Their Eyes Were Watching God (2005)

TV Movie  |   |  Drama, Romance  |  6 March 2005 (USA)
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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.



(novel), (teleplay), 2 more credits »
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Nominated for 1 Golden Globe. Another 2 wins & 22 nominations. See more awards »
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Cast overview, first billed only:
Joe Starks
Mel Winkler ...
Logan Killicks
Tea Cake
Amos Hicks
Pearl Stone
Phoebe Watson
Sam Watson
Liege Moss
Lula Moss
Walter Stone
Annie Tyler
Motor Boat (as Artel Kayaru)


Sassy Janie Starks looks unlike to get anywhere in pre-Great War Easton, Florida, but lands the best colored catch, lively shopkeeper Joe Starks, who even becomes town mayor. However her refusal to oblige his expectations of decency turn love into bitterness. After his death, she prefers to enjoy 'freedom' again, with cocky outsider 'Tea Cake' as playmate, and not just at chess. They even face the risks of seasonal labor. Written by KGF Vissers

Plot Summary | Plot Synopsis


Drama | Romance


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Release Date:

6 March 2005 (USA)  »

Also Known As:

Die Liebe stirbt nie  »

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Aspect Ratio:

1.78 : 1
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Did You Know?


Janie shoots the same tin can twice. See more »


[first lines]
Janie Starks: There's two things everybody got to find out for theyselves: they got to find out about love, and they got to find out about living. Now, love is like the sea. It's a moving thing. And it's different on every shore. And living... well, I just come back from burying the dead.
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Featured in The 63rd Annual Golden Globe Awards (2006) See more »

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User Reviews

read the book!
8 March 2005 | by (United States) – See all my reviews

There are at least a few good things about the made for television version of Ms. Hurston's classic, Their Eyes Were Watching God. The first being the cinematography, as it is often moody, always rich, and at points ethereal: the water could not be bluer, nor could the people be more vibrantly brown. Also, it is worth noting the clever choices Mr. Martin made when deciding what to film. For instance, in the scene when Janie lies in bed with her first husband and ponders what he would do if she were to ever leave him, the director gives us a rather telling portrait of their relationship with just a few shots. He begins making the inner thigh of Logan Killicks' the center of the frame, thus allowing us to see the old man's flabby skin as it nearly falls from its bone. It is a sensitive portrait; for Killicks is no longer repulsive to the viewer- he is simply ashen, old, and, most importantly, an inappropriate suitor for the supple Janie.

Unfortunately, with the exception of a fine performance by Nicki Michauex and the delight of seeing Ruby Dee working, I find little else commendable about this theatrical mishap. To begin, it seems everyone involved with this production, from the screenwriters, producers, director, and the dialect coach- if one existed at all, did everything in their power to strip TEWWG of its blackness. And by the erasure of "blackness" I am referring to the production's lack of humor and word play, the lack of southern accents and sense of community, that there is no juke joint, hard work, eroticism, and constant reminders of racism so key to Hurston's understanding of the rural Black experience. (What so many Brooklyn accents were doing in Eatonville Florida is beyond me! Moreover, why Halle Berry was not encouraged to do something with her voice, other than what she did in Finding Isaiah is equally distressing.) Those who have read and care deeply about the book will also find disappointing the screenwriters' insistence on whittling down such an obvious celebration and examination of black rural life into a love story, as the camera simply refuses to venture beyond Teacake and Janie's bedroom.

Most regrettably, is the omission of life on the muck, where Janie and her man worked as migrant workers along with persons with colorful names like Bootyny, Sop-de-Bottom, and Stew Beef. For life on the muck, according to Ms. Hurston provides a complex view of Black life. It was in those pages, after all, us readers watched the workers dance at the juke, play the dozens, and deal with their respective experiences of being black, transient, impoverished, and yet, amazingly resilient. This they did with imagination, wit, ingenuity, and violence.

On a sadder note it was on the muck that Teacake beat Janie as other men so proudly beat their women, thereby showing us what Nanny really meant when she confirmed "de n***er woman" to be "de mule uh de world so fur as Ah can see." Also, it was via the beating that us readers understood the union of Janie and Teacake to be problematic, if not doomed and not just an excuse for the cheesy face licking of Ms. Berry and Mr. Ealy.

Sadly, these factors will all be lost on those who forwent the novel and settled for the television spectacle. One can only hope that Ms. Winfrey and company's pedestrian effort will encourage others to examine or reexamine Ms. Zora Neale Hurston's masterpiece.

36 of 40 people found this review helpful.  Was this review helpful to you?

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