Blind Faith

Yes, this was a film I had always wanted to see, but failed to do so initially. When I finally got my chance to do so, I finally realized all that I had missed.

This story, actually set in 1957 New York, revolved around the Williamses, a middle-class African-American family.

The eldest brother, Charles (Charles S. Dutton), was an NYPD Officer with aspirations to become New York's first-ever Negro police sergeant. The middle brother, John (Courtney B. Vance), was an attorney from whose vantage point this story is narrated. The youngest brother, Eddie (Kadeem Hardison), is a jazz musician.

However, that is where the similarities halt. Charles, married with three children, is a by-the-book, strict father whose actions and interest in his job and overt willingness to belong to the white establishment, at even the cost of his own family, take on the squalid decorum of a white man's black man, overshadowing whatever actual compassion he may have. John is the aptly-placed middle brother who is loyal to Charles, yet somewhat torn by his devotion to Charles and the variances of his younger brother, Eddie, the free-thinking, spirited, open-minded individual who easily sees Charles for who and all he really is in ways John cannot--and actually, at first, refuses to. It is Eddie, coincidentally, who turns the tide for the family's--and the film's--complexion with his revelating disclosure about all that has happened and why.

When Charles, Jr. (Garland Whitt, who was also featured alongside Denzel Washington in "The Hurricane") is arrested for a murder he was actually glad to have committed (we learn the reason why as the story unfolds), Charles Sr. becomes more committed to going along with the NYPD conspiracy behind the truth of the murder rather than being more of a father and standing up for his son as a real father would--and should. When no other attorney will take the case of defending Charles Jr., John decides to risk his practice by defending his nephew. Invariably, it is Charles Sr.'s wife, Carol (Lonette McKee, in one of the finest, strongest and courageous performances ever given by an African-American woman on celluloid EVER!!!!) who takes the stronger stand and rises to the occasion to stand up to her selfish, broodish husband to be, as the mother, THE parent to her son that Charles Sr., as a father, is not!!!!!!

I can realize why this movie did not get the attention it rightfully deserved: it is a true slice of African-American life that black folks are too afraid to acknowledge about themselves on screen. To me, this movie spoke more loudly of true black family values than Soul Food did (and did well). Even today, Black America is too ashamed, frightened and embarrassed to openly realize and see sexual and gender minorities (of which I am one, as a transgendered black woman) as part of their reality, at times conveniently hiding out behind the guise of religion as an excuse of not having to deal with many issues (besides this one) openly. Although set in the late 1950s, this story is very real and still so very true today even in this new millennium we are now living in. This movie, concurrently, shows us through each of the three brothers, what we at times choose how we would like to be (Dutton), what we would wish to be (Vance) and how great we as people really are and can truly be (Hardison). As for Ms. McKee, she embodies the rock-solid strength of true, unconditional love--a real mother in every sense of the word.

I would recommend this film to any one who wants to take a hard, cold yet true concurrent look of how a family should and should not be in a way that embodies yet discourages family dysfunction at the same time. Also of importance is how much conformity and not taking a proper stand when a true stand is needed can cost even our loved ones.

I saw this movie today never having heard about it before. What a gift to have found it. That being said, I decided to look up some additional info about it's background and cast. I came across this message board and felt compelled to comment.

While this is on the surface a racial, sexual orientation, legal drama I found it to be much more universal than that. I am a married white heterosexual woman and the theme that I came away with is how destructive negativity and hatred are and how beautiful love and acceptance can be on every level. Negativity and hatred affect us all from a soul level right to our global community. While love and positivity has the opposite profound ability to bring warmth and light into our lives.

I was so moved by the end of the movie and the narrators last words about living a life dedicated to change. After the recent loss of my own son I too now live a life full of purpose. That purpose being to bring about a change of love and positivity to my own life and those within the greater community. Change on the grand scale is a slow process because belief comes from experience and patience is a requirement. But,once one feels the effects of such a change it is our greatest desire to highlight and make obvious the powers of love, acceptance and positive action for each and every soul on our planet regardless of our differences.

Good solid film. Thank you cable television for having this on. Sometimes the unexpected happens and this is one of those films. To my disappointment I never heard of it before. So it took a few years since it was produced for me to find it. And now that I found it I really hope it it released on DVD.

