By Kwaku Person-Lynn, Ph.D.
When thinking of
somewhat recent favorite movies made by people of Afrikan
descent, what comes to mind are: "Best Man,"
"Soul Food," Boyz in The Hood," and the movie
that defines its own category, "Malcolm X." There may
be some others not mentioned. The creativity of Denzel
Washington in the form of his directorial debut movie "Antwone
Fisher" rises to the highest level in the art of
filmmaking. The substance is found in the meaning, the humor,
the drama, and the story, the photography, the casting, the
lighting, the acting, the editing, the music, the silence, and
most of all, the importance of family. Nothing was over or under
done. The only other time it seemed the Afrikan family was
brought to such an exalted height was in the television series
"Roots."
One way of measuring
the greatness of a film are the emotional levels reached while
watching it. This film takes you from one end of the spectrum to
the other, all of it riding on top of a subtle, gradual
optimism. While many scenes in films are predictable, not in
this film. The cinematic experience of the main character,
Antwone Fisher, (superbly played by first time actor Derek
Luke), evolves through his personal adventure to control his
anger, struggling through his inhibitions in establishing a
relationship with his girl friend, (perfectly and joyfully
played by Joy Bryant), and hunting for his family, reach peak
levels of what movie making is supposed to be.
Washington's
grasp of realizing the art form gives one the impression that he
did not allow the smallest detail to go unnoticed. For instance,
there was one scene where Fisher and his girlfriend were sitting
on the ocean dock, late at night talking. The close-ups were
done very artfully, and the lighting, giving the impression it
was illuminated by the moon, could have been framed as a great
piece of photography. Even the book given to Fisher by his
psychiatrist, played by Washington (what can you say about the
best actor in Hollywood) shows a high level of literary
consciousness. Even so-called revolutionaries, who consistently
and rightfully criticize Hollywood films, have to applaud.
One of the most
poignant moments in the film was how Washington was able to
venerate the presence of American Afrikan elders. The subtle
grand manner in which it was executed was like observing a
private ceremony in traditional Afrika, exalting the honor and
glory of eldership. That one scene alone goes beyond anything
one would expect to come out of Hollywood. It requires an
elevated level of thought and awareness.
Films today are
filled with much sex, violence and profanity; this is a zero
profanity film. When a couple of these elements are implied,
there is nothing a parent would cringe at their young ones
seeing. The moral standard centers around one variable, quality.
Although
filmmaking is a business, and profit is the ultimate business
goal, the importance of this film transcends just accounts
receivable. Word of mouth is going to be very strong. It may not
quickly burst through the ceiling as the typical blockbuster,
but like the rabbit and the hare, it will slowly creep up the
profit line to justify Washington doing whatever he wants. Video
and DVD rentals and sales are going to go through the roof.
There are
artistic statements made in various creative venues that not
only stand the test of time, but also make indelible impressions
on the social fabric, eventually being held up as classics for
the ages. If ever there was a film that meets that criterion,
"Antwone Fisher" began reaching that status when the
real Antwone Fisher wrote the first word of his story. If you
miss this one, you have truly missed a very special film event.
Kwaku
Person-Lynn is the author of
On My Journey Now - The Narrative
And Works Of Dr. John Henrik Clarke, The Knowledge
Revolutionary. E-mail
address: DrKwaku@hotmail.com
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