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As An Act
of Protest-- Exposing the Black Man's Psyche
A commentary by
Jonah Willis
Sun,
12 May 2002
I
originally saw this film when it premiered in February 2002 at
the Pan African Film Festival at the Magic Johnson Theater in
Los Angeles. I knew then that the film was something special,
and after seeing it at the Anthology in NYC, I accepted my
original conclusion that the film is a challenging movie by a
very experimental director. It is the first American film I've
ever seen that exposed the black man's psyche' and the internal
wounds inflicted by racism. Cairo, the central character, goes
on a journey that many of us have gone through or are going
through now -- whether you're a black man or woman.
The
film was written in response to the murder of Amadou Diallo.
Moore refers to Diallo as the "Emmett Till of my
generation" in his program notes for the NYC Private
Screening at the Anthology Film Archives in lower Manhattan.
Moore is a twenty-six year old guerilla filmmaker and part of
that group of younger underground voices. We have Lauryn Hill,
we have cartoonist Aaron Magruder ("the Boondocks"),
we deserve alternative filmmakers as well. And we need them to
be politically conscious and aggressive.
As
an Act of Protest follows the spiritual trip that a black
actor goes through to find out who he is and what he can do,
instead of acting on stage, to rid the world of racism. This
itself is a bit of an abstraction, but the film shows how
society is drenched with the blood of racism and antipathy
towards the black man. Period. Although the sound was shoddy in
some areas (an unfortunate problem many low or no-budget
filmmakers experience and it actually could have been the
theater's speakers), and the rhythm atonal and discomforting at
times, the movie is powerful and showcases strong directing,
writing, and acting.
Moore
does not seem concerned with traditional structure in his film
and this is nothing innovative because many other directors have
done the same thing in terms of breaking away from conventional
"storytelling.” However, what is interesting is how he
does it. The first half of the film seems tight, straight
forward, and energetic. At
first it seems like the movie is about Abner, the impassioned
theater director, and his mission to revive the Black theater
scene. Although I do not agree with the fact that Black Theater
in America is eternally in dire straits, Moore makes a good
argument about loss of culture, history, and political
consciousness via the symbol of theater and that of the
"Actor."
Moore
is excellent as Abner and captivating as this manic director.
Luis Laporte plays Cairo and gives a tempered, but strong
performance. The arc of his character and the changes he goes
through are remarkable. Laporte imbues Cairo with an almost
child-like innocence and complexity. You can really feel what he
is going through by his body language alone something the
filmmaker seems to be interested in. I noticed physicality was
just as important as the dialogue and imagery in the movie.
Hands and Faces seem to play a big part in Moore's world.
JJ,
Abner's theater producer, is expertly voiced by Stephen Dye. I
honestly found the theater discussions to be the most original
aspect of the film and Dye reveals the pettiness, insecurity,
and self hatred that many have who are forced to moderate
between art and commerce. Dye's JJ is pathetic because of his
seriousness and desire to please the white benefactors. Still,
Dye never falls into the trap of making a character like JJ
unlikable. This is the strength of Moore's work with the actors
and performances such as Stephen Dye's. Personally, I don't know
if I would be able to play a part like JJ because I'd be so
concerned about looking foolish. Dye does not care and his
risk-taking shows.
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Crystal
Mayo portrays Karen, Cairo's girlfriend and emotional
support during the first part of the movie. Mayo gives a
gusty and realistic performance. She does not seem
self-conscious about her part, which I thought was
interesting. Particularly in the moments when she is
hedged in between different characters. When Abner and
Cairo argue in the theater, Karen ups the ante and
confronts Abner in defense of her man. She wrestles with
the racing dialogue with Moore in that sequence and does
it exceptionally well.
Likewise, in the scene
between the white girl, Charlotte, and Cairo, Mayo is
devastating and perhaps it is the best scene in the film
because of its emotional power and various peak and
valleys. Karen and Charlotte are alone in Cairo's
apartment getting drunk and rambling on about patching
up mice holes and Cairo's seemingly fanatical obsession
with racism and oppression, and the apartment is a mess.
When Cairo returns home after
seeing his parents and getting jumped by some white men
in pig faces (seriously), he rails on Charlotte and
displaces his anger and frustration he has towards the
White Man Power Structure onto this innocent white woman
who is nothing but a friend to him and Karen. This often
happens however in racially mixed milieus or even in
racially-mixed couples. What we see, though, is
Karen's intolerance and fear of the situation. |
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Mayo handles this well and it is a hard
thing to do. Cairo eventually causes Charlotte to breakdown and
admit her "white guilt.” It is a startling moment and
Sarah Lewis came out of the scene like a real trooper. It is one
of the most surreal sequences ever put in a movie. Chilling and
all the more strange, because of the natural dark lighting and
documentary feel of the scene.
