Monster's Ball (2001)

After a family tragedy, a racist prison guard reexamines his attitudes while falling in love with the African American wife of the last prisoner he executed.

Director:

Marc Forster

Writers:

Milo Addica, Will Rokos

Stars:

Billy Bob Thornton, Halle Berry, Taylor Simpson

Won 1 Oscar. Another 14 wins & 22 nominations.

Cast

Cast overview, first billed only:
Billy Bob Thornton	...	Hank Grotowski
Taylor Simpson	...	Lucille
Gabrielle Witcher	...	Betty
Heath Ledger	...	Sonny Grotowski
Amber Rules	...	Vera
Peter Boyle	...	Buck Grotowski
Charles Cowan Jr.	...	Willie Cooper
Taylor LaGrange	...	Darryl Cooper
Yasiin Bey	...	Ryrus Cooper (as Mos Def)
Anthony Bean	...	Dappa Smith
Francine Segal	...	Georgia Ann Paynes
John McConnell	...	Harvey Shoonmaker
Marcus Lyle Brown	...	Phil Huggins
Milo Addica	...	Tommy Roulaine
Leah Loftin	...	Booter

Storyline

Set in the Southern United States, 'Monster's Ball' is a tale of a racist white man, Hank, who falls in love with a black woman named Leticia. Ironically Hank is a prison guard working on Death Row who executed Leticia's husband. Hank and Leticia's interracial affair leads to confusion and new ideas for the two unlikely lovers.

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Plot Keywords:

interracial sex | electric chair | cunnilingus | dysfunctional family | white male black female relationship | 

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Taglines:

A lifetime of change can happen in a single moment.

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Genres:

Drama | Romance

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Motion Picture Rating (MPAA)

Rated R for strong sexual content, language and violence

Details

Country:

USA

Language:

English

Release Date:

1 March 2002 (USA)

Also Known As:

El pasado nos condena

Filming Locations:

Laplace, Louisiana, USA

Box Office

Budget:

$4,000,000 (estimated)

Opening Weekend USA:

$174,109, 30 December 2001, Limited Release

Gross USA:

$31,252,964, 2 June 2002

Company Credits

Production Co:

Lee Daniels Entertainment, Lions Gate Films

Technical Specs

Runtime:

111 min 112 min (unrated director's cut)

Sound Mix:

DTS Dolby SDDS

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

In August 2014, Mr. Skin placed Halle Berry's nudity from the movie at #2 on their list of "The Top 150 Greatest Celebrity Nude Scenes of All Time".

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Goofs

(at around 1h 30 mins) When Leticia is working in the diner she puts the glass top back on the cake stand twice.

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Quotes

[last lines]
Hank Grotowski: I think we're gonna be alright.

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Crazy Credits

Thanks to Sam, Austin, Gabrielle. Scott Lambert is thanked twice.

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Alternate Versions

The video was eventually released uncut in the USA in 2003 with the love scene intact, it is under the label "Signature Series".

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Connections

Referenced in twenties: the series (2014)

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Soundtracks

License to Kill
(1983)
(as "Licensed to Kill")
Performed by Bob Dylan
Written by Bob Dylan
Published by Special Rider Music (SESAC)
Courtesy of Columbia Records
By Arrangement with Sony Music Licensing

User Reviews

Disturbing, engaging work

This is the kind of gritty, fuzz-free reality drama that keeps you musing about it long past the ending credits. It is unsparing in its depiction of all the light and dark sides of the human psyche, from racism to passion to insularity and even corpulence, mounting these on a platform so stark and unambiguous that the audience is not left with many choices - the reactions evoked are exactly the ones intended to be evoked, oscillating between disgust, outrage, sympathy, tenderness and occasionally, even a surreptitious smile.

Most of the characters in the movie suffer somewhat from a lack of complexity, which is compensated for by casting them into circumstantial conflict to create the dramatic tension (a husband is electrocuted, a child dies, another child sends a bullet through his heart and into the couch behind, and so on). This is not necessarily a bad thing, especially because the remarkable performances (particularly from Halle Berry) validate this ploy. The exception to this, however, is the character of Hank Grotowski, played by Billy Bob Thornton. Billy Bob succeeds in imparting a subtle gray shade to this seemingly cardboard-cutout poster-boy-for-the-old-bigoted-south character that makes you hesitate from accepting him at face value. Is this simply about a saturnine, jaded racist being transformed by true love? Well, yes, that's part of it - the obvious part. But something keeps nagging you, preventing you from accepting this linear, justifiable inference, making you want to probe deeper, discover the reasons he has turned out this way, and even, in a perverse way, rationalize them. Is it just the provincial social climate? Is it the long proximity to his bigoted dotard of a father (played admirably by Peter Boyle)? Is he really that way or is he simply going with the flow? No simple explanation seems satisfactory - and the credit for this questioning, this need for deconstruction, goes to Billy Bob's nuanced performance.

All in all, beside the fact that some of the scenes may unsettle the squeamish, and that some promising characters like that of Grotowski's dispirited, conflicted son Sonny (played by Heath Ledger) were knocked off too early, the picture satisfies most norms for a good cinema experience - it makes you think, weep, squirm, analyze, rationalize, everything but walk out before it is over. In other words, it is what good cinema is about.