Idlewild

It is a highly stylized slice of life. As usual, reading through the comments left here, I'm finding that many just can't leave their pretense at the door. It would seem that any film with an all African-American cast set in the American south is required to beat us over the head with an idea we are all (I would hope) aware of. ie; Jim Crow sucked. Instead, this film simply portrays people with hopes and dreams, faults and virtues, capable of love and hate, good and evil. in other words, people. Not "black people". That was refreshing. (and, IMHO, a far stronger statement than one could ever make through heavy-handed symbolism) Is the film perfect? Far from it. The plot is in many ways pedestrian. The film telegraphs plot twists rather than foreshadowing them. However, are there flashes of brilliance? Good Lord yes. These are two astonishingly talented men (Andre and Big Boi) and simply as a showcase for that talent, this film succeeds. If you just sit down and let the film wash over you, you will enjoy. If you over-think, and ask it to be something it isn't, you won't. It's that simple.

I saw the movie last night.

It opens beautifully. Young rooster is especially engaging and we get a sense of Percival's young life. Once we move into adulthood, the music video techniques and songs unfavorable to the story dominate. A lot of the story is there, but either because of editing or the choice of camera over story points makes the story less engaging then it could've been. It is clear that most of the actors can act, but it seems that their performances were underserved. In the end it feels like a series of music videos. Unfortunately, it is devoid of the emotion that I imagine was intended. Too, too bad...because it had such great potential.

I am guilty of elitism. I miss the days when Outkast's music was an obscurity. When their music was my music and not everybody's. When I finally did meet someone who knew the hook to "Elevators", we were instant best friends. But alas, Outkast gave up their dark, celestial style for ubiquitous jubilation.

While I'm willing to give up smoking for another ATliens or Aquemini,I can still appreciate the festivity that now ensues when they pop up on the radio. I'm sure Andre 3000 and Big Boi, err... Andre Benjamin and Antwan A. Patton, appreciate it even more. After all, the new vaudeville-bass quirks that they adopted have transformed them into one of the most adored groups today. It also garnered them this opulent production with HBO films.

Andre is Percival, a wholesome son of a mortician with dreams of making the Harlem music scene. Until then he plays piano before a ruthless crowd in Church. Church is hardly that, it is a Speakeasy with wild music and chichi showgirls.

Percival's best friend since childhood is Rooster (Antwan), a suave player from a family of gangsters. When his uncle is gunned down by the shifty eyed Terrence Howard, he inherits Church and it's debt with bootleggers. To get out of the red, he relies on his star performer Angel Davenport, played by the stunning Paula Patton. Angel and Percival develop the love jones.

There are tons of other catalyst characters. So many that it takes the humble narrator (Percival) ten minutes to introduce them all.

The town Idlewild is a place where Caucasians and subtlety do not exist. The only practicing minimalist is Percival and he is viewed as a recluse. He doesn't get talkative until he is alone with a cadaver.

Idlewild is visually titillating and toe-tapping fun, but a very simple story with elaborate storytelling. A period piece with CGI dance numbers, singing cuckoo clocks, and a talking flask. The music doesn't so much forward the story as tease it. When Rooster raps in Church, he paves the way for a Soul Train spectacle.

Bryan Barber acquired the director's chair through a strong relationship with Outkast. He is the man behind their most popular music videos. While he has an eye for pageantry, his script is too thin and unconstrained. For example, the narrator tells us that Rooster and Percival are best friends, but once we transcend their childhood prologue and reach adulthood, there are three instances of interaction. Once in the middle and twice at the end. I got the sense of two separate stories interconnected through habitat instead of plot points.

In so many ways this film is a metaphor for the current state of Outkast's career. While a movie based on the "old" Outkast would probably be a ghetto story in outer space, this one borders on nostalgia and women. Like their solo careers, Andre's character is always artistic and progressive. Big Boi's character arch is so small you could hop over it.

In the last two years there have been intermittent rumors of Outkast's breakup. Since they did not collaborate on their last album, nor the soundtrack to this film, they are together only in plastic packaging. Idlewild does nothing to squash these rumors.

Either way, there's not much I can do but throw my hands up in hey-ya, and rejoice in their gaiety like the rest of the world.

I had been excited about seeing this movie for months since seeing the trailer. I love musicals and this looked to be really promising. In some ways, it completely lived up to its expectations and in others, it failed miserably. If you are interested in the musical aspect of it, it's brilliant. The dancing is good, the characters incorporate the songs with their personal lives and these scenes are a lot of fun to watch. One of the best production numbers is at the very end. The special effects are fun to watch and the cinematography is very well done. The show gets off to a fun start and the characters look promising. Yet, as they age, something gets lost. The story line between Percival and Angel was the only one I found natural and plausible. Rooster has little interaction with his wife which makes that storyline hard to believe and Trumpy's character comes out of no where and tries, unsuccessfully, to run the show. It was interesting to see the members of Outkast in such different roles, especial Percival. The movie was entertaining and I would sit through the boring parts again any time to see how brilliant the dancing and music was.

What could Outkast do next to top the success of their double cd speakerboxx/love below? The Impresarios of Rap present Idlewild—a hip hop love story set against the daily grind of running a juke joint during Prohibition in the town of Idlewild, GA. All the players were there, the piano player, the singer, and of course, the bootlegger. Whether it's a murder mystery, a gangsta tale, or a love story can be debated after you see it…just go see it.

Idlewild, a film by Bryan Barber starred Antoine Patton and Andre Benjamin. However, the music was done by Big Boi and Andre 3000. Outkast fans will get the difference. The rest will have to see to believe. Let us not forget, where there is a Big Boi and an Andre there will be a fair amount of quirky, a little bit of weird, a lot of imagination, and some stepping outside of the "speakerboxx".

The film had the musical stage appeal of Chicago with the black gangsta love of movies like Harlem Nights and Hoodlum. But unlike those Yankee tales, this story took place in the south before it became dirty or is it derty???? (where's my ebonics dictionary?) It speaks to a time and place accurately and without insult. It was clever and funny but also a little predictable. Which was ideal because the storyline is actually just scenery for all the incredible musical numbers and didn't need to be complicated. The characters had that two-dimensional feel reminiscent of the melodramas so popular in the 1930's. Idlewild rose to the challenge and very successfully captured the times, which is often a difficult task in a period piece.

Saying Outkast has an innovative approach to music is like saying that guy Picasso is alright with a paintbrush. The original score by Outkast blended the sound of the 30's, the jazz, the blues and the swing with rap and soulful rhythm and blues. It was kind of like a family reunion for home-grown syncopation. It was ingenious as well as inspired. The choreography only complimented the musical numbers giving the audience a complete juke joint experience.

The film also offered notable cameo appearances by Cicily Tyson, Ving Rhames, Bruce Bruce, Patty Labelle and the tease of Tony award winning Ben Vereen who doesn't dance. Also noteworthy is Macy Gray's performance as the falling diva Taffy.

If Rappers must make movies, they should all be so good.