The Photograph
“The
Photograph” is a 2020 American romantic drama film written and directed by Canadian
Director Stella Meghie. It follows “Mae” (Issa Rae) the estranged daughter of a
famous photographer named “Christina Eames” who dies unexpectedly. When “Mae”
finds a photograph tucked away in a safe-deposit box, she soon finds herself
delving into her mother's early life. Meanwhile an unexpected romance comes
into her life with a rising journalist “Michael Block” (Lakeith Stanfield) who
is assigned to cover her late mother’s story. Over time both “Mae” and Michal”
begin to fall in love with each other but will the unanswered questions and
revelations from ‘Mae” mother past be an issue in their future together? Actors
Chelsea Peretti, Lil Rel Howery and Courtney B. Vance also star.
REVIEW: The
term “a picture is worth a thousand words” was popularized in the 1920s by Fred
R. Barnard, who is often credited with the origin of the proverb. In the film
“The Photograph” let me offer you a few hundred words…………. give or take on what
I thought of the film’s suggested name sake.
Aesthetically,
the film looks great with its excellent lightening, exquisite set designs and
some fabulous music that encompasses the period from 1989 to present day. But
while these subtle aspects can elevate the overall quality of a solidly
conceived film it still comes down to the strength and quality of the written
words and the ability of those actors to convey the plot’s idea into a
compelling and moving reality. In this case “The Photograph” made a valiant
effort to connect all the dots but in the end misses its mark.
While
the central plot is about the consequences of loved lost, especially as seen
through the flashbacks of “Mae’s mother
difficult decision to leaving someone behind when she was young, I found the
films efforts to making the case of another generation burden with similar
concerns in their lives lacking. While actors Issa Rae and Lakeith Stanfield
looked good as couple together I never bought the argument that they actually
found each other that interesting, nor for that matter the hidden subplot theme
the “sins of our parent” having any barring on their decision to being a
couple or not.
In
retrospect “The Photograph” felt less a story about a deep, abiding love and
romance and more about decent, likeable, educated, honest, smart people (past and present) being on the most thoughtful, respectful, kind, gracious and emotionally
generous sexual one time “Hook-Up”. Nothing more.
Hollywood
films have been around at least 90+ years with romantic love themes (in all
of its varying forms) that I would be willing to wager has made more up than half its entire historical library of efforts about people from different background, genders, races,
across borders and even with animals loving each other both unrequited and in
abundance against all odds . Hell even the prison film “Shawshank Redemption” is
a love story about two men who grew to have a deep abiding love for one another
that was non-sexual but love no less.
What these film all share is telling a story using at least one key or more component of …………… “Love at first sight, inner and outer conflict, external obstacles and turmoil, society and social ills, character growth and or extraordinary sacrifice (see “Jack” from “Titanic”). In ‘The Photograph” none of these components are in play the film anywhere, not once. Not in the present nor in any of the flashbacks scenes involving “Mae”’s mother. In the end all I saw were two people who basically were not a good fit to begin with. So why all of the emotional herranging?.
What these film all share is telling a story using at least one key or more component of …………… “Love at first sight, inner and outer conflict, external obstacles and turmoil, society and social ills, character growth and or extraordinary sacrifice (see “Jack” from “Titanic”). In ‘The Photograph” none of these components are in play the film anywhere, not once. Not in the present nor in any of the flashbacks scenes involving “Mae”’s mother. In the end all I saw were two people who basically were not a good fit to begin with. So why all of the emotional herranging?.
Film
love stories (and love reality) in its early stages is chaotically organic and
primal (see “Silver Linings Playbook). In film it introduces you the viewer to someone
you don’t know, may not have even anything in common with, that over a 2+ hour
period takes you on a whirlwind journey where in the end not only do you know them better, you are rooting hard for them
to live happy ever after. In the end of "The Photograph" films effort I did not care if “Mae”
or “Michael” stayed together. Not because they were not nice people, they were.
No the director simply never made the case through the characters emotional
growth THAT I SHOULD EVER CARE.
On the plus side, Director
Stella Meghie has a definite talent and an sharp eye for shooting good looking films
visually. But the aggregate film required me to dig to deep what she wanted me to think
of these two lovers and their reason for being together. In the final scene “The
Photograph” does not offer up a single romantic moment of rapture, rather leaves you with more of a
romantic lacuna.
May
be I am just an old sentimental sap. May be I have listen to way too many Sade,
Phyllis Hyman and Anita Bakers songs in my time. But hey if a four minute song can sweep me away with the simplicity of a moving emotional lyric………………..” When we met, always knew, I would
feel that magic for you, on my mind constantly in my arms is where you should
be……. I’m caught up in the rapture
of love (Anita
Baker), than a 1:50 minute movie cannot do no less.
2.50
Stars
