HBO’s
Bessie is a gem. In a film that was 22 years in the making, Dana “Queen
Latifah” Owens delivers a powerhouse performance as Bessie Smith, the Empress
of the Blues (1894-1937).
Writer-director
Dee Rees (Pariah) continues her game-changing trajectory of making films that
are beautifully human and complicated—films that tell stories about the
complexity of love and the human spirit. In an industry where
biopics—especially TV biopics—rarely do their subjects justice, Rees’ Bessie
(which debuts May 16 on the cable network) does an excellent job of placing
Smith and her legacy of music, sexual freedom and bravery in a historical and
cultural context.
Owens
conveys Smith’s talent, strength and vulnerability in a tour de force
performance that solidifies her place among the industry’s best actresses.
Owens’ depth as an actress is on full display as she moves thoughtfully and
intentionally through the story of Smith’s turbulent life, which was marked by
scandal, despair, triumph and courage.
Smith was
publicly bisexual at a time when women and men were tortured and jailed for
engaging in same-sex relationships. Her unconventional approach to blues
singing was reflected in her unconventional relationships with men and women
who were intoxicated by her self-determination, yet threatened by her
indomitable spirit.
Smith
studied under the tutelage of Gertrude “Ma Rainey” Pridgett (played by
Mo’Nique), the Mother of the Blues, who was just as fearless, feisty and free
as Smith. Rainey’s territorial nature ruptured their friendship. The
relationship would eventually be repaired, but only after much turmoil and
disappointment.
Mo’Nique’s
bold depiction of the blues legend is mesmerizing. The proverbial baton that
was passed from Rainey to Smith is reflected in the passing of the baton from
an Oscar-winning actress (Mo’Nique) to Owens, who already has an Academy Award
nomination under her belt—for 2002’s Chicago—and who certainly has an Oscar win
in her future.
The
chemistry between Mo’Nique and Owens is unparalleled on-screen, as is the story
of a self-possessed woman who risked fame and fortune to live the life that she
wanted despite the odds against her. Michael Kenneth Williams (The Wire,
Boardwalk Empire) stars as Jack Gee, Smith’s devoted husband, whose penchant
for power and other women helped fuel Smith’s alcoholism. For Smith, alcohol
was a means of dealing with the demons in her past that affected her future.
Tika
Sumpter, Khandi Alexander, Tory Kittles and Mike Epps shine in supporting roles
in a film that captures the beauty and the beast of trying to be “free” at a
precarious moment in history when freedom was for only a handful of people. The
film does a great job highlighting the racism, sexism, homophobia and elitism
of whites and some blacks during the rise and fall of Smith’s career.
One of the
greatest disappointments in film history is that the only footage that exists
of the blues great is from 1929’s St. Louis Blues. Producers Richard and Lili
Fini Zanuck, Shelby Stone Owens and Shakim Compere (Owens’ longtime business
partner) have come together, however, to ensure that one of the most important
figures in music history is not left out of the visual narrative of blues music
and culture.
Rees
strips away Smith’s many layers to make a film that brilliantly captures
musical and social history and offers a history-making representation of a
black woman that is rarely seen on the big or small screen. Rees’ audaciousness
in filmmaking—coupled with dynamite performances, amazing costumes and terrific
set design—makes HBO’s Bessie a treasure trove among a sea of biopics.
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