Are African-American Movies Realistic?

I was reading a very interesting article by Associated Content producer Wes Laurie. The article titled, "Movies and Television For Black People: Do Black People Like Them?" was intriguing. I found myself thinking about all the African American films that I have seen in recent years. And I realized that as a person of color, there were more that I didn't enjoy than ones that I did. Admitting this however, does make me a little uncomfortable-not because I am ashamed of my tastes, but because I really wished that I felt more compelled to support the black movies and shows made available. I will also confess that my tastes are a bit more peculiar than those of my immediate peers. I tend to enjoy movies that are a bit avant garde. Yes, I will sometimes take in a "guilty pleasure film" (goofy and/or predictable mainstream fare). But most of the time, whenever I see a new African-American film advertised, I cringe. In reading Laurie's article, I realized that I am not the only one doing the cringing. Here are some reasons why...

The Buppies ("Black Upwardly-mobile Professionals")

Sometime in the late 1990's black people began assuming more respected roles in film. For instance, the romantic comedy,The Best Man featured a group of successful twenty-somethings coming together for a wedding. This movie introduced the African-American community to the notion of education, and personal success. But somewhere along the line, black filmmakers felt the need to place their characters in cookie-cutter roles. Suddenly, every chocolatey film star portrayed a super-successful corporate maverick, trying to make it in a cold, harsh world. While the notion of black people in Corporate America certainly isn't a foreign one, the way that they are portrayed in films often results in "wooden" characters to whom few black people can actually relate.

The Rap Game (Hip Hop/Hood Films)

When cameras first hit the hood several years ago, it was amazing to see popular rappers like Ice Cube, Nas, and Tupac acting on the big screen. Earlier movies like Juice, Boyz N the Hood, and Belly served up a slice of reality that many disenfranchised youth could identify with. But with the unbridled success of these films, came a host of others. But the difference could be identified right away. Movies like Baby Boy set the precedent for a rash of underground African-American films with the same, if not similar themes. This isn't to say that "hood-related" films are not authentic. However, the characters (and the situations they're placed in) seem overly glamorized to the point that they're no longer believable. On the other hand, Hustle and Flow achieved widespread success because the storyline (pimp-turned rapper with a heart) was simultaneously repulsive and touching---a dichotomy that people can often account for.

Slapstick Drivel

Wes Laurie in his article, also references films such as Tyler Perry's line of movies, Big Momma's House, and Johnson Family Vacation. These films have also achieved some measure of success. But the mainstream criticisms still ring loud and clear. Too few black people can really identify with the exaggerated personas presented to them on film. For example, in the 2005 film, Diary of a Mad Black Woman, Helen (played by Kimberly Elise) falls in love with a "perfect-looking" truck driver played by Shemar Moore. In Madea's Family Reunion the main character falls for the "perfect-looking" bus driver. In Daddy's Little Girls, Gabrielle Union's character falls for a sensitive limo driver. If someone watched only films like these, he/she might think that all black women who live in the south have horrible luck with men who are not blue-collar workers. While the message (that blue-collar men deserve, and are capable of love) is ultimately a positive one, it is essentially lost when piled underneath an artificial façade. Where are the stories about black men who work in the I/T department? Or in healthcare? Don't they fall in love too?

Some Honorable Mentions

There are some African American movies that seem to have drifted far beneath the radar. Period films such as Eve's Bayou offered a peek into a subculture that many black people were not privy to. Director Kasi Lemmons chose to keep the story broad, painting authentic pictures of the characters both young and old. ATL, a popular 2006 film starring plenty of Atlanta-native rappers, introduced a subculture of school-aged teens, and the angst that they tend to feel growing up in southern suburbs. Furthermore, Outkast members, Big Boi and Andre 3000 received mixed reviews for their period "musical", Idlewild. And while some couldn't grasp the theme or creative filming, others offered kudos for the movie's brilliant portrayal, and its array of colorful characters.