The Poor & Hungry

This is an excellent movie.

Phenomenal screenplay, lovingly photographed, incredibly well acted and directed. I think it's an astonishing movie.

For a first-time, low budget, movie, it's a miracle. Miraculous that it could be executed so well, and miraculous in that the director stayed true to his story and his characters, rather than trying to go over the top in attracting attention and showcasing his brilliance.

It really captures in an honest way the duality of life.

It is amazingly straightforward, told without overacting, building characters whom we wind up caring about.

Call me crazy, but I really find "The Poor and the Hungry" to be the best Craig Brewer movie to-date. Yes, I know it was shot using little Sony camcorders and edited with pro-sumer type stuff, but it's so gritty, so realistic and so darn good, that I think it might just be one of the best "no budget" films of all time. I could watch this "Digi Flick" (a Brewer term) again and again. The power and elegance of simplicity, the earthy cinematography, the wonderfully controlled acting and fist-rate, unique, storytelling, place P&H high above other Brewer films. Having been to Memphis several times, I thought he did a great job of capturing this somewhat complex, divided and historically relevant city, while telling a heart-felt love story at the same time. Wanted to give this a "7.5" but didn't see an option to do so. If you get a chance to see this moving independent feature, make sure you do.

This was one of the best movies I have seen all year. I am not usually into independent films, but this is defanatly one to see! I would recommend this movie to anyone, as I'm sure that I will. Check around on the Independant channels and tune it!

The Poor and Hungry was Craig Brewer's first released feature film. It is not merely a great directorial debut - it is simply a great film on any standard. Rarely has any filmmaker been more able to capture Memphis in its mythic entirety. Before The Poor and Hungry, audiences looked to Jim Jarmusch's Mystery Train as the definitive Memphis flick. But as much as I love that movie, I believe that Jarmusch (a transplant from Akron, Ohio, I might add) has been upstaged by Brewer's more masterful approach to the Memphis scene in which characters have more to talk about than Elvis and Sun Studios, yet hold onto that edge of Memphis funk. Watch out for Craig Brewer - I have a feeling we'll all be hearing more about him in the years to come.

IFC screened this film Christmas Day, and it was a nifty Christmas present! Although I'm not a native Memphian (I landed here in 1989), the opening scenes quickly established Memphis as the setting using a number of easily recognizable landmarks, and managed to portray a very realistic and at the same time sentimental view of the city. So I said to myself, "A movie about Memphis, cool!" and on that basis decided to keep watching.

The next attractor for me was Eric Tate's physical resemblance to someone I know and like personally. So I developed a strong emotional connection to Eli from his very first scene. And then the plot line about Eli's reluctant involvement in a car theft ring hit home with me as well, as I was victimized by just such a ring within two weeks of relocating to Memphis in '89. So within the first few minutes of the film I was hooked three ways. And you know what, it just got better!

Although it took me awhile longer, I did connect with Harper, and I must say Lindsey Roberts stole the acting show with her end-of-the-film closeup portrayal of Harper's grief-stricken heartbreak over the tragedy of Eli's self-sacrifice and Amanda's mis-timed ignorance of it. A great dramatic moment! Nobody with normal emotions could look at Harper's face in that ending scene and not feel the tears welling up in sympathy. I certainly did.

Lake Latimer's Amanda is also poignant and touching. Such a good job playing the exquisitely talented but shy, suffering, lonely introvert with no intimate friends beyond her cello. An unusual, even unique, beauty graces her performance. Especially in the scene where she is alone in Eli's room inspecting his model cars -- Amanda's repressed sexuality longing for expression with Eli, in inner tension with her innocent shyness and fear of intimacy, and the young actresses' body language and facial expressions betraying the struggle. Great stuff from a previously unknown but promising new talent.

The only disappointing element I found is the relatively stiff and somewhat unrealistic, if not hokey, attempts at depicting physical violence and its resulting wounds. Thankfully, the fight scenes in this film are few in number -- the fake blows are more obvious than in an old Western and I found myself wanting to laugh during these serious moments of violence. And there is nowhere near enough bleeding from Eli following his presumed fatal knife wound in the belly. But really a minor distraction from the overall quality of story and characterizations.

The supporting cast does an equally complimentary job. And then the ending credits reveal this film was nearly a one-man production. How about Craig Brewer as writer, director, photographer, editor, and co-producer! Yowza. What a fantastic debut, I'll be getting all my friends to see this one. And I hope one day to stop by the P&H Cafe on Madison and maybe meet Wanda in person -- what a gas.