The Brother is an alien who has crash-landed on Earth, in New York City. While mute, strongly empathic, and able to fix things, he resembles a Black man with strange feet. His attempt to make a place for himself in Harlem is an allegory for the immigrant experience in the United States. Meanwhile, two bounty hunters from the Brother's home planet arrive and try to capture him.Written by
Reid Gagle
The movie features the drug culture as part of its story line but it was actually made before the onset of the crack epidemic that ravaged inner cities in the 1980s. See more »
Goofs
At the end of the credits, it is written that the story, all names, characters and incidents portrayed in the film are "ficitious." See more »
Quotes
Sam:
[talking about The Brother]
What am I supposed to do?
Fly:
You the city, Sam. Figure out where to put him.
Sam:
Men's shelter.
Smokey:
Too smelly.
Sam:
Okay. The Hilton. You got the tab?
Smokey:
What they pay you for?
Sam:
I just make phone calls. You want him out, you could call the cops.
Fly:
Cops? Oh, man.
Smokey:
He knew the death seat when he sat down on it.
Sam:
It's not like I got to drum up more business for the city, you know?
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A mute alien (Joe Morton) with the appearance of a black human is chased by outer-space bounty hunters through the streets of Harlem.
If this film had been made five years earlier, it might have fallen into the blaxploitation trap. But, luckily, this is not the case because it is above and beyond blaxploitation and in many ways far more clever. Rather than dwell on race, it just sort of accepts it.
There is the theme of immigration, though it is not heavy-handed and the viewer can choose to see this as a parable or not. They can choose to see it as science fiction or not. (Obviously it is, but it is light.) There is plenty of room for a viewer to imprint his or her own thoughts on to the story and make it their own.
Bonus: Fisher Stevens shows up.
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A mute alien (Joe Morton) with the appearance of a black human is chased by outer-space bounty hunters through the streets of Harlem.
If this film had been made five years earlier, it might have fallen into the blaxploitation trap. But, luckily, this is not the case because it is above and beyond blaxploitation and in many ways far more clever. Rather than dwell on race, it just sort of accepts it.
There is the theme of immigration, though it is not heavy-handed and the viewer can choose to see this as a parable or not. They can choose to see it as science fiction or not. (Obviously it is, but it is light.) There is plenty of room for a viewer to imprint his or her own thoughts on to the story and make it their own.
Bonus: Fisher Stevens shows up.