This film never gets the credit it deserves. But it's one of the best post-2000 crime-thrillers out there, directed/written by the one and only James Gray.
WE OWN THE NIGHT Examines a Family’s Violent Intersection at the Edge of Criminality & Law
Tagged Brooklyn
Beautiful Black Cinema in Mother of George
Mother of George. 2013. Directed by Andrew Dosunmu. Screenplay by Darci Picoult.
Starring Danai Gurira, Isaac de Bankolé, Anthony Okungbowa, Bukky Ajayi, Yaya DaCosta, Klarissa Jackson, Ishmael Omolade, Roslyn Ruff, Chinaza Uche, Florence Egbuchulam, Mutiyat Ade-Salu, Atibon Nazaire, Da’Vine Joy Randolph, & Susan Heyward. Parts and Labor/Loveless/Maybach Film Productions/SimonSays Entertainment/Fried Alligator Films.
Rated R 107 minutes.
Drama
★★★★1/2
We all – meaning those of us with any sense – know that the mainstream Hollywood system largely ignores stories about people of colour, apart from the civil rights pictures and slave narratives. It’s obvious, if you take the time to look at it. Rarely do we just simply get to look inside the culture of others aside from the perspective of white people, at least when it comes to the mainstream films in the West. Even more rare is a film starring solely black people.
So Mother of George is a unique piece of cinema for a film set in the U.S. Although, it is most certainly a Nigerian film. The story is all about the cultural expectations within a Nigerian neighbourhood in Brooklyn, involving a married couple. Plus, Nigerian director Andrew Dosunmu leads the movie, as well as adds his unusual style to the mix. It is a refreshing story, Dosunmu presents it gorgeously with the added help of cinematographer Bradford Young, and the main performances of Danai Gurira and Isaac de Bankolé root the drama in such a wonderful yet tragic humanity.
Ayodele (Isaac de Bankolé) and Adenike (Danai Gurira) are married in a grand traditional Nigerian ceremony. Ayodele has been in America a little while, whereas Nike is newer. She’s still trying to adjust, stuck in the old school role of wife at home her husband works during the day. She tries to get a job cleaning, though, this angers Ayodele whose culture demands of him masculinity; part and parcel of which is providing for his wife and not needing her to work. Between the culture clash and her marriage, Nike has a million different things on her plate.
Meanwhile, her mother-in-law is pressuring her – in their culture it is proper for a woman to get pregnant soon after the marriage, and unfortunately Nike and Ayodele can’t seem to get pregnant, though. When the situation becomes more and more dire, with Ayodele refusing to go against traditional, conventional methods, and his mother insisting he take another woman, Nike soon makes a decision which will have huge repercussions for her, her husband, and everyone around them.
The first thing you’ll notice is the extremely rich, vibrant colour palette of the film. Bradford Young brings a unique and beautiful look to Mother of George. Some of his other work includes Pariah, Ain’t Them Bodies Saints, as well as most recently A Most Violent Year and Pawn Sacrifice. Young’s visual flair through the lens adds a true gorgeous quality to every single frame of the film. Added to that, Dosunmu has a different style of direction, which I’ve seen some people say detracts from the performances and the screenplay. Not at all, I say. In fact, the way Dosunmu and Young capture everything together in their respective ways it draws me tight. I felt as if I were right next to Nike (Gurira), going through the motions. The tight frames on the characters helps their world absorb into you, the colours reach out and touch you. There’s never a moment where I felt outside of the story, or the characters, even if the film moves at a slow pace much of the time.
Brings me to another portion of the movie I love: the screenplay. The script doesn’t have much dialogue throughout, which places a special significance on the performances. At the same time, the lack of massive pieces of dialogue lends itself to a film with a main concern for aesthetic and tone. With a lot of subtle, quiet scenes, the actors are left carrying so much of the weight – like a complete counterbalance between style and performance.
Isaac de Bankolé, whom I knew originally from Jim Jarmusch films specifically (as well as the impressive White Material from director Clair Denis), plays a very strong, if not fairly flawed character in Ayodele. He portrays the vulnerability and masculinity, both tied together most of the time, with such an ease. You feel for the man while also wishing he might let go of a little of his boisterous pride, instead it pushes his wife to a point of no return. Bankolé is a reserved and thoughtful actor whose presence is large in this film.
But mainly, it is Danai Gurira I love here. She is a strong and powerful actor. Her presence is equally enormous, if not more so than Bankolé. Gurira is tough, she is also flawed, but above all she bears the weight of a relationship on her shoulders. The way she has to navigate the trappings of her Nigerian culture, stuck between what she wants and what is expected of her, it is a difficult life. Gurira brings out Nike’s pain, her desire, everything with such a subdued and commanding performance. She and Bankolé work very well as a couple onscreen, their chemistry helped their relationship seem natural. Further than that, Gurira presents a woman who struggles to both adapt to living in America and adapt to marriage, plus its requirements, all the while – even in her rash decisions – making us feel for her every step of the journey.
