IF BEALE STREET COULD TALK
Director Barry Jenkins, whose last film, Moonlight, won a Best Picture Oscar is back with his sophomore effort, If Beale Street Could Talk, based on author James Baldwin’s 1974 novel of the same name. Jenkins is working with much of his Moonlight crew again, including editors Joi McMillon and Nat Sanders, cinematographer James Laxton, and composer Nicholas Britell.
Set in Harlem, New York in the 1970’s, Beale Street is narrated by Tish (Kiki Layne) Rivers, a 19-year old woman who falls in love with her childhood friend Alonzo “Fonny” Hunt (Stephan James). When Fonny is wrongly convicted of sexual assault and sent to prison, both their families are devastated. While Fonny’s away, Tish discovers she is pregnant, spurring her to prove his innocence so they can both provide for their child. Through Tish’s recounts of their relationship and these events, we see their young love progress as she sets out on a mission to clear his name and resume their lives before their child is born.
If Beale Street Could Talk also stars Colman Domingo, Regina King, Brian Tyree Henry (Paper Boi from Atlanta), Dave Franco, Ed Skrein, Diego Luna, Emily Rios, and Pedro Pascal.
The film wouldn’t be a realistic adaption of Baldwin’s work without racial commentary, and Beale Street definitely depicts that in a variety of ways. What could be considered one of the film’s most pivotal scenes occurs midway in the film between Fonny and his friend Daniel (Brian Tyree Henry). Their conversation begins when Daniel discloses he was recently released from prison. The struggle is real and imminent between these characters on so many levels. Each one dealing with his or her own personal battle which as we see, becomes a communal struggle as well. We witness Fonny and Tish’s struggles to find an apartment as a young Black couple, while holding on to their love, future hopes and dreams.
If Beale Street Could Talk manages to touch on multiple points about America’s lack of respect for Black people. From the unfair prison system, and the mentally scarring effects of incarceration, to racial profiling, economic inequities, legal corruption, and overt racism. How the narrative flows feels all too familiar and akin to where we are in this country today.
James Baldwin’s words were always poignant, bold, and deliberate, so it only makes sense that you’d need a cast that steps up to the plate to do them justice. Fortunately, the people Jenkins assembled for this film do just that. Stephan James finally gets the starring role that’s worthy of his talent. His vulnerability and simmering frustration on film make you fall in love with him, just as Tish does. Beale Street could never work if Fonny and Tish’s chemistry wasn’t believable, but thankfully, it is. From the way their eyes soften when they look at each other, to the way they refer to each other as “husband” and “wife”, their love is the heart of this film.
As Sharon Rivers, Tish’s mother, Regina King is also captivating. This is especially true when we spend time with her alone as she searches for Fonny’s accuser. Although she has limited screen time, Teyonah Parris is a powerhouse as Tish’s sister, Ernestine, delivering some of the most jaw dropping dialogue in the entire film.
Beyond the script, the way the scenes were shot truly reinforces the beauty of Blackness. Beale Street cinematographer James Laxton, manages to capture not only the action but also the emotion with emphasis on close face shots and direct eye contact to the camera. By focusing on Fonny’s eyes and face, the cinematography helps viewers drink in who he is, both aesthetically and from Tish’s perspective. Just as in Moonlight, the lighting on all this beautiful Black skin is impeccable and shouldn’t be taken for granted. A great example of this is Tish & Fonny’s love scene. The overhead shot and the warm glow of the light on their bodies illuminates them while keeping the shot true and sensual. These choices reinforce the notion that love is personal, intimate, and takes time. This film takes time and doesn’t rush the narrative. The crew doesn’t cut any corners when it comes to lighting and framing their talent; it is beautifully shot.
If Beale Street Could Talk offers no apologies and makes it known that this is a film about Black love set in Black America with a universal theme. To confidently set those parameters and follow it through to the end is something that I believe would make James Baldwin proud.
Darryl Rembert
Check out the official trailer to If Beale Street Could Talk:
