If Beale Street Could Talk Review | NYFF 2018
R: Language and some sexual content
Annapurna Pictures, Plan B Entertainment, Pastel Productions
1 Hr and 57 Minutes
Writer/Dir: Barry Jenkins
Cast: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry, Regina King, Emily Rios, Aunjanue Ellis, Finn Wittrock
Baldwin's novel follows Tish, a newly engaged Harlem woman who races against the clock to prove her lover's innocence while carrying their first born child. It's a celebration of love told through the story of a young couple, their families, and their lives.
THE GOOD
With “If Beale Street Could Talk” being director Barry Jenkins’ sophomore feature, he has continued his streak of expressive storytelling with a film nearly powerful as his debut. For this being based on James Baldwin’s book, Jenkins translates the story beautifully for theatrical value. The film’s lighting and cinematography is amazing; there are scenes where Jenkins plays with the depth of field, and frankly it's mesmerizing to watch. Jenkins’ shot composition is so masterful and unique that it keeps you enthralled for the entire running time. Some of the style from his previous feature is carried over to this movie, like how he introduces characters through prolific profile shots.
I just reviewed “Beautiful Boy” which is an example of a film that utilized its storytelling format poorly and the film overall took a major hit because of it. “Beale Street”, on the other hand, does it amazingly well.
The entire film is told in a non-linear format as a complete juxtaposition to the relationship the two lead characters (Tish and Fonny) share. The narrative structure of the film is a massive cause-and-effect relation where scenes of the present are the effect to the cause which is shown through flashbacks. You get chills throughout the story of Fonny and Tish’s romance as it plays out and you get small hints about what led to Fonny’s incarceration and what it does to him psychologically.
Because of the lack of recognizable faces in these roles, there is an authenticity to their performances and the story. Newcomer KiKi Layne is amazing as Tish, who is the primary character that the film centers on. She is 19 and goes through the motions, pressures, and anxieties while being pregnant with her fiance's baby. She carries the story with incredible finesse as the central character. There is a level of innocence to this character that keeps you enticed. While her surroundings are tough, what keeps her going is her lover Fonny (Stephan James). The main force that sells the story is Tish and Fonny’s love, and it is as heartwarming as it is devastating. They have such a believable chemistry that feels authentic, primarily because of their dialogue and how their characters are introduced and developed. Even when they aren’t saying anything, their actions speak for themselves. I must say, their sex scene is honestly one of the best sex scenes I’ve ever seen. It is not gratuitous, but rather genuine. It is also prosperous because of how beautifully shot it is.
The adapted screenplay written by Jenkins is incredible. The dialogue is sharp, witty, and when it gets dramatic, it’s strong. While some story elements walk along familiar lines reminiscent of “Moonlight”, and plenty of other contemporary Black cinema which centers on American injustice and wrongful conviction, it’s still effective. What the movie discusses that not many others do is the treatment of Black people when they are incarcerated. Even though it takes place after the Jim Crow laws were removed, racism was still pretty high and some days it was a horror show for Black males. You could easily end up in jail just for walking down the street and, while that is the main theme of the film, Jenkins perfectly displays how it messes you up psychologically. The message is driven home in a phenomenal sequence by Brian Tyree Henry.
Brian Tyree Henry (who is running this season so far with four movies) comes in and expresses how the judicial system disrupted his freedom and it’s heartbreaking to hear. He delivers a chilling monologue that lingers throughout most of the film. He’s on screen for about ten minutes at most and leaves an everlasting impact for the remainder of the film. Even the imagery that complements his speech reflects his words and is a huge contributing factor for his performance being as effective as it is.
Then, you’re given an incredible score provided by Nicholas Britell that accompanies the film perfectly. The music Britell composes is all jazz and it fits with the urban setting the film takes place in. It never goes over the top or becomes too bombastic so that it ends up being either distracting or manipulative. Instead, the music is rather subtle, calm, and soothing. I’m reviewing this film in October and waiting patiently for its actual release date next month so that I can add the score to my Spotify library. It’s that amazing and I hope it gets recognition for Best Original Score when award season comes around. Seriously, this score cannot be overlooked.
And finally… Regina King. Regina King is incredible and always has been (remember “The Boondocks” where she voiced two boys while using two different voices?). Her talent knows no bounds and she owns each role she plays. Here, she portrays Tish’s mom Sharon, a passionate woman who works to do what is right. King just got that Emmy, but best believe she’s also coming for that Oscar. There is a fantastic, memorable sequence where King takes the stage for a good 10 minutes and all of the focus is on her.
THE BAD
The film is nearly two hours long and some of the scenes could have been condensed and cut for pacing reasons. Some shots go on for way too long as the narrative, at times, loses momentum by being artistic and flashy. Nearly every scene is vigorously powerful, but then it would get artsy and poetic. That’s fine and all, but we really could’ve done without some unnecessary moments.
LAST STATEMENT
“If Beale Street Could Talk” is an incredible big-screen adaptation of James Baldwin’s beloved novel that flourishes from incredible cinematography, excellent performances, a balanced score, and (most importantly) great writing/direction from Barry Jenkins who at this point can do no wrong.
Rating: 4.5/5 | 94%
Super Scene: Daniel’s speech