Moore
is definitely an actor's director. The actor is at the center of
his work and everything else works to support that. For instance
the use of dissolves in the movie imply something ethereal and
dream-like about the world. However, it is the pacing of the
scenes and acting in conjunction with the film's visual
conventions that give it its power and originality. The first
part of the film, as I said earlier, is anarchic and
improvisatory in feeling. Abner represents this.
Likewise,
Ward Nixon, in highly impressive performance as Professor
Eastman, imbued the second act of the film with an uneasy and
paranoid feeling. Eastman, a black college professor, is a
latent black psychotic neatly buttoned up in a suit. He is what
Harold Cruse writes of in Crisis of the Black Intellectual,
and what Frazier speaks of in "Black Bourgeoisie.
Eastman is likeable at first, then grows more and more sinister
for no apparent reason until we realize that Cairo is basically
holding a mirror up to Eastman's nature and destroying his
phony, comfortable, black upper-middle class lifestyle. Nixon
has been around a long time and I hope he gets his due. He was
creepy and inviting as Eastman and I look forward to more roles
like this, which show various layers of a character.
The
entire film is sprinkled with interesting performances such as
cameos from the Last Poets. The scene with Umar Bin Hassan was
excellent. Umar plays himself giving Cairo advice about the
artist’s role in the revolution. It is a classic scene.
As
an Act of Protest was a strange film, but an emotionally
engaging one. It is not for everyone. It is confusingly cut with
convoluted symbolism and a lot Christ imagery which eluded me.
The film was also very long and kind of over-the-top at times.
Still, as a movie it is worth seeing. It had an interesting (if
not strange) look and feel, but a lot of heart.
Racism
and the impetus to get revenge on one's oppressor is always
going to be of interest. Politics aside, the humanity came
through. With war in the Middle East going on perhaps the
emotions involved in getting revenge for an attack will be
understood.
Jonah
Willis dvmovies@theblacklist.net
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Gregory
Johnson Responds to Jonah
Mon,
13 May 2002
Jonah,
Thank
you for your review. It does seem like the movie is of interest to
some people, but honestly, at this point, I find it to be more of
hype or excitement than anything else. People always want to be
"in the know," and the film As an Act of Protest
seems to be a piece of work that some want to discuss within heavy
philosophical discussions or serious artistic achievement. I do
feel that the director is talented and I do appreciate any sort of
talent - particularly among young people. But I do not condone
chaos or rabble rousing. Dennis Leroy Moore is more of a
provocateur than a serious director. I do see his ability to work
with actors and you noted that quite well in your piece.
Yes,
thank god, he is more of a Dramatist and character-explorer than a
lot of other young directors, but I find that he still has a lot
to learn. There were interesting moments in the film, and the
musical selections were effective (except for the bastardization
of Tchaikovsky's "Swan Lake Finale" which was absolutely
ridiculous) but I find that spending all this time discussing a
film that is forgotten as easily as the credits roll is absurd.
Absolutely absurd.
If you
want to write and learn about new or alternative black films and
directors look at the work of Kasi Lemmons - her movie
"Caveman's Valentine" was extraordinary cinema.
There was a wonderful film by a new black director at the
Pan African Festival called "Harlem Aria." That film was
extraordinary - with a tour de'force performance by Damon Wayans.
African
films can be very good, but I find them to be way too polemical.
Politics can be very dangerous and alienating in art.
There
was an excellent movie I saw about two years ago called "One
Week" which was a treat! You can rent it. Also,
"Monster's Ball" with Halle Berry could also be
considered a radical step in black cinema - merely because a black
actress gave an Oscar-winning performance in it! Antwon Fuqua, who
directed "Training Day," is actually one of the best new
Hollywood directors. He has a very promising career.
I
suppose what I am trying to say is that black filmmakers need to
spend more time acquiring the proper skills and ideas needed to
make a film. School is a must and learning what makes a good
script into a good movie is also something that has to be learned.
Technique is very important. Emotion and life experience does not
translate in powerful art alone.
Money
is required and that is also something so-called "guerilla
filmmakers" need to understand. Proper lighting, set
dressing, and make up are required. Films are what? Images. If you
make something seem appealing you can invite the audience in, you
can cleverly trick them even though what you may have in mind is
the opposite of what they are expecting. If folks want pretty
pictures I say give it to them. Remember, if a movie isn't
entertainment at the end of the day then what is it? I understand
some filmmakers don't believe in these traditions but that is also
the number one reason their work will not withstand the test of
time.
Greg Johnson
As
An Act of Protest was written & directed by Dennis Leroy
Moore and produced by Melissa Dymock, A John Brown X Production --
visit
www.asanactofprotest.com
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The New Jim Crow
Mass Incarceration in the Age of
Colorblindness
By Michele Alexander
Contrary to the
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carefully researched, deeply engaging,
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W. E. B. Du Bois’
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