Loin d'ici

I knew how this movie was going to end after viewing the first 30 minutes. But, despite that, the journey was worthwhile. The film could have been done a better job of capturing the feeling of the "Delta" had it not been filmed in Canada.

The great thing about this film is that it's so universal. Though it is about a black family and traces its generations since slavery, what shines through is the power of family. Being around family and knowing family history has a way of giving a person a sense of purpose and self esteem that makes them feel a little more sure of himself. It's a pity though that this is not always the case, but the function of family is to heal and to give you the love and support you need to face the world. I guess that's why in this storyline, the loss of family was so tragic and the candle stick became a symbol of not just the father who was sold into slavery but the necessity of family in each person's life.

Al Freeman Jr. is one of the greatest actors of our time. This movie proved it.In fact everyone from this fine gentleman and little Kulani were all in fine form. I also enjoyed the fact that the young man in the story came from the inner city and his grandmother helped raise him so he was polite and caring. The role of Alfre found herself because of the love of her family not a man. The only problem with the movie was the presence of Nathan (sloppy symbolism) and the heavy-handed ending. And why was Anne-Marie Johnson so angry (very contrived). Maya needed some help in the editing room too! (Fades and black-outs were too long.) The movie had many messages about family that were dear to my heart.

A warm and life affirming story. Alfre Woodard gives another memorable, emotionally compelling performance in a story that engages from frame one. Al Freeman's fabulously inspired and understated performance as Uncle Earl is a lesson in how to fully inhabit a character without chewing the scenery. His is a most convincing and moving performance that should not be missed.

Mary Alice has become one of the great African American screen matriarchs now, possessing a vulnerable serenity in this role which underscores our hopes for the rebirth of the urban progeny at the core of this film.

Maya Angelou got up to directorial speed fairly quickly in this debut although some blocking and editing from early in the project (in opening scenes especially) are rough. She doesn't show a professional sense of timing in many of her edits and scene endings, but the heart she brings to her material more than compensates. And there are instances of excellent intercharacter cutting in scenes where it counts. It's fair to say that there's not a wasted scene anywhere in this film. It's equally fair to say that some scenes show more directorial finesse than others. Look for even greater work from this master poet.

The only disappointment is Stanley Clarke's score, an unfortunate embarrassment for Mr. Clarke who is an accomplished jazz bassist otherwise. His score shows little ability to become emotionally involved with dramatic material and no skill with scenic beats and transitions. Clarke had a major opportunity to deliver here and he blew it -- and this is truly a hard movie to screw up.

"Down in the Delta" is movie blessed with plenty of heart and a talented ensemble that delivers. Well worth two hours of your time.

This movie begins in a Chicago ghetto, where Loretta is frankly doing a miserable job as a person and as a mother of two. As a last resort they drop in on her uncle in Mississippi for the summer, and his restaurant called "Just Chicken". From that point the real journey begins, accompanied by a few false starts, but accomplishing a wonderful transformation of not only Loretta's immediate family, but also the others they touch. It *is* a feel-good movie, but one that works well without becoming overly sappy. It's a good story, well-acted and well-directed, and will be enjoyed by anyone who shares traditional family values.