An Ode To "Dreamgirls" (Minor Spoilers Included)

I am supposed to be a film critic. The word “Critic� has 3 definitions:

1. a person who judges, evaluates, or criticizes: a poor critic of men.
2. a person who judges, evaluates, or analyzes literary or artistic works, dramatic or musical performances, or the like, esp. for a newspaper or magazine
3. a person who tends too readily to make captious, trivial, or harsh judgments; faultfinder.

If you are reading this, I suppose that your knives are sharpened and guns locked and loaded expecting me to fulfill definitions 1 & 3. I find myself in a quandary, however. My task here is to judge, evaluate, criticize and make a trivial, harsh judgment regarding Bill Condon’s film adaptation of the Broadway musical Dreamgirls. But how can I truly be a critic when I find (almost) nothing to criticize about the film? Easy: I won’t criticize it. Instead, I will document my experience with this film. Consider this my love letter to this motion picture, for I am indeed in love. Yes, I admit it. This film has completely captured my heart and soul.

Let's start a few weeks before Thanksgiving 2006. I received my weekly Arclight Hollywood (www.arclightcinemas.com – the BEST movie complex in the USA bar none!) newsletter via email when they announced that they would be holding exclusive engagement showings of Dreamgirls from December 15th through the 24th at the centerpiece of their complex: the Cinerama Dome. For $25 bucks, we’d get reserved seats to see the movie and two souvenirs: a full color Dreamgirls book and an authentic lithograph poster. In a matter of 30 minutes, I had my tickets purchased and printed out for the 7:30 PM show on Saturday the 16th.

A few weeks later, while running through my list of weekly TiVo’ed shows, I ran across an episode of Oprah that featured the stars of the film. The audience went nuts as Oprah began to lavish praise on the film as well as the stars of the film. They really went nuts when Jennifer Hudson – who portrays Effie White in the movie – hit the stage. The more the actors spoke, the crazier the audience got. Then Beyonce’ performed Listen, one of the original songs written just for the movie. She blew the roof off Oprah’s studio with that performance.

Then came the critics' screenings. The early word was that audiences should brace themselves to be dazzled and bewildered. Of course, some critics were not as dazzled as the folks in Oprah’s audience. But the one reaction I was waiting for the most was from none other than my friend and sister The Diva - the sassiest and most passionate of the 3 Black Chicks (www.3blackchicks.com). She lives and breathes the Broadway musical. If she said it’s a winner, then it would truly be a winner. If she said it stinks, I would trust her word. When I finally checked in with her, she came back with a response of praise – very nervous praise (more on that later). Hearing Diva’s thoughts only made me want to see the film even more.

Fast forward to a rainy day in Southern California. My wife and I gingerly hustled across the rain-slicked 405 freeway to drop off our 10 month old at his grandma’s house. We had dinner at our favorite Chinese restaurant, and we made our way to Sunset & Vine to the Arclight Cinerama Dome. As I walked in the spacious theatre lobby, I was reminded of another film critic who made a snide remark that the $25 ticket price was Paramount/DreamWorks’ effort to target gay and Black audiences (whom he called the “bling� crowd). The mixed crowd – black, white and every shade in between –definitely silenced that critic’s ASSessment. We flashed our tickets, got our books and lithographs and ventured into the Cinerama Dome auditorium where the film was to be digitally projected across a 32 foot high by 82 foot wide screen. The normally stoic screening room was adorned with disco balls hanging from both sides of the entrance which, thanks to a magnifying light, caused that disco strobe effect to fill the entire auditorium with the Dreamgirls title logo spread across the width of the closed curtains. The crowd was giddy with anticipation as we moved closer and closer to the 7:30 PM showtime. Finally, one of the Arclight ushers, per their standard practice, introduced the film. We applauded the usher’s intro, the curtain opened and the film began.

2 hours and 11 minutes later, to quote the title of a song by one of the film’s stars, I was crazy in love.

First things first, I’d stated from the moment I saw the first trailer that the film will sink or swim, live or die, make it or break it on Jennifer Hudson’s ability to sing The Song. In the African American community, The Song is darn near sacred. Often imitated in many a talent show and Apollo Theatre Amateur Nights, deftly celebrated in episodes of In Living Color and Martin, it seemed as if Jennifer Holiday’s classic performance of The Song – And I Am Telling You I’m Not Going – would never, ever be duplicated. That much is true. Jennifer Hudson did not imitate that original heart-stopping performance in this film. Rather, she Y2K’ed it.

