made of iron or the stone hearts of racism. This perfect pair in all their young innocence, passion and invincible optimism of first love hearts will-like the 'Becoming' of forever First Lady, Michelle Obama's moving memoir taking us back to the time she shared a first kiss on the sidewalk over ice cream with a young man named Barack-remind you of what it's like to be in love again. Just in time for the perfect Valentine's embrace.
"These are our children. And we have to set them free." Colman Domingo's brooding baritone confides with heed to fellow father and genuine, gentleman talent, Michael Beach. An incredible character actor who went from 'Third Watch' to 'Patriots Day', before making waves in this fall's 'Aquaman' superhero blockbuster as a character catalyst. Now looking to steal the Winter on the double like the scenes he does here. Domingo, after starring in civil rights and war critical films like the Martin Luther King Jnr epic 'Selma', 'The Butler' and 'Birth Of A Nation' surrounded with Academy Award nominations is worthy of one himself. But this year he won't meet Oscar in another snub for the somewhat forgotten gem and iconic, timeless classic of a strong season on the Golden Globe to Bafta Award your that's about to take it to the red carpets of Hollywood boulevard now the Grammy's have been plugged. Sure the sublime score and screenplay sensations have been nominated along with a big, mainstay favourite we'll get back to. But how about (deserving of an award like Olivia) Colman? Like iconic, inspired cinematography, costume (needled threads haven't looked this good since poetic rapper Common changed his style in-line with this to 'Be' more contemporary classic) and of course 'Best Picture' (perhaps this is due to the envelope embarrassment. See also; Damien Chazelle's latest best) for the most accomplished one since 'Mudbound', with Hollywood heavyweight support from '12 Years A Slave' producer Brad Pitt in this once upon a time (still so timely) in America. You'll wonder why the snub when you see just how good Domingo is here. Like when he receives the news of his daughter about to bring life into this world and it looks like he's crying in pain, before the joy brings out the laughter and forever pride of a man toasting to what he hopes is a boy. It's moments like this or the light in this city of 'Dear White People' and 'BlackKklansman' director Spike Lee's critical 'Chi-Raq's Teyonah Parris (an actress whose time is coming...now) telling 'Tish to "unbow your head sister" that will leave you with those same thing line between love and pain tears of striving joy. There's so much talent here, recognisable but bubbling on the surface of their own breakout breakthrough. Like 'Now You See Me' card series Dave Franco rising up from the decks of big brothers shadow. Or 'Rogue One' and 'Elysium', 'Narcos: Mexico' star Diego Luna. Or original 'Narcos' of 'Kingsman' and 'The Equalizer' sequel fame, Pedro Pascal. All accomplishing so much more with this. But it's a psychologically disfigured and physically unrecognisable Ed Skrein of 'Deadpool' fame who is perfect as a purile, bigot of a cop who will make your skin crawl as much as his. But credit to his real life anti-whitewashing stance for stepping down from the 'Hellboy' sequel. Even 'Atlanta's' Brian Tyree Henry is here free already lighting up the big-screen as a bike villain in last year's 'Widows' making of his 2018 calendar. But here in the time he has over dinner and cigarettes he'll break your heart and the rest of you like he did with healing in the Emmy episode of the second season of the offbeat comedy drama of 'Atlanta' that was the most personal one yet. But it's Regina King who is the queen of all this. As the Critics Choice, Golden Globe award winning character actress will surely herself find Oscar with her support in getting her the father of her daughter's baby out of his chains. She's the favourite like that films stars Rachel Weisz with the great British Bafta. And she deserves it like this film does 'Best Picture', let alone a nomination. But if there is any justice in this world and with all due respect to all he rest in a best year like 'Black Panther', Queen and Mercury's 'Rhapsody' and the latest 'A Star Is Born' adaptation (can we get a minute for where is the all acting, singing, writing music and playing 'Best Director's nom for Bradley Cooper? In a year of 'First Man', 'First Reformed', 'Crazy Rich Asians' and 'Wildlife' snubs (but I guess there's always going to be those who have to miss out and disagree like me.)) Netflix's black and white 'Roma' or Viggo and a knockout Ali in 'Green Book' will clean up on this road to glory. But after all these years and all she's done from 'Jerry Maguire' to 'Ray', Regina gives everything with every emotion to this role like she always has. One moment of transformation is truly transcendent. And with this she deserves more than something in return, in all its weight of gold. Just wait until you see why she will earn every carat and cent of our paid dues in praise. Because layered in the texture of deep, human nuance, you've never seen anything like this before in your whole life. 'If Beale Street Could Talk' and the lives of its inhabitants that more than matter scream for recognition like a newborn with a praise previously premature. "Are you ready for this?" TIM DAVID HARVEY.
Further Filming: 'Moonlight', 'Loving', 'Green Book'.
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