DEAD PRESIDENTS
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.9
United States, 1995 U.S. Availability:10/4/95 (limited); 10/6/95 (wide) Running Length: 2:00 MPAA Classification: R (Violence, profanity, sex) Theatrical Aspect Ratio: 2.35:1
Cast: Larenz Tate, Keith David, Rose Jackson, N'Bushe Wright, Chris Tucker, Freddy Rodriguez, Bokeem Woodbine Directors: Allen & Albert Hughes Producers: Allen & Albert Hughes Screenplay: Michael Henry Brown based on a story by Allen & Albert Hughes and Michael Henry Brown Cinematography: Lisa Rinzler Music: Danny Elfman U.S. Distributor: Hollywood Pictures
Although three-quarters of DEAD PRESIDENTS (the title refers to the portraits on money) takes place in the Bronx, it's the segment away from New York that drives the story. There have been any number of Vietnam tales--Oliver Stone has made a career out of that time and place--but none with quite the perspective of the Hughes Brothers'. This is the story of a black man who goes off to war as a relative innocent, and returns a decorated hero whose only scars are inside. His re-acclimatization to civilian life is difficult, but, unlike some of his friends, he never turns to drugs, and isn't averse to working hard to earn a living. Sometimes, however, good intentions and a valiant effort aren't enough. In detailing one man's actions and their consequences, DEAD PRESIDENTS isn't just an African American tragedy -- its impact is universal. People of any color can sympathize with the plight of Anthony Curtis and understand, if not agree with, the eventual choices life forces him to make.
DEAD PRESIDENTS opens in 1969, as Anthony (Larenz Tate) is about to graduate from high school. Not wanting to go to college, but needing to get away from home to find himself, he enrolls in the Marine Corps, and heads off to Vietnam, leaving behind a middle-class family, a pregnant girlfriend (Rose Jackson), and a mentor/small time crook, Kirby (Keith David), who is like a second father. Joining Anthony in the military are two of his close friends, Skip (Chris Tucker) and Jose (Freddy Rodriguez). When Anthony finally comes back to the Bronx in 1973, after two tours of duty, he discovers that returning to "normal" life isn't easy or pleasant.
Although DEAD PRESIDENTS isn't as intense or wrenching as the Hughes Brothers' debut feature, MENACE II SOCIETY, the scope is different. In addition to being a period piece, this film is concerned with the detailed examination of one character--a decent, diligent, upright young man whose morality and judgment are twisted by the pressures of his environment. DEAD PRESIDENTS is also somewhat different from most of the vast number of cinematic Vietnam experiences because its focus is on how the overseas trauma contributes to the reconstruction of a man's character. DEAD PRESIDENTS isn't awash in originality, but its black perspective hasn't yet been overdone, and the Hughes Brothers' add their unique imprint to the narrative.
Larenz Tate, who played O-Dog in MENACE, reunites with the twin film makers in their second feature. His role here requires greater range (although less intensity), and he carries it off with aplomb. The remainder of the cast is as strong, featuring standout performances by Keith David, N'Bushe Wright (as the sister of Anthony's girlfriend), and comedian Chris Tucker. Tucker's work is noteworthy, as he manages to provide a fair amount of comic relief without compromising the viability of his character.
Even though DEAD PRESIDENTS is more about the effects of poverty than those of racism, only the most naive viewer could completely dissociate the two. Nevertheless, the Hughes Brothers don't overtly introduce race as an issue. Instead, this is about the failure of society, and how desperation, more than greed, can lead to radical and violent acts. The film is not perfect--certain sequences are awkward or drawn from stock, and many of the supporting characters are stereotypes--but solid storytelling and tight pacing push DEAD PRESIDENTS through its weak spots. The result not only reaffirms the Hughes Brothers' ability as film makers, but shows they can go beyond the limits of the urban street drama they presented so forcefully in MENACE II SOCIETY.
- James Berardinelli (jberardinell@delphi.com)
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