When she sung the opening bars of The Song, a few folks in the audience clapped and yelled out a collective “YESSS!!!� For the next few minutes or so, you could hear a pin drop as Effie White begged and pleaded Curtis Taylor Jr. (Jamie Foxx) to keep her in his heart…not to mention her singing group The Dreams from which she was fired a few moments earlier. Curtis spurns her sung advances and Effie is left alone on stage making her plea.

Tear down the mountain
Yell, scream and shout
You can say what you want
I’m not walkin’ out
Stop all the rivers
Push, strike and kill
I’m not gonna leave you
There’s no way I will
And…


By the time Effie/Jennifer got to that elongated “And�, I pumped my fist and scrunched my face in bewilderment, and the rest of the audience broke into thunderous, earth-shaking applause. And she hadn’t finished The Song yet. But when she did finish, we the audience was captured under her spell. We applauded and cheered as if we were at a live concert. When you experience Miss Hudson’s rendition of The Song, all of those Best Supporting Actress wins – including the one she’s destined to get on Oscar night – will make perfectly good sense.

But Miss Hudson didn’t just use her singing to win us over. She prances across the screen with a confidence and swagger that makes the audience forget that this is her first movie. Effie is brassy, sassy, and barely masking her insecurity - which points to the most obvious spiritual conflict depicted in the film: Effie's pride - which is effectively displayed in Miss Hudson's performance.. Bible readers are reminded that "When pride comes, then comes disgrace, but with humility comes wisdom." (Proverbs 11:2) and that the conflicts that we have with each other, much like Effie's conflict with her creative family, stem from our internal desires that we seek & ask, but with the wrong motives, that we may spend what we get on our own pleasures. Effie's pleasure was the spotlight - the leading role. When that is stripped from her, we witness her descent into humility - which, in turn, causes her to be truly uplifted by the close of the film. Jennifer Hudson truly delivers a breakthrough, star-making performance.

And the rest of the cast ain’t too bad, either. Even more critics (and some fans too) find fault with Beyonce’ Knowles’s performance as Deena Jones, who catapults from backup singer of The Dreamettes to lead singer of The Dreams. It’s as if folks were expecting the Beyonce’ of Destiny’s Child and solo fame to show up onscreen and carry the film on her shoulders. Careful attention to the plot of the film reveals that this is not the case. It’s evident from opening frame that Effie was the epicenter of the group while Deena was content in her background role in the group. She is not called to display much strength in her early scenes. Her uncertainty and insecurity - as shown by her sneaking away from her mother both to perform at the Amateur Night contest and to travel on the road with the group as well as her reaction to the results of the contest - gives evidence to her portrayal. As the film progresses and Deena becomes lead singer and, ultimately, a diva in her own right, we see shades of the Beyonce’ we know and love – particularly in her performance of “One Night Only� and culminating in her unforgettable rendition of “Listen". This song is ultimately a spiritual declaration of independence. Many of us can relate to the lyrics of the song. We have experienced the pain of others trying to control our lives and define our own destinies - whether it's friends, parents, or spouses. But, through the power of God, He gives us the strength to break through those chains of bondage and reclaim our destiny, to find our own voice as Deena powerfully declares in this song...

…Which leads me to my lone gripe with the film. (Spoiler Alert) As powerful of a statement as “Listen� is – especially when you consider that the song is Deena’s declaration of independence dedicated to the man at the recording control booth – it’s power is somewhat diminished because of the director’s choice of inserting a montage over Deena/Beyonce’s performance. By going back and forth between Deena’s recording and this particular montage, we the audience do not get the full emotional impact of Deena’s words. Simple back and forth shots of the recording studio – most notably the subject of the song - and close-ups of Deena singing would have sufficed. But that’s a minor gripe in a major cinematic achievement. Let me get back to my fanboy praise before I further descend into Critic Definition #3 territory.

Jamie Foxx gives an understated yet effective performance as the “dream charmer� car salesman turned record producer/mogul who gives The Dreamettes their big break and eventually renames the group The Dreams. Cool yet calculating, calm yet ferocious, he is the living manifestation personification of a classic Soul record called “The Sly, The Slick, The Wicked�. Anika Noni Rose shines as Lorrell, the third member of the Dreams who eventually becomes the mistress of dynamic soul singer James Thunder Early, played by Eddie Murphy.

Many critics claim that Murphy delivers his best work ever in this film with his rock ‘em, sock ‘em, and ultimately tragic performance. I was not surprised. Eddie Murphy was always good – not just at comedy, but at drama and music as well. Folks must have forgotten that the film that put Eddie Murphy into the Hollywood stratosphere was a hard edged action film called “48 Hours�. Everyone remembers the jokes and wisecracks. I remember most the intensity of the action scenes and how convincing he really was. And as far as his singing goes, everyone remembers his #1 hit “Party All The Time�…not to mention his sidesplitting antics as the voice of Donkey in the “Shrek� movies. Murphy always had the mojo to deliver good performances. He just needed the right vehicle to showcase them. He definitely found the right one, here.

