Tyrese
Gibson... ...Jody
Omar Gooding... ...Sweet Pea
A.J. Johnson... ...Juanita
Taraji P. Henson... ...Yvette
Ving Rhames... ...Melvin
Snoop Dog... ...Rodney
Tamara LaSeon Bass... ...Peanut
Angell Conwell... ...Kim
Directed by: John Singleton
Written by: John Singleton
Rated R for strong sexuality, language, violence, and some
drug use
Running Time: 2 hours, 9 minutes
Rock-A-Bye, Baby Boy
A true virtuoso of visual imagery, John Singleton has a knack
for conveying a magnitude of meaning with a simple shot. The
very first image in his latest film "Baby Boy" is
another example. I won't reveal what it shows, but it clearly
gives us insight into the nature of the story's protagonist.
Jody (Tyrese
Gibson) is a twenty-year-old misguided African-American who
is unemployed, lives with his mother, and shows no interest
in facing the sometimes harsh complexities of adulthood. He
has fathered two children by two different women - Yvette
(Jaraji P. Henson) and Peanut (Tamara Bass). His best friend,
Sweetpea (Omar Gooding) is an engaging but volatile kid who
has a sixth sense for finding trouble. His thirty-six year-old
mother, Juanita (A.J. Johnson) is growing tired of her son's
incessant clinging and longs to live her own life again. The
ultra-comfortable fabric of Jody's existence starts to tear
when his too-reliable mother begins dating Melvin (Ving Rhames),
a reformed "old gangster."
The complaints
I've heard from some colleagues is that the character of Jody
is too whiny, not likable, impossible to cheer for or care
about. Perhaps, but that's not really Singleton's goal. Jody
is more of a target than a hero. The ability to root for the
kid rests with the characters encompassing him. The people
in Jody's life are colorful, distinct, and eager to point
him toward the right direction. The story is a struggle of
influences. In one corner are the outside influences, both
positive (his true love Yvette, his mother, and eventually
Melvin) and negative (the aimless Sweetpea and Yvette's recently
paroled ex-boyfriend Rodney, played by Snoop Dogg.) In the
opposing corner are Jody's inside influences, those needy
tendencies bred from his inability to break free from the
nurturing one receives during infancy. At no point did I find
myself liking Jody a great deal, but I remained hopeful that
he'd find his way through the conspiring influences around
him.
Another
comment some had of the movie is that it's just another rehashing
of Singleton's smashing debut "Boyz 'N The Hood".
I didn't really sense that, either. The setting is the same,
but the tone feels a little different. For me, this film seemed
to parallel Curtis Hanson's "Wonder Boys". True,
the locales are vastly dissimilar but the narrative arcs line
up well. Both stories are of a person struggling to obtain
the key to contentment held by their surrounding environment.
There's
a danger in stories like this of losing an audience's attention
should they abandon all faith in the central figure. Singleton
holds his viewer's interest by showing us that Jody's problem
doesn't lie in his intentions, but rather his perceptions
of the world around him. That's the key. His behavior is often
deplorable, but if we come to believe that his intentions
are deplorable, any shred of sympathy we may hold would most
assuredly be gone. I cringed at many of his thoughtless acts,
but I never doubted that he could achieve a level of maturity
if he just heeded the lessons sprouting up around him. A revealing
scene has Jody in a typically animated argument with his girlfriend.
During the exchange, his flailing arm catches her on the temple
and she falls to the floor in tears. Realizing what he'd done,
he sobs. "I'm sorry, baby," he tells her as he picks
her up and carries her to the bed. "I'm so sorry."
His words don't offer much comfort. "You said you'd never
hit me, Jody!!" Not knowing what else to do, he begins
to unbutton her blouse and kisses her gently on the neck,
making his way lower and lower. He wants so desperately to
comfort her, but hasn't a clue as to what her injured soul
needs.
The role
of Jody was originally written for the late Tupac Shakur (a
mural of Shakur's face decorates Jody's bedroom). In Tyrese
Gibson, Singleton has found an actor who wisely never forces
any aspect of his performance. The arc is slow and rocky which
is the way it should be, as lessons are seldom mastered after
the first mistake. However, a viewer's interest in Jody's
plight rests more with the supporting players, and every actor
displays his/her character's impetus with the utmost clarity.
I especially liked the performance of Ving Rhames, who plays
Melvin as a man not looking to be a father figure, but who
somewhat unwittingly offers the most potent lessons. He's
a brawny, seductive smooth-talker who has obviously fought
hard to leave his checkered past behind. Only when the naive
Jody pushes his buttons does the man's ferocity come front
and center. His character is also used as the movie's comic
relief, especially in scenes where his libido tickles the
fancy of Juanita as Jody tries unsuccessfully to get some
sleep. (While going down on his love, Melvin utters the memorable
line: "Oh, baby, you're gonna give me a cavity.")
"Baby
Boy" is the kind of story that could only be told by
a filmmaker who understands his characters fully ... what
makes them likable, what makes them irritable, why they choose
certain courses of action, etc. Many other films glamorize
the life of their lead character(s) and bless them with a
happy ending. Happy endings are indeed possible in the works
of John Singleton, although his protagonists can only achieve
it the old-fashioned way: they have to earn it.
Copyright
2001 Michael Brendan McLarney
Critically
Ill
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