Preto e Branco

Well, at least that's what this movie becomes in the end. Actually, I couldn't finish the movie. I got 90 minutes into it, and gave up hope that the movie would return to its beginning. The movie starts out good, with a nice angry premise. It seemed so full of venom and froth that the movie would turn out to become a great statement about white culture, black culture, inner city culture, middle class culture, etc.

The movie begins with a black man and two white girls having sex. Then jumps to show that one is middle class. Then, in one of its greatest moments, it has a white guy explore the difference between N-a and

N-r. That was a priceless moment. It adds to the fun with Brooks Shields, and Downey (unnecessarily, but fun). And it keeps going with brutality.

However (There's that nasty word), the movie loses itself fairly quickly. It gets caught up with a basketball player being bribe to lose a game, then blackmailed for accepting it. It goes on, and the movie begins to have a plot instead of a theme, which has nothing to do with the theme. Its like, the movie lost its way, and had nothing left to say. I think I knew where it was going to go with it, but it didn't go there. Maybe it was still on its way, I dunno.

But, in the end, the movie would have made a better episode of "Strangers With Candy" than anything else. It lost its way, and I wonder how it ever got greenlighted, nevertheless had all the big stars in it. Well, we all make bad choices (check "Ready to wear (Pret-a-porter)"), but this one should never have been made.

3/10 (for the beginning)

Watching Robert Downey Jr. try to seduce Mike Tyson is worth the ticket price alone, but only just. The appropriation of black hip-hop culture by privileged white teenagers should prove interesting ground for storytelling, but James Toback's film is undermined by the lack of even one likeable character. It's very hard to care about the motivations or destinies of people you hate. Two pleasant surprises amongst the vignettes: Ben Stiller can be convincing outside of trash comedy; and Claudia Schiffer can actually act.

The biggest problem with this film is simply that the white characters are portrayed with more couth than their "Real Life Counterparts". Look around at WHO(meaning white youth) embrace the Hip Hop culture 1)undereducated,rhetoric spouting revolutionary wannabees 2) lazy minded,material driven, "instant gratification junkies" 3) simple minded sheep who have such identity problems that they assimilate into a culture which basically despises their existence...AND THOSE ARE THEIR GOOD POINTS

As far as the film goes, I watched it all the way through, hoping something would happen.Finally something did: the film ended and I got to watch something else.

I always find the idea of improvised (or semi-improvised) film making an interesting one, even if the results themselves are disappointing, and very rarely work (exceptions being some of the movies of Christopher Guest and Abel Ferrara). It's a risky idea because it's a true test of an actors talent. Some succeed and some fall flat on their faces. 'Black and White' is a perfect example of this, for every interesting moment involving say Ben Stiller, or yes, Mike Tyson, there's way too many dull and rambling scenes that go nowhere (come on down Brooke Shields and Bijou Phillips). What makes this movie even more frustrating is James Toback is obviously aiming for a BIG STATEMENT regarding race relations in contemporary America, yet the movie is so superficial and confused it ultimately says nothing much. Toback is a maddingly uneven film maker, but he is responsible for one of my all time favourite movies, the sadly underrated 'Fingers', so I usually give him the benefit of the doubt. Unfortunately 'Black and White' is a missed opportunity and has very little to recommend it. I suppose Toback deserves some credit for at least attempting to do something other than mainstream Hollywood dreck, but ultimately a crappy movie is still a crappy movie, no matter how good the intentions.

It's the one Tobackonists have been waiting for since the thrill of his debut movie FINGERS--a movie with the soar and rush of obsession that also has the sanity and craft of a grown man. This movie about the uneasy millennium-era relationship of black and white people in America is not, as many people have said, a work of moony White Negroism. It resembles one of Godard's mid-sixties essay-movies like MASCULINE FEMININE or TWO OR THREE THINGS I KNOW ABOUT HER, but with race substituted for sexual politics, and with a heavy dose of pornography and melodramatic pulp. Toback keeps cranking up the heat as the cast--a conceptual-art demonstration of stunt casting--leaves the audience openmouthed.

Bijou Phillips is a wonder as the wigga-talkin' Upper East Side chiclet who proclaims, "I wanna be black--I'm a kid in America." Ben Stiller, as a tormented dirty cop, gives the performance of his life in a high-speed monologue of self-analysis that's like a speed freak's channeling the essence of Robert Downey, Jr. The great man himself appears here as well, as a gay artist who comes on to Mike Tyson (playing himself) at a party. The scene of violence that ensues should have James Toback clinking a glass in celebration in the mirror: he managed to top the Jim Brown/Tisa Farrow head-smashing sequence in FINGERS. Brooke Shields is an amazement as a fervent, sincere documentarian with dredlocks--she's like a deadpan version of the Geraldine Chaplin character in NASHVILLE, and Shields astonishes.

Toback wants to cram everything into this bird's eye view of race--sexual fantasies, money machinations, the class strata of New York City. That none of the scenes is a dud, that the movie is beautifully shot and edited, that nothing feels merely "excessive," is a testament to the passion behind the camera. BLACK AND WHITE is a miracle to this viewer: it renewed my excitement and faith in movies at a moment when I felt it falling down.