Props also go out to Danny Glover as Marty Madison, James Thunder Early’s time and road weary manager; as well as to Keith Robinson who plays CC White, Effie’s brother and principal songwriter for The Dreams. Sharon Leal, who plays Effie’s replacement in the group, was a bit underused, but she held her own in both the acting and musical scenes.
All these actors together formed a memorable ensemble. Despite all the (valid) praise being heaped on Jennifer Hudson – and gripes about whether she should be nominated in the Lead or Supporting Actress categories – I feel that each member of the principal cast was part of a jigsaw puzzle. Each character/performer fit in his/her own individual place and fulfilled their own individual purpose. They were truly, to quote one of the songs in the film, “a family…a giant tree stretching out to the sky.� Add to that the vibrant costumes, the striking lighting and set decoration, the vibrant and colorful cinematography, the sharp and crisp editing, groovy music that’ll have audiences humming the tunes all the way home and Bill Condon as the captain of this ship delivering masterful direction, and you’ve got yourself a true definition of soul cinema.

I scratch my head at the notion that some critics find Dreamgirls to be missing its soul. Having sat through the film twice now (and counting), I’m bewildered at their observation. They obviously saw a different movie than I did. I see a vibrant and alive piece of filmmaking. They see soullessness. It took my second viewing of this film to understand where these detractors are coming from. (Spoiler Alert) In an awesome scene, James Thunder Early and the Dreamettes are the first Black performers to ever play a particular club in Miami. As Jimmy breaks into the more soulful and passionate sections of the song complete with wailing, bending, pelvis thrusts and hip gyrations, the all White crowd look at him in disgust. One couple furiously walks out of the club before his performance is completed. And it hit me. That scene is the perfect metaphor to describe the negative reaction to the film. This film isn’t soulless after all. Maybe, just maybe, it’s got too much soul for your average stuffy and stodgy film critic (see Definition #3) to handle. When you get right down to it, Dreamgirls is a very intimidating film in comparison to 2006’s other Oscar contenders. It’s bullish, it’s spunky, and it wears its heart and its emotions on its sleeve. And it makes no apologies. It is exactly how I ended my last paragraph: Dreamgirls is a true definition of soul cinema.

And, in addition, the community of African American writers/actors/directors who claim to make soul cinema in their own right have officially been served notice. There is a new standard that has been set. The bar has been raised high. Dreamgirls is the ultimate example of what happens when our best and our brightest artists come together to create art. Perhaps the phenomenal success of this film will spark a new trend: the African American Event Film. I’ve often imagined what it would be like to see Spike Lee direct a film with Denzel, Angela Bassett, Sidney Poitier, James Earl Jones, Nia Long, and Samuel L. Jackson in the same cast. Then, a few seconds later, I’d dismiss that notion as a pipe dream. But with Jamie Foxx, Beyonce’ Knowles, Eddie Murphy, Danny Glover and Jennifer Hudson sharing the screen with this film, maybe my pipe dream has an actual chance of coming true. Whether that day comes or not, this is truly a pivotal moment in African American Cinema. I celebrate and cherish this time and have renewed hope for the future of Black Film.

So, in the end, if Dreamgirls rides off into the sunset of Best Picture, I will be among those who clap and cheer the loudest. I will also be among those who are the most shocked, stunned and amazed. The last couple of times we had a complete work of African American cinema stand so close to the brass ring, we were flat out robbed (The Color Purple (1985): 11 Nominations, 0 Wins; Do The Right Thing (1989): Heralded by many as the best film of 1989; 2 Nominations, 0 wins. These stats are fresh in both mine and The Diva’s mind). This film represents our latest great hope of achieving that elusive symbol of motion picture achievement. However, after reading the year end top 10 lists and checking out the various awards leading up to Oscar night, I am fearful for another letdown – which would explain The Diva’s “nervous praise� that I mentioned a few paragraphs ago. If those fears are indeed made manifest, it will be a shame.

Then again, with the stunning (and controversial) recent Oscar success of Denzel Washington, Halle Berry, Jamie Foxx, Morgan Freeman, maybe this film – in which my kinsmen can lay claim to as part of the collection of Our Stories – will get to have a seat at the Oscar table. Nevertheless, despite the outcome, Bill Condon and his acting/creative team have given this film their 110% and have created an absolutely stunning motion picture achievement; the most soulful film experience I’ve had in nearly 20 years. For their efforts, this film has leapfrogged into my personal list of the top 10 best films I’ve ever seen. Period.

