Un grappolo di sole

I can honestly say I enjoyed this movie, I enjoyed the 1984(?) version with Danny Glover and was hoping to catch a treat with this film. A treat a received greatly.

Yes this film had many flaws, as does every movie. So I shall give the flaws then the bright side of the film Flaws: I was bored the first half of the film, it moved in a little slow, and Sean Combs performance didn't help. I felt that the cast excluding Sean Combs was superb and was full of real emotion and strength. Combs was trying to hard to act, when he should have let it flow and have a real feeling for the character and not just try to over act. He does have his moments though, but those moment are quickly cut back to his not letting it flow and not having a true feeling for the character.

Bright Side: The film was a delight. Raw emotion and strength from the leading ladies and the leading men(excluding Sean Combs). Phylicia Rashad was full of emotion and pride, that you instantly love her and feel for her and the pain she goes through. Audra McDonald is superb and excellent actress who is going somewhere, you also feel for her and go through struggles and emotion. Beneatha Younger (Sanaa Lathan) is spunky, yet naive. You love her and many of my young generation can relate to her.

Overall: The acting is brilliant coming from the cast, again excluding Sean Combs yet he does have moments. Direction is great, and the feel and emotion and strength is just excellent 8/10 -Izzy

P-Diddy's performance in the film is P-thetic. Apparently tired of saying the same words night after night on stage has dulled Mr. Combs into a stunned stupor to which his bland expressions and monotone delivery attest. He seems at home with "da Homies" (Willy Harris and Bobo) at "da Club"(The Green Hat) but he can't switch his New York gangsta talk with a Southside Chicago accent. The fact that Willy Harris is a dead ringer for Snoop Dog didn't help. Mama was right; Walter does look (and sound) "like somebody's hoodlum". Mama, by the way, played by Phylicia Rashad, was amazing. She looks younger than other Lena Youngers on screen which is good as Walter is only 35 so Mama is probably not the white haired old lady directors like Daniel Petrie tried to make her look. Besides the youthful look, Rashad gives a very heartfelt performance making me think that Bill Cosby did the world a disfavour by holding her back from honing her serious side. Audra McDonald, in my opinion, is the best performer in the group. As wife Ruth, she really hits home with her every emotion.When she cries, we want to cry with her although at times it seems she's just crying at the atrocious performance by her lesser half, the Puffster. Rounding out the cast is David Oyelowo as the Nigerian Asagai (Oyelowo is, himself, Nigerian) and John Stamos as a handsome Mr. Lindner (alas, the not so handsome John Fiedler is no longer available for the role). I watched this film continually thinking what heights it might have reached if someone more competent was in the Walter role. Maybe they can use Computer Generation to insert Sidney Poitier's performance. That would be great.

6/10 - a movie based on an award-winning play that just didn't quite capture the true feeling of its source material

I think the movie was pretty good. The actors were great. They knew what was happening. The book and the movie are very similar. Some scenes are added or some don't show up. For example in the movie it gives more details than the book. It shows more and in the book it mostly takes place in the Younger's apartment. In the movie the setting is not just in the apartment. The ending in the book is different from the ending in the movie but besides that I liked the movie/book.

There is nothing wrong with remaking and recasting the Lorraine Hansberry masterwork; we shouldn't pay undue fealty to the original cast. I'm sure Olivier's, Jacobi's, and Branaugh's Hamlet would suffer in comparison to the original Burbage performance. Plays are meant to be inhabited by different people as the generations pass. Therefore, there is nothing wrong, in theory, to the making of this version.

This rendition is superior to the 1989 "American Playhouse" performance, which was poorly paced and largely overacted. The female parts are perfectly cast and performed. The same cannot be said, unfortunately, for the male parts.

P. Diddy, or Sean Combs, or whatever name he is going by these days, simply does not have the acting chops to bring out the complexities of the Walter Younger character. Where Sidney Poitier and, to a lesser extent, Danny Glover, were able to grasp hold of the anger and frustration of the man, Mr. Diddy twitches and frowns. He performs as if a lowered head and furrowed eyebrows are the makings of a great performance. I was reminded of Hayden Christianson taking the complex evil of Darth Vader and turning him into a naughty teenager. Combs plays Walter like a street punk.

Sean Patrick Thomas, as George Murchison, fares a little better. He does what he can with what is essentially a superficial and somewhat stereotyped character.

The greatest error is the miscasting of John Stamos as Lindner. He gives the character a harder, more outwardly racist edge than John Fiedler, who created the role. Stamos drips hatred and prejudice just a little too much -- it is easy to ultimately say no to him just to tick him off. Fiedler, working with Hansberry, had a much better grip on the role -- not a man who is outwardly racist, but as one who is sadly misinformed, ignorant (meaning, simply, not understanding), and afraid. Stamos tries to chew up just a little too much scenery.

David Oyelowo, as Joseph Asagai, is the most well cast male in the film, hitting every note required by the character.

The female cast fares far better. Phylicia Rashad recreates and improves upon the role of Lena Younger, breaking the "Mammy"-isms of the earlier performers. Audra McDonald certainly will not usurp Ruby Dee as the definitive Ruth Younger, but does an excellent job in a part that requires an extreme range of emotion.

The greatest revelation in the film by far is Sanaa Lathan as Beneatha. Beneatha is a key character in the play and is relatively ignored in the original, and not particularly well played in the 1989 version. Playing a character substantially younger than she is in real live, Lathan is able to exhibit the hope, anger, childish "know-it-all" attitude and sadness of a young woman in her position. Unfortunately, the screenwriters chose to omit her lovely, sad second-act monologue about her desire to become a doctor; this section was excised in the original film and restored in the American Playhouse version and should have been present here.

Overall, this is a worthwhile film, but imperfect in many ways.