An ode to Issa:
Issa Rae…
…is gorgeous.
…is a gem.
…has the skin of honey butter.
…is talented.
…is an inspiration.
..helps me through my awkwardness.
Also, everyone in this film is fine AF. Chanté Adams, Issa Rae, LaKeith Stanfield, Teyonah Parris, Y’lan Noel. Just… fine ass black folk.
LaKeith Stanfield is one of our generation’s greatest talents. Following his success in the indie film Short Term 12 (2013), Stanfield has portrayed a plethora of characters across many genre/sub-genre, including: crime, comedy, biopic, and drama. The man is a talent, and I was waiting to see him in a romance. And behold, he STRETCHED this screenplay with all his acting might to bless audiences a solid performance.
The Photograph has its issues. Within the first four minutes, I guessed the entire screenplay. The marketing ads and trailers showcased its entire arc. Also, within the first seven minutes, when Mae (played by Rae) and Michael Block (played by Stanfield) meet, there is an editing flaw, one I couldn’t quite get over throughout the remainder of the film. Mae’s hair, upon her introduction to Michael, was a little poof-y—for my sistas, like when you get it flat ironed, but there’s a little moisture in the air so it’s not as laid as you want it to be, but you persevere. In the scene immediately following the intro that cuts to the two characters walking into a room to look at photographs…BAM! COMPLETELY LAID HAIR FOLLICLES. (How?)
This screenplay was not as strong as the acting portrayed. Some moments, especially the scenes with Lil’ Rel Howrey, were awkwardly drawn out–the mood didn’t feel natural for the dialogue between characters. I was completely confused by Howery’s character in this film because this isn’t a romantic comedy, and yet his lines felt like he’d soon break the fourth wall and spit-take to the audience, or felt like somehow the rest of the film’s audience was different than the audience he was performing for.
Soundtrack is a download necessity. Shouts to Robert Glasper. He know WTF he doing!!!! 👏🏾👏🏾👏🏾
Also, shouts to Stella Artois for the product placement. 👀 (’twas obvious and I wasn’t even mad.)
You know how Love Jones (1997) made you feel like you were peeking in on the lives of young, successful black folk experiencing real shit with each other. The script, the directing, and the character devo were so on point, so well done, that you forgot they were acting. That’s what The Photograph lacked in character—nothing felt completely natural. The screenplay felt stagnant, and there wasn’t enough passion to connect with the characters. The major argument at the climax felt forced and unearned. It felt more like a long jump rather than an endurance or long distance-type run. 🏃🏾♀️ 🏃🏾♀️ 🏃🏾♀️
Quick tangent: I felt it to be so fitting that an Al Green album kept them company during the storm. Stanfield is the only actor right now I could see portraying Green in a biopic.