Malcolm & Marie is a narrative feature about a toxic, unhealthy, verbally-abused relationship between two attractive people who know which emotional buttons are sensitive, so they decide to just go all in—old school arcade-style.
Or, like watching two champions compete in a table tennis match where the aggression crescendos to a threshold, right. But after a while, each of the champions tires of the back-and-forth and steals each other’s moves from earlier rounds as a means to beat their opponent. But with a sheen of the Classic Hollywood era with the black and white color, 1.85 : 1 aspect ratio, and the couple smoking cigarettes as a scene reset.
I found myself yelling “THERAPY!” throughout the film—an uncomfortable anxiety that felt creepily voyeuristic.
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Zendaya and John David Washington’s performances were mighty strong. 💪🏾 Mighty strong, indeed. Sharp and confident. Boffum.
Zendaya just keeps giving it all, and leaving it on the floor. I was shocked but not surprised by her performance as Marie, a recovering drug addict and former actress. Zendaya is talented, and I hope she explores other roles that are just as messy and complicated and aren’t necessarily the protagonist.
Miss mama has the range. Those close-ups during the bathroom battle were raw. The lip/jaw quiver😱😱😱—I was triggered. I got goosebumps. Outchea acting with her whole face—hittin’ the people with the Kerry Washington/Kimberly Elise special!!! 👏🏾🧐
I was honestly shocked and positively surprised by John David Washington’s performance. 😬 He was convincing as Malcolm—the narcissistic, emotionally-insecure partner to Marie. It took me a moment to adjust to him because I still hear a twinge of young Denzel in his voice, but he committed and delivered. 💪🏾 💪🏾
They both monologed this film to death. I wonder how many takes it took to get those scenes perfect. 🤔
I initially pegged this narrative to be a lopsided trauma war at Marie’s expense. Almost like a lesson in gaslighting, and Malcolm had a doctorate. But, Marie rebutted all of his shit with precision as the story progressed, and let shawty have👏🏾 it👏🏾!!!
After the many moments of Malcolm using an Oldies soul playlist as a means to communicate his frustrations with Marie, I open-mouthed cackled when she joined him on the back patio, stole his cigarette, and started playing Dionne Warwick’s “Get Rid of Him.” 💀💀💀
And she just sat there and watched his demeanor change.
That sh*t was entertaining! 😂😂😂
(🗣️🗣️🗣️“THERAPY!”)
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As far as technical specifications, I 💖 the color (black and white), aspect ratio (1.85 : 1), lighting, and potpourri of camera angles explored by the cinematographer, including good use of mirror shots during the final act.
I imagined a more narrow aspect ratio wouldn’t have allowed for the natural shifts between scenes following the remnants of the couple’s continuous hyperbolic emotional bursts. The actors’ energy + the diversity in angles helped communicate a suffocating, claustrophobic feeling without having to manipulate the aspect ratio. But I did wonder how this film would have translated with a wider aspect ratio. 🧐🧐🧐 Like a widescreen 2.39 : 1.
The two scenes that’ll probably stick with me were Marie’s “audition”🔪 and the lingering shot of Zendaya lying on the floor staring up and back at the camera. The latter shot was haunting, and reminded me of Rosamund Pike‘s character from “Gone Girl.” 🙄👀👀
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I’m a fan of Sam Levinson’s writing. This screenplay felt deeply personal, and like his “F.U.” to the industry. He weaves minor details into his writing that pay off later, and I appreciate his style. Sam understands how to structure power shifts in a narrative that when the conclusion finally comes, it doesn’t feel totally empty…usually.
And while I digs the aesthetics and technical specifications of the film, if I’m honest, I couldn’t help but feel like this film’s screenplay was a graduated derivative of the “Trouble Don’t Last Always” episode of “Euphoria” that premiered in DEC 2020—almost like this film exists as a nine-year flash forward to an older Rue (also portrayed by Zendaya) who is in a relationship with a man who “can dish and take it.”
The constant shifts in who seemed to dominate the conversation between Malcolm and Marie translated much like the conversations between Ali (played by Colman Domingo) and Rue at the diner. 🤔🤔🤔 (That episode had me full-on weeping, bruh.)
After the second act, I was wondering, “Did I miss the climax?” “Will there be a resolution?” “…either one of them gonna leave, or break some shit, or throw hands?” And, “Am I toxic AF for wanting them to choose violence?” (Probably.)
Nah. This film is just a revolving door for either person to masterfully identify the particulars of the other’s personal character, and tear them down with words, not hands.
Just vibes.
And honestly, it was exhausting. I don’t care how “well-acted” and “authentic” 😏 the performances were, after the second round of arguing in circles, I was ready to phone it in. 🤷🏾♀️🤷🏾♀️🤷🏾♀️
And the moments following Marie’s final monologue were predictable. I was sitting here like, “please don’t let Malcolm say ‘I love you.'”
Then he did.
#classicfuckboyresponses #triggered
Also, in the spirit of Black History Month 2021, I conducted a convenience survey of 1,000 Black people that included one multiple choice question: “After a long night at your partner’s movie premiere, which of the following would you prefer to eat?” and the answer choices were “a bowl of blue box Kraft Easy Mac” and “absolutely nothing.” The results of the survey: 99% (CI: 98.9-99.9) of Black folk reported they’d rather their ribs touch than chow down on Easy Mac noodles. 🤷🏾♀️🤷🏾♀️🤷🏾♀️ What can I say—SCIENCE. 🙃🤣😂
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The film had a temporally-diverse soundtrack. 🎼🎵🎶🎵 It slapped. 👏🏾🧐
I enjoyed the music more than the couple’s conflict. From “I Forgot To Be Your Lover” by William Bell to “In a Sentimental Mood”—John Coltrane + Duke Ellington to “Wasted” by NNAMDÏ, the soundtrack added a balance to the couple’s tension, but also served as a situational aggressor.
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My takeaways:
🥀 This was a “love is a battlefield” narrative that can be summed up to: extend some gratitude to your ol’ lady. Damn.
🥀 JDW be acting. And I sees it now.
🥀 I hope Sam Levinson and Zendaya continue to make beautiful art together. I just want diversity for Z’s characters—sis doesn’t really need to play a recovering addict in every damn role.
🥀 The music was a vibe. Shouts to Labrinth.