I LIKE IT LIKE THAT
A film review by James Berardinelli
Copyright 1994 James Berardinelli
I LIKE IT LIKE THAT
Rating (0 to 10): 7.8
Date Released: 10/14/94 (NY, LA); 10/21/94 (elsewhere) Running Length: 1:47 Rated: R (Language, sexual situations, violence, mature themes)
Starring: Lauren Velez, Jon Seda, Jesse Borrego, Lisa Vidal,
Griffin Dunne, Rita Moreno
Director: Darnell Martin
Screenplay: Darnell Martin
Cinematography: Alexander Gruszynski
Music: Sergio George
Released by Columbia Pictures
Writer/director Darnell Martin, filming her first feature, was determined that the final version of I LIKE IT LIKE THAT would match her initial intent. Despite pleas and threats from Columbia (who bankrolled the project), she would not add to or alter certain scenes to increase their sentimental content, nor would she make changes to advance the film's likelihood of pleasing crowds. When the producers asked for something that was not part of Martin's script, she categorically refused to capitulate, at one point expressing a willingness to see the picture shelved rather than tampered with.
The result is a film with a clear sense of vision. I LIKE IT LIKE THAT has its share of minor glitches and problems, but its overall depiction of life in the Bronx's Latino community comes across with startling clarity. Martin's film is a frantic work, with the chaos surrounding her main characters vividly presented. Many times, so much is transpiring on screen that it's difficult to know what to focus on.
Similar in theme and content to Allison Anders' MI VIDA LOCA, I LIKE IT LIKE THAT tells the story of Lisette Linares (Lauren Velez), a young wife and mother struggling to cope while her husband Chino (Jon Seda) is in jail. Without a job, she has no money; hence, no way to bail him out, feed the children, or keep the youngest one in diapers. Her only support comes from her cross-dressing brother Alexis (Jesse Borrego), who offers advice rather than money (he's saving up for a sex-change operation). When she finally gets a job opportunity as an assistant to music producer Stephen Price (Griffin Dunne), everyone in the neighborhood misunderstands her relationship with the white guy in a hot car, and the salacious gossip eventually makes it back to the jailed Chino.
At first glance, I LIKE IT LIKE THAT might appear to be yet another in the rapidly-expanding catalog of "life on the street" stories. This film's tone is distinct, however, with a polished style more reminiscent of Spike Lee's CROOKLYN than the numerous "grittier" ghetto tales. This is not a low-budget production, and it shows.
Martin sets up two different worlds: the Bronx, with its poverty, stoop-sitting, and drug deals; and the working world to which Lisette escapes each day. In every way, the portrayal of the former is stronger than the latter. When it comes to the streets and apartments of a decaying neighborhood, Martin's feel for setting is on-target, and at times almost overpowering. In the offices and restaurants where Stephen Price hangs out, however, things are not as well-defined.
The dynamics of the central relationship between Lisette and Chino, while following a fairly traditional arc, are interesting because of the characters' multi-dimensionality. Strongly independent, Lisette needs a source of freedom and solitude, and a means away from home of reinforcing her sense of self-worth. These things she finds in her job. Chino, on the other hand, is defined by traditional macho attitudes. He doesn't want his wife to work--supporting the family is his responsibility. How these two balance their dreams and fears with the need to care for their children represents the movie's most engaging aspect.
Occasionally, Martin is over-reliant on facile plot devices, and a few of I LIKE IT LIKE THAT's scenes have a self-conscious feel (this mostly occurs when the script attempts to force a comic moment rather than letting the humor occur naturally). The two "weak links" are Dunne's Price and Rita Moreno's Rosaria Linares (the "wicked mother-in-law"), both of whom are relatively uninteresting types. Rosaria's primary reason for inclusion appears to be for comic relief.
In a high-voltage screen debut, Lauren Velez captures the audience's attention and keeps it riveted. She outshines the rest of the cast, including the respected veterans. Films of this sort demand strong lead performers, and I LIKE IT LIKE THAT has a standout.
Movies in the 'hood often feature heavy smatterings of violence, but I LIKE IT LIKE THAT is more often concerned with emotional scarring than the physical equivalent. There are moments when beatings are shown (obliquely or directly) but, with the exception of a brief-but-telling scene, guns do not play a role.
I LIKE IT LIKE THAT comes roaring off the screen with intensity, a loud soundtrack, and a lot of fast-paced dialogue. Focused in purpose and adept in execution, the movie provides a new window into inner city life. While the themes and subjects are not unique, the manner of their presentation is, and for that we can be thankful to Darnell Martin for her obdurate attitude when faced with producers more interested in box office grosses than artistic content.
- James Berardinelli (blake7@cc.bellcore.com)
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