RESPECT

 Jennifer Hudson     Forest Whitaker     Audra McDonald     Saycon Sengbloh

Tituss Burgess     Marlon Wayans     Mark Maron     Albert Jones 

Respect shows a cross-section of Aretha Franklin’s life from her childhood up through the first several of her many successes (1972 album Amazing Grace).  It makes good use of flashbacks to fill out the early stories, showing the kind of background from which Aretha came and the strong influence of her father throughout her life.  His influence even extends to her standing up to him and forging a life and career unbeknownst to him.  That he did not approve didn’t seem to lessen their continued deep love for one another even through rocky times.

And there would be many rocky times as a function of the first man Aretha chose to marry, the rigors of a music idol’s life, a certain degree of rebelliousness, and her own susceptibility to alcoholism.  The story is well told, and although beginning sections of the 2½ hour film could have been shortened, the rest of the production is gripping.  The processes by which Aretha and her fellow musicians are composing and recording songs is highly entertaining, both for their explication of the process and the discord/accord that rises and falls.  When a song hits that special note, the audience breathes a sigh of relief and has a joyful moment along with the musicians.

Young director Liesl Tommy, whose previous work has been in television, shows great sensitivity in the types of experiences she has chosen to feature, in the aptness of the flashbacks, and in the overall picture of the times during these periods of Franklin’s life.  She has shown good judgment as well in showing almost complete renditions of many of Aretha’s most popular songs.  Credit is likewise due to the primary writer, a close friend of Liesl, Tracey Scott Wilson (TV’s “Fosse/Verdon” and “The Americans”), who was thrilled to work on the project after being a fan.  She says, “It’s one of those things where you want to get it right. She’s just so important. There’s not many musical biopics about Black women in general. It was really important to us to represent her as she was, with a lot of love and care.”

As Aretha, Jennifer Hudson (chosen by Aretha before her death), captures the music and the complex/complexing personality that was Aretha—her early sense of herself as someone who knows her own mind and has clear opinions and one with a rebellious streak who may show flashes of temper.  At the same time, one who could be meek and at sometimes be sensitive to another person’s point of view.  

Forest Whitaker, with so many credentials in portraying complex characters, is a perfect choice to stand in as a powerful man with obvious weaknesses and contradictory positions.  All the actors chosen are strong:  Audra McDonald cameos of Aretha’s mother; Marlon Wayans as an abusive, controlling husband; Tituss Burgess as a mentor to the child Aretha through her adulthood; and the music producers played by Mark Maron and Tate Donovan.

As a biopic, Respect is likely to please the fans of Aretha Franklin.

 

“How does the woman with the greatest voice of all time find her own voice?"    

 Director Liesl Tommy

Grade:  A                              By Donna R. Copeland

ON THE ROCKS

Bill Murray     Rashida Jones     Marlon Wayans     Jenny Slate

     On the Rocks succeeds like Sofia Coppola’s films usually do; they are well composed with fine actors, music, and cinematography.  They are also low-key, although excitement does build here with the detective elements and fine locations spicing things up.  Even though it is somewhat predictable, it is enjoyable and would make a fine date movie.

     Laura (Jones) is a writer and young housewife whose young children occupy a good deal of her time.  Her husband Dean (Wayans) is often away from home, trying to build up a new company that has a lot of promise.  They seem very happy together, but when a couple of odd things happen, Laura confides in her father (Murray), a debonair art dealer who seems to engage every woman he meets in whatever circumstance—even ordering a meal at a restaurant.  Not only that, he is a world traveler and has made contacts everywhere he goes, from concierges to wealthy prospective and past clients.  He’s a lesson in making sure one keeps track of and remembers everyone crossing his path. Even when he is stopped by a traffic policeman in his red sports car, this information comes in handy.

     When Laura talks to her father about the “odd things” happening, in his response, as well as his philosophy about men and life, we see a tinge of self-projection in his perceptions, and that becomes part of the mystery of the film. As he drags his daughter around to all kinds of luxurious settings, we’re like Laura in wondering where reality ends and fantasy begins.  But whereas we can enjoy the experiences, she is usually on edge and in doubt.

     Rashida Jones portrays the young woman very well; indicating the sense of responsibility that Laura grew up attaining, but not having fully developed a sense of self-worth and confidence that would tide her over in writing blocks and questions of trust.  Murray plays his role like the pro he is with the ability to charm/wheedle/reason his way through any situation while still listening attentively to another point of view. Marlon Wayans does an excellent job in portraying a husband mostly oblivious to the emotional turmoil around him, but clearly having a zest for life.  His good looks and affability feed into the possibility that he has other things on the side.

     I loved the insertion (for comedic relief, I guess) of the Jenny Slate character, Vanessa.  She serves essentially as a stand-up comedian capturing Laura in the line to take their kids into school, pressure-talking about her own interests without regard to anyone else, even her own children, who seem to be an after-thought.  I figure that’s an experience everyone will recognize.

     Additional aspects of the film that are impressive include the musical score by Phoenix, always capturing the mood, and the cinematography by Philippe Le Sourd. Some of Le Sourd’s urban images—especially at night—reflect thrilling creativity.  Also, the mixing up of the races within a family was refreshing to see.

 

An enjoyable escapist film for ones isolated during these trying times.

 

Grade:  C+                                    By Donna R. Copeland