Brother

With a ridiculous title as this, I thought the movie would be about alien black people high-fiving each other. Maybe something akin to Blackula or Black Dynamite. Boy, was I wrong. You can see something is off with expectations like these when you see the cast. None of the actors are high rollers in Hollywood, but you know most of them for their work throughout, as support characters.

Joe Morton is the main character in the movie, along an African American cast that is too long to list here, but I know most of them. John Sayles, the director, is one of the "immigration agents", while the other is David Strathairn. You've got Fisher Stevens and Giancarlo Esposito in small roles. It just goes on and on. Of course, in 1984 they were not known actors, but they proved in time that they are good ones.

The plot is simple, an alien running on Earth from two enforcers, but the script is filled with complexity, tackling in a subtle way things like racism, social status, societal satire. And they are part of the story, while this quiet (Joe Morton doesn't say a word all movie) timid alien is discovering Earth with its good and bad points, starting from Harlem.

Bottom line: highly underrated film, it is low budget, but it has class. I am not surprised it has become a cult classic and I am glad I had the chance to see it. And it's free! You can watch it online royalty free.

This is one of the best and most underrated movies I have ever seen. This is a brilliant black comedy with great social commentary on racism and classism. I loved it the first time I saw it, and it held up when I bought it on DVD. This is definitely worth the time it takes to watch it, and you will find yourself quoting the movie later. The "Beer . . . on the Rocks" quote is my personal favorite, but the card trick is a close second. Have fun with this little known, early John Sayles Masterpiece.

A very intelligent and heartwarming movie. Sure it has it's comical moments but I could hardly laugh because I kept feeling sorry for the mute alien - he had no idea what was happening sometimes but he does learn fast. The movie is funny yet sad at the same time.

Example of what I mean by funny yet sad: He's hungry and grabs a pear to eat, the store clerk gets upset grabs the pear from him and fusses at him, she then waits on a customer, the aliens see that money was handed to the cashier for pears, so the alien ends up opening the cash register to get money to give to the cashier for some pears. Of course she thinks he was stealing and all he tried to do was to give her money for pears. That's funny but it's also very sad to me... he was hungry and but didn't have a clue about money.

During the whole course of the film, my heart kept going out to our mute alien. Sure I got some giggle from the movie but I kept feeling sorry for him - like I wanted to grab him and teach him things from our planet and to protect him. LOL.

This is a good movie with some comical moments, some very sad moments and, I guess you can say, a lesson to teach us about our own society (from immigration to drugs).

7/10

*Minor spoilers*

It's great to see this odd and remarkable film finally getting a worthwhile DVD release. BROTHER FROM ANOTHER PLANET is among the few John Sayles films I've seen, and watching it again makes me want to check out what else I might have missed.

Blending sly topical humor with science fiction, BROTHER FROM... superficially resembles ALPHAVILLE or MAN WHO FELL TO EARTH as it explores various themes: assimilation, perception and identity; and technology and control; along with less abstract but equally serious issues like drug abuse and urban despair. This fantastic film is notable for its' dry humor and complex observation of urban problems, and is also notable for Joe Morton's astonishing, expressive performance in a mute role, which - though helped by Morton's theatrical training and his overall attractiveness - still has to be seen to be believed.

Crash landing his tiny space ship in Harlem, our silent hero tries to make sense of his surroundings, moving from fear and puzzlement to relative comfort. Because of his dark skin, certain assumptions are instantly made of him, even as his silence gives no one anything to hang a stereotype on. It quickly becomes apparent that 'he ain't from around here.' The edgy humor turns on this (pay attention for great spoof quotes from TERMINATOR and TREASURE OF THE SIERRA MADRE/BLAZING SADDLES) - not so p.c. at the surface, but still broad-minded and intelligently observational, with an intriguing viewpoint - that of a very disoriented immigrant dropped into the American subculture he's expected to most easily fit into. Simultaneously, his quiet and graceful manner of dealing with the world around him implies an unquestionable conviction that every human ought to be considered with some kind of respect and dignity, even as day-to-day realities might necessarily modify this ideal (another of the key themes here).

A short subplot involving a nightclub singer touches vaguely upon Harlem's celebrated past, making apparent Sayles' belief in the contemporary value of history, and his awareness of the importance of context even in a fantastical story. Likewise, a second subplot - though a tad clumsy - deals with Harlem's more recent history - a struggle to survive and preserve identity through an avalanche of drugs, potential violence and despair.

As a runaway slave from another world, themes of technology, surveillance and control (shown in the eyeball/flashback scenes, and the great capture scene near the end) are also introduced, even as Sayles' references African-American history at unexpected moments throughout ("My people built this country. Ever heard of South Carolina?...") - implying to a degree that technology can easily be manipulated to make slaves of us all, or at least that technology hold the potential to divorce us from our history.

With all of the varied themes and subplots, BROTHER FROM... could've easily become overloaded or didactic, but Sayles' loose stylishness and light touch as a director (along with the skill of the cast) makes it all work well, even with a very modest budget and a tight shooting schedule. The cinematography throughout is remarkable - lots of long takes, with characters woven into the fabric of everyday life. The pacing is slow and methodical (Sayles is always very meticulous in developing plot and characters), but never dull.

This is a great film - below a hip and ironic surface, the covert intellect and graceful sweetness of this film links its' numerous themes into a seamless and unique fantasy/parable. This cult classic from the mid-80s deserved a wider audience at the time, and still does - I strongly recommend it.

What I love about Sayles is that he never forgets that first and foremost, movies should tell stories.

This one is a real gem in the rough. It has the irreverence and SciFi conventions of Barry Sonnenfeld's MIB but with social commentary instead of a budget. Also, instead of merely clever comments on NYC life, Sayles shows his characteristic political side by highlighting little tableaux of real life. Slipping in the Harriet Tubman subplot was pure Sayles.

I especially loved his usage of music and the chemistry of the barroom regulars. That fight with the MIB was a hoot! Sayles, a Corman vet, knows that special effects shouldn't be used for the sake of having them.