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The Best Man, Cont'd
Lee is a talented storyteller who spins his tale in
the vernacular of those who swim in the mainstream and navigate the
byways of urban America. Lee's knack for scripting dialogue that
captures the essence of Best's hip cast of characters enlivens the
staid romantic comedy formula and makes for a smart, witty tale that's
at times razor sharp; however, the N-word could have been omitted
without jeopardizing the credibility of the dialogue. After a close
look at Best, you may wonder whether any of its "romances"
are worth saving. Thankfully not all of the dysfunctional liaisons
stand the test of cinema time. MORE >>>
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Universal Studios
Perrineau, Chestnut,
Malcolm Lee
(Writer and Director), Howard and
Diggs on the set of The Best Man
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Under
Lee's capable direction, the talented ensemble cast delivers solid
performances with shifts from comedy to drama smoothly executed. While
there are a number of memorable sequences, the film's acting showcase
is a poker game where the fellas play the dozens more than they play
cards. Lee deftly manages the nuances that lead up to the scene's
climax and demonstrates the strength and vibrancy of his filmmaking.
Kudos to Lee for bringing a vision to the screen
that's devoid of thugs and focuses on the thriving Black bourgeoisie.
But, while Best avoids the trap of many lowbrow films that try to earn
a quick dollar, Best's middle class story has a definite slant.
Noticeably absent from Best's collection of commitment-shy,
philandering, hen-pecked and fidelity-challenged men, is the grounded
brother in his twenties who has his life together. And despite a core
male cast that reflects a visual mélange, Best's central female cast
is confined to a certain prototype and is cut from the same aesthetic
cloth. By eschewing a diverse depiction of feminine paragons of
beauty, desire and affection in all shapes sizes and hues, Best is
tainted with an outdated assault on the female psyche best abandoned
in the millennium that spawned it.
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Undoubtedly, as phenomenal women, sister outsiders, daughters of the dust and bad mamma
jammas wrest control of the cinematic reigns and continue to define themselves for
themselves, inclusive romantic visions and enlightenment will result. But, it's also
imperative that new and old jack filmmakers avoid monolithic reflections of Black love and
romance. Otherwise, women excluded from their romantic canvasses will let their
pocketbooks do the talking.
M
October 1999
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