I give you a standing ovation, Dreamgirls. No matter what the critics may say, you will always own a piece of my heart.

A Hollywood Jesus Exclusive: Former Editor Greg Wright Bids a Fond Farewell to HJ

In Spring 2006, Hollywood Jesus embarked on a series of changes - most notably a revamped website and a new Senior Editor (Rick Bonn). As HJ journeys towards the future, former HJ Senior Editor Greg Wright pays a final visit to the site he helped to build. In this interview, Wright sets the record straight about his decision to leave the site, relives his proudest moments as a member of the HJ team, candidly discloses the details of his wife Jenn's medical struggles, and discusses his plans for the future.


Chris Utley: It's always a pleasure talking to you Greg.

Greg Wright: You too, Chris. I've really enjoyed the path we've shared over the last three years or so.

CU: Yes. As the saying goes, it’s been a long and strange trip.

GW: Indeed!

CU: How long had you been Senior Editor at Hollywood Jesus?

GW: Well, back in 1999, I first came on board as David's personal editor. There were no titles for anyone in those days, and initially I didn't even have one. In addition to David, I think Mike Furches and Darrel Manson were writing, and one or two others. When I started actually working on the pre-coverage for Lord of the Rings, I suggested the title "Contributing Editor," and David was fine with that. Later, when Lynn Mellone and Jenn also started contributing some editorial work, David suggested bumping up my title to "Senior Editor." So I worked in that capacity for about three years.

CU: Your LOTR coverage was one of the many things that contributed to HJ's success. Do you still get emails and such regarding LOTR?

GW: Oh yes. I'm a regular on the LOTR fan convention circuit. I also remember the first book signing I did at a book convention in Orlando, Florida. The first man who came through the line was a big fan of our Rings coverage at HJ, and wanted to be the first one to get a copy of Tolkien in Perspective! The LOTR coverage will always be the "golden age" of my association with HJ. It was a curious conjunction of having the right knowledge and a deep interest in the topic as well. Later work, as with The Da Vinci Code strained my interest level a bit!

CU: I recall one of the first pieces I did for HJ was an LOTR piece. : I wrote that piece for the men's group I was in at church.

GW: I remember the piece. "We Are All Gollum," I think was the theme, right?

CU: No. "Everybody Has A Ring".

GW: Yes, that was it. Temptation around!

CU: I never thought that piece would ever get published. Your support...and constructive criticism has truly helped to make me...as well as the rest of the HJ crew...better writers.

GW: It was quite good. I really enjoyed editing the guest columns during that last year of coverage, because the perspectives were so varied. And so good-natured, by and large. Helping other writers has been one of my big goals.

CU: Your presence will truly be missed around here.

GW: Well, thank you. At least I can feel good about passing along some of what David did for me! Learning how to think the HJ way did not come easy at all

CU: So...on to the question everyone's been waiting for.

GW: What's that?

CU: Why did you (and your wife Jenn) step down from your posts at Hollywood Jesus?

GW: The decision point came during the run-up to the release of The Da Vinci Code. As many HJ readers will know, particularly those who followed the After Eden journal, Jenn's health has been very seriously compromised over the last three years due to an ongoing series of complications related to the complete failure of her stomach.

CU: Yes. How is she doing at this point?

GW: Relatively stable. Over the course of the last couple of years, that meant a complete cessation of work in drama, our first calling in ministry. When Jenn's health first went in the tank, the only thing we felt we were equipped to reliably support in the way of ministry was work related to my newly discovered "career" as a writer. So with David's blessing, we launched Hollywood Jesus Books with the release of Peter Jackson in Perspective, and simultaneously published the first print collection of Reviews -- to which you contributed. That was late in 2004. As we came up on the end of 2005, we realized we were reaching a point of needing to make a change in commitments. The books publishing end of things, while still losing money badly, was competing with the time we could give to editing tasks with HJ. When David broke the news at the Annual Gathering in Seattle that some changes were in the works, we thought, huh. Maybe this is what God has in store for us. And when David's new partners, Ted Gartner and Jonathan Bock, decided that task number two, after redesign of the site, was to hire an editor, we threw our hat in the ring.

CU: Let's talk a bit more about that.

GW: Well, Jenn and I interviewed with Jon for the job. Jenn and I had misgivings about even doing that in the first place, because we really had no idea if God wanted us to go in that direction. The one thing that we were sure of was that God seemed to be grooming Jenn for more of an editorial ministry. She was also interviewing for a job with Thomas Nelson publishers at the time.

CU: Seems to me (and many other HJ staffers) that you and Jenn would have made the most obvious choice for editor. What was Jon's initial response?

GW: Naturally, everyone was very enthusiastic about the possibility, if it seemed the right thing to do. And that was the key thing -- not what was the obvious choice, or the easiest choice, but what was the right choice -- from God's point of view.

CU: So your decision was more God led and less about your misgivings about the changes in HJ Administration.

GW: Oh yes, absolutely. Remember, the big factor for us is continuation of healthcare coverage. Jenn's ongoing medical costs exceed $100,000 annually. So stepping our role with HJ, for us, would mean it becoming a full time job. It's the only way Jenn could both work and maintain medical benefits. That is, "stepping up our role"

CU: I understand.

GW: So from Jon's end, that seemed like overkill for a "first step." And it probably was, though naturally HJ has more than enough full-time work to be done. It's just that, for now, the funding doesn't allow that to be done on a full-time paid status. David and Rick still don't get market value for what they do -- not by a long shot.

CU: Yeah.

GW: And as you know from the conversations at Arts & Faith (www.artsandfaith.com - an online web community that offers faith based perspectives on art and culture), David still lives in a trailer. This isn't whining, by the way. This is the way ministers live.

CU: Not many people know that. That'll definitely open some eyes!: Many have the impression that David's raking in the dough from HJ. Definitely not the case.

GW: Hah! Nobody rakes in the dough from HJ. Most people don't know that precious few websites earn money.

CU: Let's address a key issue that many in the Christian film criticism community seemingly can't stop talking about.

GW: Okay.

CU: David Bruce, as you mentioned before, recently took on Ted Gartner and Jonathan Bock as partners in Hollywood Jesus. Gartner and Bock, are also the principals in Grace Hill Media – one of the top Christian based entertainment marketing firms.

GW: Yup. And Grace Hill is one of the top publicist firms.

CU: Some feel that their newfound co-ownership of HJ is a conflict of interest.

GW: Yes. And that's natural, to a certain extent

CU: I've been involved in several very heated debates at Arts & Faith stating that I don't see the big deal. After all, Time Warner owns Warner Bros. who makes movies as well as Time Magazine and Entertainment Weekly - magazines that feature movie reviews. What do you feel are their concerns?

GW: Remember, one of the primary facets of American culture is to assume the worst about people, whether it's the guy in the car ahead of you, the cops, the politicians, our President or our ministers. The issue in all these cases is the same. Given the opportunity for abuses of influence, people of all stripes have shown an amazing capacity for screwing up.

CU: Yes

GW: Now, the reason this is of special concern with some in the Christian film criticism community is that our leaders are admonished in Scripture to above all avoid all appearances of impropriety. So it's appearances that are the concern, not realities.

CU: And, for what it's worth, what are your concerns?

GW: Well, from my standpoint, I don't particularly have any! Remember, I wanted to work with Jon and Ted! But I do understand where others are coming from.

CU: One of those "others"(within the Christian film criticism community) hinted to me that you did have concerns over this new partnership; and that these concerns played a big role in your future plans. Please set the record straight: Is that true?

GW: Oh, I've said online that what I see when I visit HJ concerns me -- not because of my own doubts, but because of how I know others will take what they see, too. The new HJ is so different from the old HJ -- and it's so visually centered around big blockbuster films that Grace Hill has helped promote. That could be easily misunderstood. And that capacity for misunderstanding concerns me. Now, how does that concern play into why I'm no longer editing for HJ?

CU: To set things straight once and for all, does that concern play into why you're no longer editing for HJ?

GW: Only peripherally. There are three factors that are the primary ones influencing how one views that. Let's go through them one at a time.

CU: I'm all ears.

GW: The first is what we feel God wants, as I mentioned before. Now, Jenn and I had decided prior to the release of The Da Vinci Code that we would be relinquishing editorial tasks. And that was before the site's relaunch. And it had everything to do with recognizing that God was NOT calling us to a stepped-up role with HJ. As I mentioned, Jon felt bringing us on board would be overkill, and they went with Rick Bonn instead. So the site redesign, from that perspective, was merely a secondary confirmation of what we already felt God was telling us. As a matter of fact, the site was relaunched after Code came out. Till then, we had only seen rough cuts of the site.

CU: Yes

GW: Now, the second issue was the people involved. David, Ted and Jon are now partners in HJ. And I've gotten to know each of their characters over the last several years. (And yes, each of them is a character, if you know what I mean!) And while it would be easy, from the outside, to cast aspersions on their character, from the inside that's just not possible. So I had every confidence that, whether I was involved or not, these guys would not let petty business factors lead them into ethical quagmires. So that was a wash, as far as I was concerned. Any questions about either of those points?

CU: None at all.

GW: Okay, so the third factor. I've actually started teaching film now, in addition to being a "critic" and columnist. And that has changed about how I see being involved in film criticism in the future.

CU: Wow. Greg Wright: Film Instructor.

GW: Yes, and I've enjoyed it immensely! But here's the deal -- the way in which I talk about film at a Christian college is not exactly compatible with the "spiritual lessons," wholly redemptive style of criticism that we employ at HJ. It really just seems that what I have to say to the Christian community about the arts is leading me away from the "everyone's welcome" environment we have at HJ. It's a different audience. You know how it gets on the forums, right?

CU: Yeah. However the Forums have always been conservative. From my POV, we do a review, we get slammed in the forums for reviewing secular trash. If you recall, that's how we got close because you had to bail me out a bunch of times due to my "spirited responses"!

GW: Well, there's been the conservative elements, yes -- but there's also been the virulent atheists, too -- and with Da Vinci Code, we brought in a big Goddess worship crowd, too. And that was prep for what I'm doing now in Christian education. But remember -- that's not HJ's target audience. It's incidental to the mission.

CU: Yes.

GW: So my real focus now is on what the Church is actually going to do with this newfound influence they are so smugly pleased with.: And an artform they really don't understand. They think it's just a $200 million monkey wrench. Ooooh.... What can we use this for? Beat a few atheists over the head, maybe?

CU: That's a toughie. Trying to get church folks to stop counting cuss words and start marking the parallels between the characters on screen and their real life counterparts.

GW: Exactly. Yes, it is a toughie. And with Jenn's health being what it is, we've only got so much energy to devote. Our primary focus will just not be with HJ any more, though our hearts always will be. Now, this leads to a really positive observation.

CU: Yes.

GW: Well, you know how many of us have always felt about HJ as if it was our "church," and David was our pastor, right? What church do you know that never "sends" anyone out, to go beyond the walls of the church?

CU: AFAIK, HJ (still) is the only film-based ministry that's geared and pointed beyond the walls of the church.

GW: There you go. Virtual walls. No real ones.

CU: With all due respect to the other Christian based film critics out there, HJ reviews are just about the only ones that appeal to the common man. No fancy and flowery words. Just real talk about real issues in film.

GW: So what the church that is HJ has done is prepare Jenn and I to become evangelists to the church at large -- to get them to understand why HJ does what it does, and why it's important -- really important, as art, not just as a club for the Gospel. God will have his way, and we are his ambassadors.

CU: So, as God's ambassadors, what does the future hold for Greg and Jenn Wright?

GW: Well, first, I'm continuing in my capacity with Puget Sound Christian College. In fact, they appointed me as "Writer in Residence" about nine months ago.

CU: Great news.

GW: This is a huge confirmation of a new direction in my calling. Second, we're in the process of formulating a new vision for what film criticism for a Christian audience can look like.

CU: Any plans to collaborate with other Christian film critics to shape this view?

GW: We're learning from them, definitely. Obviously, one of those thinkers is Peter Chattaway, whom you met at the HJ Annual Gathering. Another is Jeffrey Overstreet, who also lives here in Seattle. Jenn and I have contributed a handful of pieces to Looking Closer. If you've read them, you can probably see that they wouldn't at all be appropriate for HJ (Links can be easily found from the News page at hjbooks.com). We really attack the art form, and what's going on from the filmmaker's point of view -- and if that doesn't introduce anyone to Jesus, so be it.

CU: I'll have to check them out.

GW: We expect to be able to make a formal announcement about plans for a new website within a month or so.

CU: And, in the immediate future, you guys are planning an excursion to the Grand Canyon.

GW: Oh yes! David talked about being a pioneer over at Arts and Faith today... With Jenn's medical condition, we're really being pioneers now! G-tube, J-tube and PICC line all in the bottom of the Grand Canyon for six days on a raft. Very very rare.

CU: Wow. Please explain those tubes and lines for the clueless ones out there (like me!)

GW: A visit to the News page at dramatic-insights.org will give a person all the gory details, including photos and diagrams, but the short of it is this: Jenn's stomach has stopped working. So when it gets full, it often has to be emptied -- via an implanted tube. When Jenn's intestines actually work (which they're not right now), they need to be fed -- and because the stomach doesn't work, that also has to be pumped in through a tube. A different one.

CU: Whoa!

GW: The PICC line is a central catheter that pumps nutrition directly into the chambers of the heart. This is third line that Jenn has right now. Naturally, this involves all kinds of syringes, alcohol swabs, tape, gloves, and bags of liquid nutrition.

CU: Wow!

GW: Oh, and did I mention Jenn's also got advanced osteoporosis at 34?

CU: Needless to say, the HJ crew continue to send our prayers and love.

