Aggiungi una trama nella tua linguaWilliam Boyals, a successful, black, gay attorney in New York, is drawn back to the small, rural Louisiana town he long ago escaped from to investigate the lynching of a black gay childhood ... Leggi tuttoWilliam Boyals, a successful, black, gay attorney in New York, is drawn back to the small, rural Louisiana town he long ago escaped from to investigate the lynching of a black gay childhood friend.William Boyals, a successful, black, gay attorney in New York, is drawn back to the small, rural Louisiana town he long ago escaped from to investigate the lynching of a black gay childhood friend.
- Regia
- Sceneggiatura
- Star
Cornell S. Thomas
- Henchman #1
- (as Cornell Thomas)
Aaron Kleven
- Cedric
- (as Aaron Klevin)
Wilbert Lewis
- Preacher
- (as Reverend Wilbert Lewis)
Nancy B. Shepard
- Funeral Mourner
- (as Nancy B. Shepard Ph.D.)
Celestial
- Martha Boyals
- (as Cecile M. Johnson)
Recensioni in evidenza
Horrible script, ending is a non sequitur, some okay acting, mostly wooden - bad, bad, bad script. Much as I am willing to suspend disbelief in the interest of a movie about gay life this movie is beyond my ability.
Some of the relationship interactions, e.g. between Boyles and Calvin's brother, are interesting and worth watching. Duane's performance is good, the bar owner's is also. This is not the strongest cast, but no- one could do much with this script.
Surprise endings should make sense in retrospect - this one just comes out of the blue, without any reasonable build up or explanation, confusing the message of the movie and disdaining the intelligence of the audience. Also, a message movie about racism and homophobia does not need a surprise ending, it just distracts and detracts. Stupid stupid script.
Would love to see a serious movie about life as a gay black man in the South (or anywhere) - this ain't it.
Some of the relationship interactions, e.g. between Boyles and Calvin's brother, are interesting and worth watching. Duane's performance is good, the bar owner's is also. This is not the strongest cast, but no- one could do much with this script.
Surprise endings should make sense in retrospect - this one just comes out of the blue, without any reasonable build up or explanation, confusing the message of the movie and disdaining the intelligence of the audience. Also, a message movie about racism and homophobia does not need a surprise ending, it just distracts and detracts. Stupid stupid script.
Would love to see a serious movie about life as a gay black man in the South (or anywhere) - this ain't it.
After the first few minutes, I figured I wouldn't give this film anything higher than a 5. The sound is atrocious. The violent scenes are beyond amateurish. Some characters, particularly the Sheriff, were parodies of themselves, and unintentionally painful to watch. And some characters had sudden changes of heart that weren't believable.
But two things hold the viewer's attention. First, Ken Faulcon in the lead role is believable and captivating. And second, the story of twin bigotries is also believable, and the plot is told in a way that the ending was a complete surprise to me, in more ways than one.
I agree with others who said this film could be better paced near 90 minutes. Get a better cast, fine-tune the script, improve the production values, and you could have something. Look what happened to those atrocious Madea videos -- some became half-decent movies. While I give this current film a 6, I'm certain that a remake could achieve a 7 or 8.
But two things hold the viewer's attention. First, Ken Faulcon in the lead role is believable and captivating. And second, the story of twin bigotries is also believable, and the plot is told in a way that the ending was a complete surprise to me, in more ways than one.
I agree with others who said this film could be better paced near 90 minutes. Get a better cast, fine-tune the script, improve the production values, and you could have something. Look what happened to those atrocious Madea videos -- some became half-decent movies. While I give this current film a 6, I'm certain that a remake could achieve a 7 or 8.
I just saw this excellent film at the Asheville Fim Festival and was just stunned! The movie was so well written. The acting flawless. I was in tears at a couple of places during the movie. Mr. Faulcon was just tremendous in the lead role, especially in the last few minutes. His powerful acting was one thing that brought me to tears at the end. It kind of had the feel of "In The Heat of the Night". Very sad movie that makes you think about being gay in the South and also being black and gay in the South. As a note, Mr. Shickner was in the audience and hosted a Q&A after the movie. (I was actually sitting next to him and another producer without even knowing it. Pretty neat!)
Highly recommended, especially if you grew up gay in the South.
Highly recommended, especially if you grew up gay in the South.
