"Speaking In Tongues" - Crooklyn (1994)

Note: This will restart my “Speaking In Tongues” column, where I explore a Director’s filmography (or, in case I ever get to Woody Allen, a sample of his filmography) to gain perspective on his/her films, as well as examine potential themes, idiosyncrasies, visual techniques, and other aspects that appear to pop up throughout their oeuvre.  I have a few of Lee’s films, including She’s Gotta Have It, Do the Right Thing, and Clockers within the last two months, but due to time between viewings, we’ll proceed from here (though I can provide succinct commands regarding all three films: CHECK EM).

Plot:  Brooklyn life for the Carmichael family never encounters a dull moment.  Troy, the only daughter, guides us through their trials and tribulations during one eventful summer. 

Review:  Unlike Lee’s previous work, Crooklyn presents a whole hearted family affair that may lack in pressing and vital plot, but nonetheless presents an entertaining and reportedly semi-autobiographical take (the Lee gang is all here in the writing credits) on life in Brooklyn during the 1970s.  Though the family is large and diverse, we eventually find Troy (played to realistic effect by Zelda Harris) is our central character and “odd man out”, being the only female besides the domineering yet loving matriarch (Alfre Woodard).

I couldn’t help but feel vitality and excitement throughout the fast-paced scenes and environment portrayed; not only was the family very enjoyable to watch, but seeing their interactions with the outside also keeps one very entertained, as well as gives you a fairly full world to dive into.  Instead of a diverse and fragmented tale like Do the Right Thing, here we have a consistent look at one group as they happen to be working through a difficult time:  the patriarch (played by Delory Lindo) struggles to keep his finances and his profession as a classical/jazz musician, while the youth of the world only want to hear rock music.  Still, even in times of hard knocks, positivity generally reigns supreme and uninhibited. 

Wendell, PLEASE close your mouth when you chew!

There is an air of familiarity in this work, causing me to reminisce about other “growing up” tales set more than 20 years in the past.  That is not to say that Crooklyn isn’t effective; on the contrary, it could be better than many others of the genre.  However, once the third act sets in, it is difficult to see past certain expectations based on previous knowledge and experiences (maybe Lee was one of the first to establish this archetype).  One must realize that this is more of an immersive experience in a directly specific culture, rather than a story riding on the bumps and beat of a specific plot.  Of course I’m not trying to say this movie doesn’t have a plot; it truly exists!  It’s just not that vital… as are these last two sentences…I need to shut up.

Certain aspects of the film I am still indecisive on relate to consistency.  Troy, being encouraged by her mother, stays with some family relatives for the summer in the more conservative environment of Virginia.  Once we see these new relatives, and for all scenes we spend with them, characters are all noticeably distorted (created by not converting the widescreen format anamorphically after filming was complete) as if she was Alice in the eponymous Wonderland.  I appreciate the movement towards cinematography emulating the characters and their feelings (Troy was essentially in an alien environment) but it was very noticeable.  One should not be taken out of the story if possible, but with this technique, I could not help it.  Was it terrible that at first I thought it was an error?  Props to the effort; not entirely satisfied with the effect.

I must admit that I’ve only really seen Lee’s work when Brooklyn is involved (see first paragraph) though one look at his filmography shows he’s not restricted to the setting.  However, considering those previous films listed, and the film I’m currently writing about, one has to wonder if the setting he arguably knows best (growing up there) is the setting in which he creates the best.  After all, a wise man once said, “Film what you know.”  It may be hard to compare this film to the impact and visceral nature had by previous staples (as well as consistency), but with the maturity and patience he shows in his camerawork and storytelling, along with a run along the emotional gambit from happiness (mostly) to sudden real world disappointments, one can’t help but appreciate where Spike Lee is headed, as well as the vibrant look into a period, time, and place he knows so well. 

Drink of Choice:  A film that periodically delves into the battle between traditional and modern, refined jazz and contemporary rock, needs fun and class at the same time: it needs top shelf liquor and a smiley-faced soda.  I’m going with Crown Royal Reserve…and Coke.