GW: Of course. God's got an interesting plan for us!

CU: Our God is a Healer. It's part of His job definition. We expect Him to heal in whatever way He sees fit

GW: Yup!

GW: And that can bring us, I think, to the final words about the future of HJ.

CU: Any words of wisdom for us whom you and Jenn have left behind?

GW: Well, here's the deal. If anyone -- either on the outside of HJ, or on the inside -- is either frustrated or skeptical about where HJ is headed, three things to remember. First, no one is every more frustrated or skeptical than David himself! So get a grip.

CU: I needed to hear that!

GW: Heh heh. Second, God is more than fully capable of completing the good works that he begins. Third, we can have absolutely no idea (in advance) what that will look like, because we're not God!

CU: To sum it all up. No matter how fearful or concerned we get, remember that it's the Lord who brought us this far. He is in control.

GW: And praise him for that!

CU: Well, thanks for giving me the opportunity to chat with you.

GW: My pleasure, too, as always Chris. Thanks a bunch.

CU: Thank you, Greg. The gang at HJ sends their love, prayers and best wishes.

GW: Thank you, Chris.

Madea's Family Reunion

—1. Overview
—2. Cast and Crew
—3. Photo Pages
—4. Trailers, Clips, DVDs, Books, Soundtrack
—5. Posters (Comedies)
—6. Production Notes (pdf)
—7. Spiritual Connections
—8. Presentation Downloads

(Spoilers Included Throughout This Review)

When Spike Lee burst onto the scene in the late 1980’s with his classic films that opened the eyes of the world to the modern day African-American experience, his mantra was “Uplift The Race.� His success opened the door for a host of other African American artists to enter the gates of Hollywood in search of similar successes. We’ve seen flashes of brilliance, shades of mediocrity, and, most frequently in African American cinema, a dismal—and seemingly endless —fascination with the negative aspects of African American life. Between all the “Soul Planes,� “Booty Calls,� “Get Riches,� and “Menaces 2 Society,� it seemed as if there would never be another film that sought to fulfill the wishes of Spike Lee’s mantra.

Then in February 2004, out of nowhere, Tyler Perry shook up Hollywood with the film version of his play Diary of a Mad Black Woman, which introduced mainstream audiences to his role as the unforgettable Madea. Loved by many audiences and loathed by many film critics, this pistol packing, noise-talking grandmother became a household name, leaving audiences on pins and needles waiting for her next adventure. 1 year later, she’s baa-aack!!!

Usually when a film is not screened in advance for critics—as is the case with Tyler Perry’s Madea’s Family Reunion, that’s a tell-tale sign that the flick is a train wreck waiting to happen. Happily, that is not the case for this film. Madea’s Family Reunion transcends leaps and bounds above Diary. Taking the director’s chair for the first time, Perry delivers a film that is hilarious, romantic, intense and deeply profound.

Against the backdrop of the aforementioned family reunion in the title, we follow three different plot threads in this film. Lisa (Rochelle Aytes), Madea’s niece, is preparing to wed corporate hot shot Carlos (Blair Underwood—playing against his nice guy type with shockingly convincing results). Hidden beneath the glossy and polished exterior of their relationship is the ugly truth of domestic abuse—shown in all its horror on screen—suffered by Lisa at the hands of her fiancé. Lisa’s half sister Vanessa (Lisa Arrindell Anderson), a single mom of two and living under Madea’s roof, unexpectedly finds love knocking on her doorstep… or, in her case, waiting for her at the bus stop. Bus driver Frankie (Boris Kodjoe) has held a torch for Vanessa for a while and pursues her with enough charm and grace to make the women in the audience swoon. And swoon they did in the scene where Vanessa accuses him of only wanting her for one thing just like all the other men out there. Frankie’s response: “I came to restore.� Let the swooning commence!

Meanwhile, our favorite sassy granny unexpectedly finds herself the (unwilling) foster mother of twelve-year-old Nikki (Keke Palmer), a streetwise brat in need of attention, TLC, and a few swats from Madea’s belt for ditching school. As the film progresses, Madea’s acts of love and words of wisdom transform young Nikki from a “problem child� to a proud young girl who gets B’s in Algebra—or, as Madea hilariously calls it, “Al Jarreau� (yep, she pronounces it just like the singer’s name)!

Getting back to the domestic abuse plotline of the story, we discover that the person who’d seem most likely to pull Lisa out of that horrific situation instead is coercing her to proceed with this future marriage from hell. Lisa and Vanessa’s mother Victoria (Lynn Whitfield—in full-blown “All My Children� mode) delivers such “motherly� words of wisdom including blaming Lisa for the abuse that she’s suffered, accusing Vanessa of trying to sabotage the relationship between her and Lisa, and, in a stunning admission, justifying horrendous acts of abuse against Vanessa for selfish financial reasons.

