Love Jones (1997)

reviewed by
James Berardinelli


                                     LOVE JONES
                       A film review by James Berardinelli
                        Copyright 1997 James Berardinelli
RATING (0 TO 10): 7.0 
Alternative Scale: *** out of **** 
United States, 1997 
U.S. Release Date: 3/14/97 (wide) 
Running Length: 1:48 
MPAA Classification: R (Sex, profanity, brief nudity) 
Theatrical Aspect Ratio: 1.85:1 

Cast: Larenz Tate, Nia Long, Isaiah Washington, Lisa Nicole Carson, Bill Bellamy, Leonard Roberts, Bernadette L. Clarke Director: Theodore Witcher Producers: Jeremiah Samuels and Nick Wechsler Screenplay: Theodore Witcher Cinematography: Ernest Holzmann Music: Darryl Jones U.S. Distributor: New Line Cinema

LOVE JONES won the 1997 Sundance Film Festival Audience Award. That in itself means little. Consider, for example, that the 1996 winner was THE SPITFIRE GRILL, one of the most manipulative films of the year. Even so, it's difficult to envision this motion picture, a traditional romance with non-traditional characters and circumstances, as an award-winner. It's enjoyable in an undemanding way, but it never takes any real risks, nor does it display much ambition. As a result, LOVE JONES' victory probably says more about the "mainstreaming" of Sundance than it does about the film.

It's an unfortunate trend in modern American movies that whenever a motion picture with a cast of African American actors is released, we expect it to feature violence, urban decay, and a heavy rap soundtrack. LOVE JONES, the feature debut of writer/director Theodore Witcher, offers none of these elements, which makes it something of a fresh experience. Instead, this is a simple romance between two young, attractive, middle-class black characters who appreciate poetry and Charlie Parker music. The film is entirely free of violence; there's not a gun or knife to be found.

The main characters are Darius Lovehall (Larenz Tate), a soulful poet with a roving eye, and Nina Mosley (Nia Long), a would-be photographer on the rebound from a long-term relationship. He has only once been with a woman for more than six months; she's through with love, saying that it's "played out like an 8-track". Needless to say, the two meet each other, sparks fly, and they end up in bed. And, even though the truth is obvious to their friends and everyone in the audience, they assert that they're not in love, they're "just kickin' it". So, when complications arise, as they must in any motion picture romance, the question (which in this sort of movie isn't that hard to answer) is whether their relationship can survive the stormy waters.

There are several reasons why this film works better than the common, garden-variety love story. To begin with, the setting and texture are much different than that of most mainstream romances. The culture, in which post-college African Americans mingle while pursuing careers and relationships, represents a signficiant change from what we're used to. The Sanctuary, the intimate Chicago nightclub where Darius and Nina meet, is rich in its eclectic, bluesy atmosphere. And LOVE JONES' dialogue is rarely trite. When the characters open their mouths, it usually because they have something intelligent to say, not because they're trying to fill up dead air with meaningless words.

Larenz Tate (DEAD PRESIDENTS) and Nia Long (BOYZ 'N THE HOOD) invest their portrayals with a great deal of energy. The chemistry between Darius and Nina alternately sizzles and smolders, resulting in a relationship that varies from playful to hot. While the romantic dynamic between these two is familiar, the performances add a refreshing dimension to the often-stale choreography of motion picture love affairs. And, in a surprising move, while Witcher ends the film on an upbeat note, there's no "happily ever after" promise.

The supporting cast is populated with colorful characters. The most successful are Isaiah Washington's Savon Garrison and Bernadette L. Clarke's Sheila, both of whom seem like genuine people with legitimate personalities. Less impressive are Bill Bellamy as Hollywood, a stereotypical ladies' man on the prowl, and Lisa Nicole Carson's Josie, who consistently strikes a false note.

The Sundance Audience Award notwithstanding, LOVE JONES isn't the kind of motion picture to inspire unqualified raves, nor is it likely to obscure the memory of SHE'S GOTTA HAVE IT. It runs a little too long for something so predictable, and sometimes the smart dialogue gets a little too clever. Anyone who enjoys well-executed romances will find a lot to like about this film, but it lacks the strength of originality evident in those movies that inhabit the genre's top echelon. LOVE JONES is a perfectly respectable entry into the late winter box office sweepstakes provided you don't take the Sundance pedigree too seriously.

- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin


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