It is a good solid film - the script is dynamite, the cast is great - many wonderful actors - the acting also solid - there are a few weaknesses in the film, mostly because the director lost a bit of control but not enough to prevent anyone from watching this film.

I could not out guess the script - which for me is always a good sign. Twists and turns, realism and clarity, I don't want to give away the plot in any form if you haven't seen it.

This film is well worthwhile for everyone to watch. Enough of the junk Tyler Perry feeds the public - this is a good film about being black in America, being in a black family in the New York area in the 1950s. Thank you for making the film.

Well, I don't get why some would thing that the reason why this movie did not make it to the big screen is because of "bad actors." The MAIN CHARACTERS were also WELL KNOWN black actors who have been in SEVERAL movies which were on the big screen. Now why would someone continue to work with so called bad actors? Hmmm, I get it.....it must have been those "extras" in the movie that no one had ever heard of. Such as the welfare-ish white woman who shunned Courtney Vance's characters while on her porch. I admit....she was NOT a believable racist. Or, maybe it was the white guys with the lame and heavy New York accent who were on the witness stand? Maybe??? Or it could have been the prison guards who made death by electric chair seem like a joyous event?

It's difficult to understand the mentality of the film industry when it comes to content that deals with bigotry and race. While trash like like "The Hurricane" get wide distribution, quality films like "Blind Faith" are ignored. I caught this movie early in the morning on a Sunday on a cable movie station, it was really the only thing on. Lucky me. The movie was so powerful I was amazed I'd never heard of it, not an advertisement, review, nothing.

The basic plot consists of a black accused of murdering a white and caught up in the legal system of the pre-Civil Rights era. Now that plot line is about as old as they come--well trod territory done with excellence in "To Kill A Mockingbird" and with ugly stupidity in "The Hurricane".

But this movie gives us more and better than most legal oriented films of any kind. The film centers on an African-American lawyer, solidly acted by Courtney Vance, defending his nephew who steadfastly refuses to explain the circumstances behind the charge. This serves to explain the lawyer's relationship with his two brothers, one a policeman and father of the accused, and the other, a ne'er-do-well jazz musician.

Charles S. Dutton is outstanding as the police officer, tormented and conflicted when his son is accused of murder. He's worked hard and long to achieve his success and status, and it's compelling to watch his rage at seeing all he's built teetering on the edge of a precipice.

Courtney B. Vance puts in a fine performance as the lawyer, who is barely able to control his emotions through much of the film. His despair, confusion and anger cause him to periodically lash out, often to the detriment of his own cause.

Kadeem Hardison, not a great actor to begin with, muddles through as the jazz musician other brother, a really unnecessary addition, but it serves as an excuse to listen to some really fine music, so perhaps that's reason enough for his inclusion.

But for the most part, these are actual characters with nuance and depth, real people caught in a complex situation, not cardboard heroes with cardboard virtues who mouth inane slogans.

In one scene the black lawyer coaches a witness to lie on the stand, to commit perjury, out of desperation. In another, the judge upbraids him after he yells at a witness, concluding with "remember your place." The judge could easily be referring to the courtroom and his role as lawyer, or is it a racist comment, as the character takes it to be? The ambiguity enriches the movie, allowing the viewer to think, to ponder the circumstances. The white characters are not evil, they come off mostly as people just trying to do their jobs the best they can.

The legal aspect of the movie is very well done too--no torturing the legal system with ridiculous departures from real process, or inane speeches that would be instantly ruled out of order in a real courtroom.

The resolution, and a very compelling one it is, doesn't give anybody an easy out--it doesn't allow the viewer to just sit back and feel self satisfied, or blather on about a racist leviathan. It forces one to think about the nature of bigotry and prejudice. I won't say more, since to do so would give away the stellar climax.

Perhaps the only flaw is the voice over at the end that explains what happens after the story essentially ends. It's needless and kind of silly, and really only detracts from what is a great film. It's as if the film makers don't trust themselves enough to totally follow through with the ambiguity with which they've left the viewers. It's unfortunate, but a common sin in Hollywood.