The tension between Victoria and her two daughters reaches a boiling point as the family reunion takes shape. Lisa is confronted about her wedding plans by two of the matriarchs of the family, Aunt May and Aunt Myrtle (Maya Angelou & Cicely Tyson). They are able to capture Lisa’s true feelings about her upcoming marriage just by simply reading the look in her eyes. Later on, in a scene that is destined to become legendary in the annals of African-American cinema, Aunt Myrtle vividly and powerfully encourages her family to “take their place� in the seat of dignity and honor that has been fought for and died for by their ancestors during slavery and beyond. It’s evident in this powerful scene that Aunt Myrtle isn’t just talking to her on-screen kinsmen; she’s talking to her African-American kinsmen beyond the screen. Her words of encouragement literally bounced off the surround sound speakers and into the hearts of the audience. I saw lots of Kleenex being dabbed around folks’ eyes when she was done… especially my own eyes.

Mainstream film critics, once they finally see the film, will undoubtedly belittle the film because of its simplicity (they use the term “pedestrian filmmaking� to describe this) and multiple plot lines. Honestly, the film is part sitcom, part soap opera, part movie-of-the-week, part history lesson, part revival meeting. But, to be even more honest, this film is critic-proof. Perry knows who his real critics are: the African-American community—specifically, the African American church-going community. In this film Perry makes a bold statement to his audience and leaves no stone unturned. He is truly their kinsman, dedicated to uplifting his race. His directing skills may not be as polished as the other big Hollywood directors (MovieMaking Commandment #3: NEVER let a boom mike appear in the midst of your shot!), but the audience couldn’t care less as Perry willfully points his camera directly at their heartstrings for two hours.

Although African-Americans are clearly the target audience of this film, the film’s universal themes are able to resonate with audiences regardless of their race, creed or color. Victims of domestic abuse will definitely identify with the film. Hopefully the message of this story will encourage and enable those suffering though such abuse in their own lives to get help and support for themselves. In addition, those who have survived sexual abuse as a child or teenager will undoubtedly relate to Vanessa’s struggle to fully and completely open her heart to the prospect of true love. Lastly, those who find themselves in conflict with their parents—particularly their mothers—as a result of unresolved hurt and pain throughout their lives may find themselves connecting to the heart of the story as well.

As I look at Hollywood’s (and America’s) bewilderment and shock at Tyler Perry’s success, the words of 1 Corinthians 1: 27 – 28 come to mind: "But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong. He chose the lowly things of this world and the despised things—and the things that are not—to nullify the things that are…" Tyler Perry tried to follow the rules and utilize the Hollywood system to try to get this film and his previous film produced to no avail. One studio executive suggested that African-Americans don’t even go to the movies ($80 million bucks—and counting—later, that exec must be eating some serious crow right now!). But God through Jesus Christ—Whom are willfully and boldly incorporated into Perry’s work—used the foolishness of a African-American man with a very small film budget, a very simplistic theme of forgiveness and redemption (that some critics find is too preachy), and a gun-toting, in-your-face, drop-dead hilarious grandmother to shame the “wisdom� of the Hollywood system… TWICE! Face the facts, Mr. Movie Executive: Tyler Perry is here and there’s nothing you can do about it!

Madea’s Family Reunion—simple as it is—is a great, wonderful, and necessary film! Hilarious, intense and uplifting, it packs more soul and power than most films created within the Hollywood system. Like a good plate of soul food, the film sticks to your ribs as you leave the theatre with a huge smile on your face! I can’t wait to see it again either in the theatre or on DVD!

And don’t forget to stay through the closing credits!

PLEASE KEEP ALL COMMENTS DIRECTED TOWARDS THE FILM. COMMENTS THAT DO NOT PERTAIN TO THE FILM OR THIS REVIEW WILL BE DELETED.

—1. Overview

Introducing Benjamin Christopher Utley

More pictures here: http://bakerman59.smugmug.com/gallery/1191606

Name: Benjamin Christopher Utley
Date of Birth: 2/5/06 (A Super Bowl Baby!)
Time of Birth: 5:06 PM PST
Weight: 6 lbs, 13 oz
Length: 19 3/4 inches long.

Young Benjamin was born via C-Section and is perfectly healthy. Mom is recovering well. Dad is estatic & euphoric! The new and improved Utley family is now home and adjusting to their brand new wonderful life!

A very special thanks to all who prayed for us during this time - specifically the Hollywood Jesus staff! We could not have made it without your prayers! Thank you!