Despite the Heat,
A Slushy End to September
Spoilers
Respect
2/5
It was clear from the trailer what sort of film this was meant to be, a star vehicle for the powerful vocals of Jennifer Hudson to lead her to a second Oscar. Sometimes these films play out well; Rocketman often springs to mind as a recent good example. Taron Edgerton is outstanding as Elton, facing the role as an actor rather than just as a dodgy impersonator (*cough cough* Rami Malek and his embarrassing false teeth), presenting a story about the hollowness of fame and its self-destructive characteristics. Sometimes you get a biopic which is decidedly average in many regards but at least has a lead who steals the show, such as the rather disappointing Judy fronted by the rather spectacular Renée Zellweger.
Respect unfortunately was neither of these things. For the most part, it was incredibly tedious, meandering around the life of Aretha Franklin much as a bored teenager skulks around a National Trust property. Not for want of trying, there are moments of supposed drama, but these are so lazily set up that the impact is deadened. Early on, Franklin is raped as a child. It is mentioned and then ignored for some time, only referenced again when its made slightly clearer that her children come from that horrific episode. In fact, it is not clear what has happened until that point and then never mentioned again. In a movie, it is not often enough to simply present facts of a life with little exploration - there has to be a purpose. Explore the pain, explore the consequences, but don't just leave it as another inconsequential side note in the story.
At its heart, this was the issue though: the story had no purpose. There are many interesting threads in Franklin's life, from her work with the Civil Rights movement, through her religious experiences, to domestic abuse and the aforementioned sexual abuse. Director Liesl Tommy gently tugs these threads before deciding that a brief mention is sufficient before returning to needless full renditions of the Franklin back catalogue. It is only at the end of the film, climaxing in her Amazing Grace recorded concert, that Tommy decides the film may have been about her faith all along (even though a scene not twenty minutes previously showed how hollow faith was). What you are left with is the Wikipedia whispers of a life-synopsis.
Critically, Hudson has been held up as a stand out. It may have been due to the script, but I found her portrayal rather flat. At the age of forty, she seemed to try to present the eighteen year old Franklin as timid and mouse-like for the first half of the film, which came across more wooden than anything. Her vocals are impressive, but she is rather betrayed at the end by Tommy's choice to play a late live gig of Franklin over the credits. With but the slightest movements that send the Kennedy Centre crowd into rapturous screaming applause (including the Obamas), Franklin in her old age is a superior vocalist and captivating performer. Watching her does make you consider, why has no one thought to make a detailed biopic of her yet...?
Respect, 2021
Director: Liesl Tommy
Writer: Tracey Scott Wilson
Composer: Kris Bowers
Starring: Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald, & Albert Jones
Currently showing in major cinemas across the U.K.
The Many Saints of Newark
2/5
I have never seen The Sopranos. I hear it's good, very good, but I've never seen it. This is partly due to being about ten when it premiered but more so by chance. The pickings at the cinema, with Bond on the horizon, looked slim at best so, with little context, we thought we would give The Sopranos prequel a chance.
Surprisingly, pre-knowledge of the TV series was not an issue. Although writer David Chase has made reference in interviews to not worrying about newer viewers understanding the world, it is clear that what was presented was remote enough or explained enough to make sense to a newbie. Even the narrator, deceased at Tony Soprano's hand, during the series, research reveals, makes this clear early in the film. And then, bizarrely, again at the end.
In many ways, the outcome of the film is a crying shame: it has a good cast, well constructed direction, pleasing cinematography, and some excellent production design values. Unfortunately, it lacks a plot. There is no story, or, at least, no cinematically interesting and convincing story.
There's a story, best described as a side plot, about an African American member of the gang who leaves only to come back to claim the territory in a potentially bitter, but largely unseen, gang war. But the story bubbles on one side and never really concludes. The denouement is in fact the unrelated death of the main character, murdered due to a small argument. Aside from that, the closest the film comes to any semblance of 'story' is through a series of theatrical asides. The temptation is to call them vignettes but the writers on Eastenders would be hard pressed to push them as such. There's the story about the mistress who wants to own a beauty salon - the main guy says no, then yes. She also has an affair, confesses, and is murdered. Nobody seems to notice. Occasionally teenage Tony Soprano rocks up - trying to get booze in one aside and being suspended from school in another. Despite the potential of a late 60s, race riot setting, the stakes have never been lower.
There are decent performances aplenty, especially from Michael Gandolfini providing a youthful stand in for his late father. Alessandro Nivola is very good as lead Dickie Moltisanti, although he seems to yearn for Scorsese from the husk of this 'story'. Bizarrely, Ray Liotta is employed to play twins. Aside from saving money or wanting to feature lots of Ray Liotta, cinematically it is more distracting; a silly feature in what should be a slick gangster flick. The run time, with such little story, proves hefty and, for the second time in two weeks, I found myself 'watch-checking'. Occasionally some weaker films are welcome in the month - after two on the trot, let's hope next week Bond visit tips the scales back towards the light.
The Many Saints of Newark, 2021
Director: Alan Taylor
Writer: David Chase & Lawrence Konner
Composer: Peter Nashel
Starring: Alessandro Nivola, Leslie Odom Jr., Jon Bernthal, Corey Stoll, Michael Gandolfini, & Ray Liotta
Currently showing in major cinemas across the U.K.
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