Love Cannot Be Barred in 'If Beale Street Could Talk'

If Beale Street Could Talk film poster.

"I hope that nobody has ever had to look at anybody they love through glass."- James Baldwin

The never ending injustices that affect brown and black bodies every single day since separation from Africa, the glaring imprint that slavery has not been abolished, is integrated in the love story of Alonzo "Fonny" Hunt and Tish Rivers. It appears an ordinary and defiant testimony despite the innocuous rage simmering in their neighborhood. Tish and Fonny are first childhood friends sans the boy abuses girl narrative. Their precious innocence naturally blossoms into kindred spirits love-- a refined soulmate tenderness not often bestowed in black romances. They dine, dance, declare feelings, make love with carefree abandon, reveling in a bubbled world of their own creation. This great swelling passion seems impenetrable and permanent.

Fonny and Tish are not the stereotypical struggle love situation. They work hard. They live together. The biggest argument was Fonny upset over Tish protecting him.

Fonny (Stephan James) creates abstract sculptures out of old industrial parts and Tish (Kiki Layne) sells perfume behind the counter at an upscale department store.

The fault of the wrecking ball lies with white supremacy-- a white cop as the highest order of the law. A white cop is never doubted or questioned. Fonny and Tish have a run in with the wrong sort. As revenge, Fonny is taken away for rape despite living on the other side of town. The victim picks him because she is instructed to. For everyone involved-- the Rivers, the Hunts, and the victim's family--the battle for justice is a long and grueling battle. On top of escalating trauma, Tish realizes that she is pregnant. The Rivers are shocked by the baby news, but celebrate over wine. The Hunts are mixed.

In the case-- a very sensitive case--Fonny is obviously innocent. The victim doesn't know that and simply cannot comprehend why a white cop would lie about her assailant. Cops are supposed to be trusting authority figures. Thus, it is disgusting that an above-the-law white cop put Fonny in custody without bothering to seek the real culprit. Beyond petty garbage, he made this a personal vendetta and tore apart a burgeoning family to get even. Sadly, this repeated narrative happens in real life America-- wrongfully accused black men imprisoned for crimes they didn't commit. 

The Rivers ladies are excited for the new generation: Ernestine (Teyonah Parris), Tish (Kiki Layne), and Sharon (Regina King).

If Beale Street Could Talk delivers subtle reminders of Coffy and Ava DuVernay's Middle of Nowhere. For example, black women having afros in love scenes speaks volumes. Back in the 70s, Pam Grier-- blaxploitation goddess-- in Coffy (seen a few years ago) definitely showcased natural hair as a sexy, unhidden gem in and out of the bedroom. Tish's hair is a wonderful halo, as pleasing as any 70's starlet. It operates differently than newer films about the modern black woman cutting off the relaxer, metaphorically using hair as an excuse to be in struggle love relationships. This afro is a part of Tish, as sacred as the deep brown of her skin, as genuine as her love for her family and Fonny-- unapologetic, untamed, and gorgeous. Although one weakness, is the submissive missionary love scene. It would have been a refreshing pace if Tish took the reins and led Fonny her own unrestrained passion. Now it doesn't have to be salacious ala Grier and Bradshaw.

Tish's campaign for justice to free her wrongfully imprisoned man like poor Ruth did in Middle of Nowhere drives home what happens to women during their men's incarceration. Both Tish and Ruth didn't have to face the tough circumstances alone-- having compassionate women on their side. The relationship between Tish, Ernestine, and Sharon are given more considerable story than Jenkins' previous women depictions in Moonlight. Their relationships are lovingly depicted. The mom would do anything for her daughter. The sisters have an incredible bond. Whereas Ruth has a strained relationship with her parolee husband (he cheated with a guard) and enters a new relationship outside the prison walls, Tish is committed to Fonny (who again is wrongfully jailed) and he is devoted to her. 

The most difficult scene to digest, however, is Fonny's father striking his wife (unfortunately some viewers in the audience laughed or applauded) after she expressed blasphemous dislike over Fonny and Tish becoming unwed parents. Nothing excuses domestic abuse-- which at the time was legal. 

This amazing scene features Tish (Kiki Layne) and Fonny (offscreen Stephan James) staring at each other.

Kiki Layne (who recently scored a Gotham Award Breakthrough Performance nomination) leads an extraordinary cast. She pulls Baldwin's story along with astounding tenacity and bravery channeled throughout a fine performance. Her articulate delivery narrating this heartbreaking love story hits key emotional points-- hope, despair, acceptance. Stephan James accompanies Layne, their chemistry poignant and unfiltered. James authentically emotes Fonny's tenderness, his agony, his frustration in ways that coax empathy. Regina King is not simply playing a mother role. She is an outstanding supportive force, igniting the screen with her multifaceted exuberance. Brian Terry Henry is also worth noting. His turn as a wrongfully convicted felon is utterly moving.

This meticulous attention to titillating detail becomes the Jenkins trademark. Alongside the acting, the editing, the sound, the cinematography balance the other. Colors are intense and sharp, like residual and effective German Expressionist paintings. Tish's yellow coat and Fonny's matching shirt. Red encompasses evocative interpretation-- seductive, furious, and flaming hot. The umbrella, splattered tomatoes, the lipstick, Fonny's abused face. The costume design reimagines the times rather brilliantly-- its busy patterns and bright solids.

If Beale Street Could Talk is joyous and painful and remarkable, striking simultaneous cords through a soft, pulsing medley. This piece is so significant and refined that Jimmy himself would raise a glass of the best wine in Harlem to toast yet another Jenkins masterpiece.