By Amy Nicholson
By Amy Nicholson
By Daphne Howland
By Amy Nicholson
By Stephanie Zacharek
By Calum Marsh
By Stephanie Zacharek
By Alan Scherstuhl
Dutiful as it is, Jonathan Demme's Beloved doesn't succeed so much as it abides. Nearly three hours in length, this largely faithful adaptation of Toni Morrison's 1988 Pulitzer Prize winner moves in leisurely fits andunencumbered by style or narrative complexitynever loses its forward momentum.
Morrison's novel was inspired by the true tale of a runaway slave who chose to murder her infant rather than allow the baby's capture. For the writer, that gesture was a means to evoke an experience so extreme it confounded expressioncircling around the life of the escaped Sethe (and hence the condition of slavery), Morrison created a terrifying vortex. Eight years after the end of the Civil War, Sethe is living in a haunted house (like everyone else in America) with her surviving daughter, Denver, when her ghosts take the form of the mysterious young woman who gives the book its title. Named for the heart's desire, Beloved is everything to everybody: daughter, sister, lover, the return of the repressed, slavery in a new and awful form.
Deprived of Morrison's dense style and oblique narrative, Beloved's plot is as luridly melodramatic as anything by Faulkner or Hawthorne were they so baldly synopsized. In his infamous critique of the novel as an exercise in martyrology, Stanley Crouch imagined the trailer for the inevitable TV adaptation: "Meet Sethe, an ex-slave woman who harbors a deep and terrible secret..." Demme's movie is scarcely so crass but, as Morrison's Beloved was a sort of gothic, so his overwrought adaptation is, in part, a horror film.
Directed by Youssef Chahine
Written by Chahine and Khaled Youssef
A Leisure Time Features release
At the Walter Reade Theater,
Demme's dilemma isn't so much straightening out Morrison's artfully convoluted storyline as making her essentially literary fiction something literal. The supernatural must be established. When, after years of wandering, the ex-slave Paul D (Danny Glover) finds Sethe (coproducer Oprah Winfrey) living on the outskirts of Cincinnati, her house welcomes him with mad creaks, a red Kryptonite glow, and visions out of The Shining as a prelude to the full-scale table-throwing attack which Morrison describes in a single offhand paragraph. Similarly, the inexplicable Beloved (Thandie Newton) drags herself out of the swamp, covered with bugs and croaking like the possessed child in The Exorcist.
The implicit meaning of every scene is here made explicitnot just the shock centerpiece but also runaway Sethe's dreamlike meeting with the half-crazed white indentured servant who helps her give birth. (Paradoxically, these scenes make the film stranger by confounding its narrative fluidity. Beloved doesn't feel like other Hollywood moviesleast of all the inept Color Purple, which its casting unavoidably references.) Beloved is best when Demme embeds the drama in a raw sense of placethe seasons changing around Sethe's cold frame house, the revivalist meetings her mother, Baby Suggs, leads out back. As the sensory assault of Cincinnati's hog pens is stronger than a poltergeist attack, so the ribbon-festooned party Sethe throws for Beloved and Denver is the most hallucinated sequence.
Hyperaware of his responsibilities, Demme admits no distance from the material. (In a fascinating slip, the director told Time that his fidelity to the book was "slavish.") It is fruitless to imagine what Charles Burnett might have brought to the tablehaving not only guided Glover's strongest performance in the subtly magic-realist To Sleep With Anger, but also delivered an extremely credible picture about slavery in 'nightjohn. Another useful corollary would be Jim Jarmusch's laconic (and doggedly uncommercial) western, Dead Man, but that would have involved recasting the materialin both sense of the word.
Slackjawed and wide-eyed, Thandie Newton throws herself into the title roleexecuting a sepulchral buck and wing with a variety of rag-doll movesbut the most uncanny presence in the movie is, of course, Winfrey's. A project she struggled to make for a decade, Beloved is the celebration of her you-go-girl tenacity. The subject is a family crisisand who knows more about that than her? Ditto the healing message (reiterated in repeated shots of two slavery-scarred survivors making love). Glover helps ground the action, as does Kimberly Elise's grave and self-contained Denver, but the spectacle of a de-(or rather, differently) glamorized Winfrey living out her roots is a psychodrama stronger than acting.
Beloved is less Oprah's vehicle than her time machine. Even more than Morrison, Winfreywho sees herself as a medium for the spirits of specific Negro slaveshas assumed the role of a tribune. Beloved's oscillating tone and close-updriven absence of perspective become more coherent once the movie is understood as an epic version of Opraha show in which the star naturally shifts between autobiographical confession and maternal advice, reliving personal adversity and offering the model of her own empowerment as New Age therapy.
In the logic of Beloved, Winfrey is not just Sethe but Baby Suggs and the eventually actualized Denver as well. (Her audience is represented by the redoubtable church ladies who mobilize to exorcise the past.) Marilyn Monroe returned from the grave invested with Meryl Streep's chops and Barbra Streisand's will in a movie bigger than Titanic wouldn't stand a chance of wresting away Oprah's Oscar. It's the performance of her life. She has made herself her own best guest.
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