There are not enough films set in the U.S. which celebrate the other cultures among Western culture. It is a melting pot, even if the cities become, at times, broken into ethnic enclaves. Still, this is a beautiful and heartbreaking story of two worlds coming together, as one woman tries to hold her own together. A 4&1/2-star film that succeeds because of Bankolé and Gurira acting their hearts out, as well as the combo of director Dosunmu and Young’s cinematography. Everything in this film speaks volumes, from the wonderfully sparse screenplay to the vibrancy of the visual style. All these elements are so important to Mother of George. This is not the conventional black narrative we’re offered in mainstream Western films, but as I said, this is totally a Nigerian film regardless of its Brooklyn, New York setting. We need to see more of this, and hopefully with all the talk of diversity re: Oscars in 2016 we may see a shift; somehow, some way. Studios need to take the chance and tell more stories like this one, affording different cultures a look, giving them an avenue to touch peoples hearts and minds. This is a piece of art, not simply a movie. Mother of George should be seen by everyone, especially those who love powerhouse acting and a unique sense of visual storytelling; all of which you’ll find here, in spades.
The Drop is a Moody Ride Through the Brooklyn Mob
The Drop. 2014. Dir. Michaël R. Roskam. Written by Dennis Lehane; based on his own short story “Animal Rescue”.
Starring Tom Hardy, Noomi Rapace, James Gandolfini, Matthias Schoenaerts, and John Ortiz. 20th Century Fox.
Rated 14A. 106 minutes.
Crime/Drama/Thriller
★★★★
The Drop is Michaël R. Roskam’s first American film. He’s most recently come from directing the Oscar nominated Belgian crime thriller Bullhead (side note: that film is actually my number one of all-time; it is incredible, dark, and has a couple really great performances. I’ll have to do a review soon, the Blu ray is also irresistible). The Drop is a slow burn thriller. It moves quietly from one moment to the next to the pace of a brooding score by Marco Beltrami. Roskam sets up several plot points across an interesting set of characters in Brooklyn, New York, which eventually all lead back into one another.
The film stars Tom Hardy as Bob, a bartender who works for his cousin Marv (Gandolfini in his final screen performance). The bar, aptly titled Cousin Marv’s, runs under supervision of the mob, and at times is the drop point for all of Brooklyn’s dirty money; a time they never know until just before the titular drop. The Drop‘s story commences once the bar is robbed by masked assailants. Both Bob and Marv now find themselves worrying about where they’ll come up with the mob’s stolen money, or if they can track down the thieves. However, not all is as it seems.
Roskam has a unique ability where he navigates an assortment of characters, often with their own little stories aside from the plot’s focus, and ties everything back together seamlessly. The film could simply be about mobsters and robbers. Instead it transcends the typical generic plot of such movies.
For instance, Bob becomes involved with a woman (Rapace) after finding a badly injured pitbull puppy in her trash, which at first seems unrelated to the film’s main focus, but later serves as a way of tying together multiple story lines.
Speaking of which, Rapace is an actress whom I really admire. She is incredible. Ever since the original Dragon Tattoo plus the following sequels I’ve thought she’s a great talent. Here she has a decent role, and plays it well enough. Although she is better served in a stronger female role, she does a great job. The role itself isn’t bad; it works for where the movies goes. Rapace herself is a strong female type, and I simply like to see more from her than what The Drop provides. Still, she and Hardy have chemistry while they’re onscreen together, I love her anyways, so it doesn’t take away from the movie whatsoever.
It doesn’t hurt that this film is also based on the story “Animal Rescue” by writer Dennis Lehane, author of such other novels-turned-films as Mystic River, Gone, Baby, Gone, and Martin Scorsese’s Shutter Island starring Leonardo Dicaprio and Mark Ruffalo.
Often, as it does in this movie, it helps when the script adaptation of a novel is also penned by the author of said novel. With Lehane’s tight storytelling and the way in which Roskam presents and navigates the material, the film is incredibly tense. On top of all that the acting, specifically from James Gandolfini, Tom Hardy, and Matthias Schoenaerts who each give a wonderfully subtle performance, makes everything work so well.
Though a little less dark than Lehane’s other stories, The Drop is still gritty and has a lot of edge. It’s more character study than anything else. Hardy’s character is a mumbling bartender who turns out to be more than meets the eye. Gandolfini gives a powerful performance to counterbalance his most well- known character Tony Soprano; here he is a broken man, once respected and now looked at as a joke. Schoenaerts, who previously starred in Roskam’s Bullhead, in particular becomes his character, a lowlife thug who is mostly talk, and sucks you into believing he is tough as he acts until the final few scenes.
I highly recommend The Drop. Regardless if you enjoyed any of the other films adapted from Lehane’s work, this one stands on its own. There are equal amounts of drama and crime thriller mixed together here, enough to please anybody particular to either genre over the other. What makes this worth seeing is the acting and writing, as well as how Roskam, a European director, weaves it all together in a fascinating way not often presented in (not all of them but) a lot of American crime thrillers.
