Maya Angelou's story of the family stresses that occur when an older sister (Diahann Carroll) attempts to maintain a home, left by her revered father, in an ultra-moralistic way (regardless...
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Maya Angelou's story of the family stresses that occur when an older sister (Diahann Carroll) attempts to maintain a home, left by her revered father, in an ultra-moralistic way (regardless of the fact that she is secretly having an affair with the married preacher). Nevertheless, her uptight need to maintain a sense of propriety of course goes against the wishes of her much younger sister (Irene Cara) who, as an accomplished ice skater, is striving for her own independence. And if this isn't enough, into it is suddenly thrust a third sister (Rosalind Cash), who is a single mother with a pre-teen son, who "comes home" with her boy after living for years in the ghettos of Detroit. And because she is the complete antithesis of her older sister in morals and deportment, she immediately sides with her younger sister against the strictures set down in the home. Written by
BOB STEBBINS <firstname.lastname@example.org>
A black-American variation of Chekhov? Not quite...but Rosalind Cash is excellent
Writer Maya Angelou, perhaps inspired by Chekhov's play "Tri sestry", penned this talky, stagy teleplay about a ne'er-do-well black woman in her forties who shows up on the doorstep of her childhood home after some 13 years of estrangement from her family. Reuniting with her two sisters, who still live in the house willed to them by their demanding father, she instantly opens up old wounds and hurts from the past. Angelou, who also co-produced with director John Berry, sets a solemn tone right from the start, what with Diahann Carroll in love with a married pastor (who's been dipping into church funds to further his political career!) and Irene Cara acting like a (somewhat-overage) boy-crazy teenager. Rosalind Cash's Freida, then, is like a breath of fresh air. Cash overrides the poetic pretensions in Angelou's dialogue, and even makes the writer's pedantic introductions sound natural. She gives the movie a bit of heart, even if the scenario itself is rife with the kind of theatrical sentimentality which may work wonders on the stage but rarely comes across on television.
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