A rich man's wife finds she has a bad prenuptial agreement with an even worse husband. Over drinks with a stranger, she fantasizes about doing her husband in to void the prenupt. The ... See full summary »
Amy Holden Jones
This biography of Dorothy Dandridge follows her career through early days on the club circuit with her sister to her turn in movies, including becoming the first black actress to win a Best... See full summary »
Klaus Maria Brandauer
Fun-loving Bobby is a mail boy in a big firm, but he has a trump card, his best friend Waymon, a "white" African-American who is almost a partner in the firm. They make a deal: Waymon will ... See full summary »
Joseph C. Phillips,
Darius Lovehall is a young black poet in Chicago who starts dating Nina Moseley, a beautiful and talented photographer. While trying to figure out if they've got a "love thing" or are just ... See full summary »
A drama set in the 1920s, where free-spirited Janie Crawford's search for happiness leads her through several different marriages, challenging the morals of her small town. Based on the novel by Zora Neale Hurston.
A bunch of high school misfits in Hawaii, introduced by their new teacher, attend a science fair in which they draw up inspiration to build their own solar car and win a trip to compete in the 1990 World Solar Challenge in Australia.
A suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.
In the mid-1980s, three women (each with an attorney) arrive at the office of New York entertainment manager Morris Levy. One is a singer from Los Angeles, formerly of the Platters; one is a petty thief from Philadelphia; one teaches high school in a small Georgia town. Each claims to be the widow of long-dead doo-wop singer-songwriter Frankie Lyman, and each wants years of royalties due to his estate, money Levy has never shared. During an ensuing civil trial, flashbacks tell the story of each one's life with Lyman, a boyish, high-pitched, dynamic performer, lost to heroin. Slowly, the three widows come together and establish their own bond. Written by
When Mickey is telling her story about how she met Frankie, she attended a concert in which Frankie was to perform. When Frankie is out on stage singing, the microphone switches positions from the middle of the stage on a black square, to the middle of the stage on a white square, and then to the front of the stage on a white square. See more »
Frankie and I were married, 1967 in Augusta, Georgia. I paid for his funeral. And I don't recall seeing any of you there.
Elizabeth 'Mickey' Waters:
Oh, please. Don't even play me. Comin' up in here wearing white *after* Labor Day looking like a down-home schoolmarm!
YES, I am a down-home schoolmarm. I teach English in high school. A class you obviously skipped.
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An interesting (but flawed account) of the battle over pop star Frankie Lymon's estate by three women claiming to be his widow...
The story portrayed here is actually semi-fictitious, but the background story of Frankie's life is entirely true.
From his starts as a fresh-faced Harlem kid to a haunted drug addict, Larenz Tate (one of the most underrated talents in Hollywood) shines as dreamer Frankie, and does well to give perspective to Frankie's conflicting attitudes towards his relationships with the women, which the script muddles- Frankie appears shallow yet introspective at the same time.
Halle Berry tries to make more of her understated and thin role as Zola Taylor, wifey no. 2, but provides an adequate performance.
The most developed of the three female characters, is Elizabeth Waters (Viveca A. Fox). Loyal yet dishonest, gritty Elizabeth is the only character aside from Frankie that seems to be real. This is a combined effort by the characterisation and the performance by Fox.
And Lela Rochon does very well cast against type, as a school marm dragged into this battle. Rochon clearly understands the character well, and manages to make her mark on the story despite being developed late into the film.
The period detail of this piece is well captured over the 20-odd years that this story is set (particularly the performances of Frankie with the Teenagers), and even the small scenes which provide insight into Frankie's younger days.
The main flaws of this film lie essentially in the struggle to develop some of the themes. As mentioned earlier, Frankie's reasons for bigamy are not established at all or how he copes this with this, or whether one of the wives in particular is lying about the legitimacy of her marriage.
Some of the characterisation is a bit thin, caused by some of the later events of the film and because this deep story of fame, loss, betrayal and torment has such a muddled structure the whole film comes across as sketchy by the end which clearly was not intended.
But never the less this is an adequate tribute, to the world of fame and its inevitable clingers-on, and those just caught up in the action. This will never be top of its genre however...
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