“I hope that nobody has ever had to look at anybody they love through glass,” 19-year-old Tish shares in the opening scene of James Baldwin’s “If Beale Street Could Talk,” moments before breaking the news that she’s pregnant to boyfriend Fonny, imprisoned for an unpardonable crime. A work of social realism elevated to poetic heights by the sheer beauty of its voice and the humanism of its spirit — a feat director Barry Jenkins also managed to achieve with his previous film, “Moonlight” — Baldwin’s Harlem-set 1974 novel takes readers on two separate journeys, depending largely on their racial background.
White people will see a black man behind bars and jump to their own conclusions, drawing fast assumptions that Baldwin uses the rest of the book to challenge and untangle: How can Tish hope to raise this child if she’s poor and her baby daddy’s in jail? Black folks,...
White people will see a black man behind bars and jump to their own conclusions, drawing fast assumptions that Baldwin uses the rest of the book to challenge and untangle: How can Tish hope to raise this child if she’s poor and her baby daddy’s in jail? Black folks,...
- 9/10/2018
- by Peter Debruge
- Variety Film + TV
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