Black or White, 2014.
Directed by Mike Binder
Starring Kevin Costner, Octavia Spencer, Billy Burr, Gillian Jacobs, Anthony Mackie, Andre Holland, Mpho Koaho
SYNOPSIS
Grieving widow fights for custody over his biracial granddaughter; in the midst are issues of race, class, and addiction.
Mike Binder is not afraid to deploy sensationalism for narrative purposes. One of the biggest issues many had with his prior film Reign Over Me was the usage of the 9/11 footage, and it’s irrevocable cultural and societal consequences, both on the micro and macro, as a trajectory for the fictional characters’ own narrative arcs. Binder’s Black or White uses alcoholism, drug addiction, racial prejudice, and socioeconomic divisions to shape the story of a widowed grandfather fighting for custody of his granddaughter. As one may be able to denote from the concerns surrounding his prior film, these themes are deployed in Black or White with little nuance or self-reflexivity.
Its prologue detailing Eliot’s (Kevin Costner) event in the hospital, where he’s told of the passing of his wife, and is embraced by colleague and friend Rick (Bill Burr) is melodramatic, and very fitting for a light-afternoon film. The issue then occurs in the scene that follows, which entails a morning ritual Eliot attempts to recreate due to the absence of the aforementioned wife with their granddaughter Eloise, whom is unbeknownst to the situation; this is played out for chuckles. The dramatic heft in contrast to light-hearted chortles undermines the character’s internal struggles. This flippancy toward such matters continues unabashed throughout.
When the narrative progresses and introduces such themes like race, it isn’t used to generate discussion or to highlight the complexity of it, but simply as a narrative device to cause conflict. Its introduction to racial difference is done with little tact, and its resolution is simplified. One has to wonder, what is the purpose of this? The films conclusion doesn’t bring enlightenment, or offer an alternative perspective, but simple answers to complex issues the film may have wisely just avoided.
Its other theme is addiction, both legal (alcohol) and illegal (drugs), which much like the aforementioned racial politics, is thrown in early, resolved simply, and its primary objective is to create an obstacle. While it offers interesting shot compositions to compare these vices, notably after Eliot berates Eloise’s absentee father Reggie (Andre Holland) for his crack problem does he immediately pour himself (another) large glass of whisky in the background, it unfortunately cannot escape from the shackles of melodrama.
The jokes, notably at the expense of Eloise’s personal tutor Duvan (Mpho Koaho), are for the most part harmless. This is possible by Binder’s own choice to set much of this in an inauthentic, almost theatrical, milieu. It ensures one is not to take these moments too seriously, and to not think of the socio-political implications had it been set in the real. Oh, wait, the racial parables, and hypocrisy in acceptable addiction makes such quasi-conservative humour difficult for audiences to engage with accordingly, and consequently can be interpreted as offensive.
Black or White has a talented cast, many of whom have been in other films dealing with similar themes, and whom perform accordingly to the genre tropes. Mike Binder’s light-hearted approach to such subject matters is bereft of any ambiguity to generate discussion, or nuance to allow audiences to engage intellectually. The film looks pleasant, it’s a light viewing experience, and the intermittent chuckles will keep this afloat. It’s a shame when one soon becomes more aware of its potential than its result.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Matthew Lee
https://www.youtube.com/watch?list=PL18yMRIfoszEaHYNDTy5C-cH9Oa2gN5ng&v=Hmyh_bg7NJc
Originally published October 16, 2015. Updated April 14, 2018.
