With all of the official Oscar nominations officially in the books, the finality of the 2018 cinema year is quickly approaching its ceremonial end. Despite the Academy’s nominations, there were plenty of quality films that got passed over in order to make room for some more popular selections. If Beale Street Could Talk is a beautifully told, if not entirely entertaining, contender that just didn’t make the cut for some reason this year.
When your previous film wins Best Picture, the follow up is almost never going to live up to expectations. Most people hadn’t seen or even heard of Moonlight when it took home the Oscar in 2017 but Barry Jenkins isn’t afforded that kind of anonymity anymore. He also took home Best Adapted Screenplay that year and his definitive style married beautifully with James Baldwin’s 1974 novel. His films are typically on the slow side, centered around rich and layered characters rather than plot driven mechanisms and this was no different. The story of young lovers set against the early 70s Harlem backdrop is still poignant today with themes of racial injustice and systemic inequality permeating an intensely passionate love story which elevated the context beyond the characters on screen. His trademark use of intense close-ups was still on display but the overall production value was noticeably more robust. There’s undeniable artistry to the production that comes across like an oil painting. Boldly warm and colorful with a hint of surrealism. Jenkins nabbed another nod for Best Adapted Screenplay this year but missed the shortlist for Best Director. This film will have a large footprint outside of the awards shows and the immensely talented young director will surely find himself at the helm of another big-time project in no time.
When Regina King took home the Golden Globe for Best Supporting Actress, it was extra motivation to finally see it. Up until that point, the film had received mostly positive but not overwhelmingly glowing reviews. I’m generally not the type to base my viewing habits solely on reviews but her win essentially got me to buy the ticket. However, as the film rolled along I kept waiting for the moment where King was going to steal the show and define that Golden Globes win. For me, it never came. The beauty of her portrayal rests in the subtlety of it. A soon-to-be grandmother, she must navigate a fine balance of protective maternal instinct and controlled frustration. Now an Oscar nominee as well, she played a very realistic character in a film that had some powerful dreamlike elements. This was a strong performance, no doubt, but her most commanding moment comes early on and tapers off towards the end. King deserves to be in the conversation for Best Supporting Actress but the role wasn’t quite as dynamic or as present as I would have expected.
Lost in the mix is a brilliant debut performance from KiKi Layne, playing the lead role of Tish Rivers. Rumor has it she was at the auditions to help a friend when she was discovered by Jenkins and subsequently offered the part. She had smaller roles in shorts and TV projects but this was her first real feature film. The whole thing really hinged on her and she provided powerful independence and unwavering spirit in the face of adversity. It’s a really well drawn out character and Layne showed a great deal of strength while still battling vulnerability. In addition to her individual assets, she had good chemistry with her on-screen partner Stephan James, playing Fonny. The story is ultimately about them (and many other people like them) and without their relationship, there wouldn’t be much to cheer for. As a young black male, he is targeted and institutionalized which tests his resolve and character…especially with a baby on the way. James wears the pain on his face incredibly well. It’s not difficult to see the overwhelming downpour of emotions that engulf his spirit while he’s incarcerated. That aspect of the character is a key element in his trajectory and development with his portrayal ranging from the sweet embrace of young love to the emotional valleys of the prison system. I’m surprised these two actors didn’t get more recognition for their work here but it was nice to see genuine working chemistry even if it wasn’t as palpable as some other offerings in 2018.
James Laxton (Moonlight) returned to direct photography for Jenkins and made some beautiful camera choices once again. There was more to work with this time around and it showed. Laxton really showcased the differences between indoor and outdoor lighting and used that to set background emotional cues. He also used a lot of those aforementioned closeups Jenkins is so fond of, almost invading the actors’ space. It’s a technique that focuses the attention much more intimately. And speaking of intimacy, Nicholas Britell composed some stunning, emotional music to accompany this feature. With the pace of the film being so slow, even coming in under two hours, having that score to lean on went a long way in keeping everything fluid. It’s no surprise to see Britell’s name on the list of nominees for Best Original Score.
For as beautiful as this movie was in numerous ways, it’s unfortunately very slow also. As the audience, you’re stuck between appreciating its beauty and disappointment at its pace and lack of resolution. On the other hand, it’s a sadly familiar (if not wholly unique) experience for the African American community and carries a stronger resonance. Just for context, If Beale Street Could Talk (7.7) actually holds a higher IMDB score than Moonlight (7.4), BlacKkKlansman (7.5), and Black Panther (7.4) but it lacks the sheer entertainment value of this year’s nominees. The Oscars are going to do what they want in order to get people to watch but take their nominations with a grain of salt. The Academy seriously missed the mark on this one.
Recommendation: If you enjoyed Moonlight, then Beale Street is a logical progression. It’s not quite as raw but that’s to be expected. There are some strong acting performances and scene-setting on the table but be prepared for a slow journey.