The famous name tied to the Netflix movie Beauty is the multitalented Lena Waithe, whose famous credits really started to pile up: Actress in Ready Player One and Bad Hair, writer Queen and Slim, writer and actress in Master of None, producer of The 40-Year Version and Dear White People (film), and creator of The Chi and the Twenties. Beauty is her latest scenario, the story of a young woman at the peak of pop stardom, which seems to be inspired by Whitney Houston’s early career, though not stated directly. Be that as it may, Whitney’s biopic is complete – it’s in a book for December 2022, titled I Wanna Dance with Somebody – but it can eventually be more famous for introducing us to her star, newcomer Gracie Marie Bradley, who gave hints of greatness. in the otherwise rather frustrating film.
BEAUTY: STREAM IT OR SKIP IT?
The Gist: We open the artsy montage: Beauty (Bradley) in front of a microphone in the recording studio, performing on stage, in moments of sweet intimacy with her boyfriend Jasmine (Aleyse Shannon). We didn’t hear him sing. The film is settled at its last, where he and Jasmine talk about one day experiencing “freedom”. Beauty’s brother Abel (Kyle Bary) climbs through the window and sparks up a joint. Read also : What to watch on Wednesday: “Beauty” kicks off on Netflix. Her mother (Niecy Nash) prepares dinner downstairs. Cain’s half brother (Micheal Ward) unpacks suitcases from the car, because his father (Giancarlo Esposito) has just returned from a trip.
Everyone is smart to eat which reveals multiple layers of dysfunction. Father runs the show cruelly and rudely. Mom aspires to be a great singer but never becomes more of a backup; she crack whip on Beauty for six hours of training each day. Abel is happy. Cain is evil. (Did the brothers get in the fight? No spoilers here, pal.) Only Abel seems willing to fully embrace Jasmine’s idea of being a Beauty partner and lover. The mother told the church words about the man and wife being one flesh, but only Jasmine had the courage to show infidelity to the Father. His words were greeted by a cold silence. We get shots of Beauty Coaching Mom at church. We see Beauty back in the recording studio. But we still didn’t hear her singing.
From the contextual details, one gleans that it was the early 1980s, and Beauty is about 20 years old, give or take a year. The doorbell rang, and walking there was a white woman (Sharon Stone). In credits, he is only called “Colonizer”. She has a contract. Record labels, management, either or both, don’t matter. The father had negotiated a contract, and when Beauty suggested that he allow a lawyer to see it, he saw that it was an insult to the father and the woman: “After all that I did for you, is this how you respond to me?” She signed it. Where does Jasmine fit into this? Not sure she does, since someone has control of Beauty, who is torn between a piece of her heart that belongs to Jasmine, and a piece holding her aspirations. All the photos of him in the recording studio? They’re flash-forward. We still haven’t heard her sing, and we won’t.
What Movie Will This Remind You ?: Whitney’s final acting role was in a similar music-biz story, 2012’s Sparkle; Her life cranked out a chintzy biopic, Whitney, in 2015.
Performance Worth Watching: Bradley shows a considerable screen presence, but never gets a chance to show more than potential – there’s not enough meat in the bones of this scenario.
Dialogue to remember: Invader: “If you want to be a star, you have to wear a mask.”
Take us: We’ve never heard Beauty sing, and that seems to be the point. Beauty opened with a quote from Sarah Vaughan: “When I sing, problems can slip on my shoulders and I don’t notice.” A movie about Beauty trouble. It was always there, in his romance, his family, his budding career. Waite frames the story as a moral play – a nonspecific setting, characters defined by their names (Beauty, Cain, Abel, Father, Mother, Colonizer), a stifling seriousness. It’s an unconventional approach to the familiar story of an aspiring young talent who had to compromise too much herself for a shot at stardom.
It’s an experiment that doesn’t quite work, an allegory for the obvious idea. It comes off dramatically stiff and overwrought, leaving us with fleeting impressions but not much in the way of solid characters and emotions. Of course Beauty’s facial prejudices are upsetting – her father and Cain treat Jasmine with disdain, and the Colonizer calculates her urging to straighten her hair and use “proper English” during media interviews. Of course we wish his father was less greedy (cue Esposito’s nasty patriarchal speech), and his mother’s overprotective instincts weren’t rooted in envy (cue Nash’s furrowed eyebrows). Of course Beauty should be able to be herself all and pursue her dreams. Of course we want him, and we, live in a kinder, more just world. This is where the film paints itself into a corner, making its protagonist an empty cipher to fit the morality-play conceit. We never get to know him beyond the film’s cliched melodramatic overtures, and we find ourselves rooting for principles – love, equality, fairness – rather than people. That’s not where we should be.
Call us: LIVE. Again: We never heard Beauty sing. Interesting decision; could have worked with better implementation, and maybe another pass in the script.
John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com.
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