"Strange Fruit" does indeed have its flaws primarily the stereotypical redneck Sheriff. Additionally, one has to suspend believe entirely to believe a handsome African American man would come out as gay in high school in the deep south. However, getting past that, how likely is it that a homophobic self-righteous Sheriff would allow a gay bar to exist in his Parrish? Nonetheless, despite the weak plot devices and one-dimensional portrayals of some of the ancillary characters, the movie tells a story that needs to be told. That is, how difficult it is for gays - especially African American gays to find acceptance both in their families and their communities. The dead characters mother provides some telling insight into the whole "DL" phenomenon when she laments that fact that her some Kelvin "Never knew how to blend in." This is very realistic as a lot of African Americans have disdain for effeminate gays. If you're "passable" and keep your personal life hidden, everybody's OK with that. Kent Faulcon, who portrays William Boyals, alone is worth watching this movie for. He's unbelievably handsome, and gives a dignified and powerful performance. His depiction should be required viewing for black male actors who shy away from accepting gay roles. Playing gay need not require sacrificing one's manhood. Also moving is the depiction of a mother who loves her child, but cannot accept his sexual orientation therefore believes she should hold on to her hurt, anger, and bitterness rather than finding a way to deal with it. I would recommend viewing "Strange Fruit" for the social commentary it so realistically portrays.
I saw this film at the Pan African Film Festival and I will be honest I was a little skeptical seeing that someone white was attempting to tell this story (they introduced the writer/director before the film) but from that long opening shot, of the slow tracking shot down the river over the credits I was taken in. Usually when seeing films at festivals, you kind of expect a level of amateurishness to the whole endeavor, but I was thrilled to see an actual real life film. The production value was incredible, and although the filmmakers were cagey about the budget at the Q&A afterwards, I would guess close to a cool million.
As to my fears of the filmmakers race telling the story of the lynching of a gay black man? They were unfounded. The levels that Strange Fruit works on is mind boggling. Most movies these days are afraid to tackle any one of the many issues this film addresses. From racism, homophobia, family dynamics, Schickner navigates his way through such thorny topics without blinking, and right when the audience thinks it has it all figured out the writer pulls the rug out from us all in a twist ending sure to excite and enraged all at once.
Kent Faulcon is a revelation as the star. There was an excitement in the crowd because I think many were feeling what I was as the movie played on: "This is a star in the making". In fact, every actor from Faulcon to the waitress with one line makes you believe you are in the backwoods of Louisiana and not at some actors workshop. It was especially thrilling to see my very first boyhood crush, Berlinda Tolbert who played Jenny on the Jeffersons as the grieving mother. "Moving on up indeed!" The best was the sheriff, he was such a hateful redneck with a heart.
If this film makes it to your town do yourself a favor and check it out. More films need to be like this!,
As to my fears of the filmmakers race telling the story of the lynching of a gay black man? They were unfounded. The levels that Strange Fruit works on is mind boggling. Most movies these days are afraid to tackle any one of the many issues this film addresses. From racism, homophobia, family dynamics, Schickner navigates his way through such thorny topics without blinking, and right when the audience thinks it has it all figured out the writer pulls the rug out from us all in a twist ending sure to excite and enraged all at once.
Kent Faulcon is a revelation as the star. There was an excitement in the crowd because I think many were feeling what I was as the movie played on: "This is a star in the making". In fact, every actor from Faulcon to the waitress with one line makes you believe you are in the backwoods of Louisiana and not at some actors workshop. It was especially thrilling to see my very first boyhood crush, Berlinda Tolbert who played Jenny on the Jeffersons as the grieving mother. "Moving on up indeed!" The best was the sheriff, he was such a hateful redneck with a heart.
If this film makes it to your town do yourself a favor and check it out. More films need to be like this!,
Lo sapevi?
- QuizThis movie was filmed in late 2004, after Barack Obama was the keynote speaker at the Democratic National Convention, and some television pundits had referred to him as "a very articulate black man." That phrase appears on a billboard as the first scene in Louisiana.
- Curiosità sui creditiChico was not harmed in the making of this film.
- ConnessioniReferences La calda notte dell'ispettore Tibbs (1967)
- Colonne sonoreKama Sutra Lover
Performed by Tami, Nadia and Nicole
Lyrics written by Tammy Reese (BMI), Nadia Elmalk (ASCAP) and Nicole Raymond (ASCAP)
Music by Benjamin Chan (BMI)
Produced by zeng @ New Music Unlimited
Published by Squeaky Kirin Music Publishing (BMI) and Squeaky Pagoda Music Publishing (ASCAP)
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Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingua
- Luoghi delle riprese
- Lakeview Memorial Cemetery, 8th Street & Arthur Avenue, Lake Arthur, Louisiana, Stati Uniti(Funeral Scene for Kelvin Ayers)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione
- 1h 55min(115 min)
- Colore
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