Spike Lee’s last feature, 2008′s “Miracle at St. Anna” didn’t do that well at the box office, though for his latest ‘Joint’ he’s gone back to his Brooklyn roots for a “Red Hook Summer.” In the film he reprises his character ‘Mookie,’ from “Do The Right Thing,” though supposedly that character is the only thing that links the two films.
Not everyone believes that to be the case.
Here’s the trailer for Tim Story‘s “Think Like A Man,” which I am interested in seeing–not because it looks entertaining–it does–but because it’s directed by Tim Story. Story directed “The Fantastic Four,” and “Fantastic Four: Rise of the Silver Surfer,” among others, two films that weren’t that great, but whose weakness was due more to the writing–I will never forgive the ‘Galactus cloud‘–and the casting, which was almost pitch-perfect, till you get to Jessica Alba as Sue Storm, that is.
What bothers me is that, as an African-American director, it feels sometimes as if they’re quick to get “exiled” into doing films that cater primarily to an African-American audience.
There’s nothing wrong with making films for a select audience; and some people, like Spike Lee and Tyler Perry, have managed to turn it into a lucrative career.
But it’s somewhat limiting, and way beneath what most African-American directors are capable of (Spike Lee has begun to expand his repertoire, with films like “Clockers,” and “Inside Man,”) but it almost feels like it’s something that he has to continually earn, as opposed to what he has already proven.
That being said, there are some African-American directors that manage to transcend being typecast, such as Ernest Dickerson, who was formerly Spike Lee’s cinematographer before he went on to direct films like “Surviving The Game,” “Bones,” and becoming the go-to director for “The Walking Dead.”
According to Deadline, Red Tails is doing great business, though the article makes sure to include caveats about why that will possibly not be the case for too much longer (it’s strongly implied that because it appeals primarily to African-American audiences that it will not be able to maintain box office strength).
This is an interesting perspective because the last time I checked, Tyler Perry has been making films that–unlike “Red Tails”–that cater almost exclusively to the African-American community, yet he has somehow managed to make money hand over fist (despite what one may feel about his films).
Now keep in mind that Tyler Perry’s “Medea’s Big Happy Family” earned $54 million last year; and while Box Office Mojo does not list its production budget, I would be willing to bet money that Perry bought the film in for under $20 million.
Spike Lee, a director that has traditionally made films that focus on aspects of the African-American experience, also has a string of profitable films, with “A Miracle At St. Anna” being the only film that he’s directed that has not made a profit.
“Red Tails” differs from all of Perry’s films, as well as Spike Lee’s, in that it has a significantly larger budget (though Lee’s “Inside Man” came close at $45 million). It cost $58 million to produce–which isn’t huge by today’s standards–though what else it has is George Lucas, who not only bankrolled the film, but used his clout to put it into theaters with little–if any–monetary support from the big studios.
And as little as I think about how he is “updating” the films that make up his Star Wars saga, he isn’t a person that I would bet against when it comes to reading what the public wants to see on the big screen.
And as a bonus, if “Red Tails” inspires a few more people to look into the lives and exploits of the remarkable men known as the Tuskegee Airmen, Lucas’s film would have done its job if it didn’t make another cent.
Sorry about the delay on this one (damn work;).
According to Deadline, Josh Brolin has signed up for Spike Lee’s “Oldboy.”
I want to call it a remake of Chan-wook Park’s film, but it seems that it’s based upon the manga (which was the basis for the film).
According to Aintitcoolnews.com, Josh Brolin is being sought for a lead role in Spike Lee’s take on Chan wook-Park’s “Oldboy.” It’s seems like a good choice, because onscreen he can appear somewhat volatile, which is perhaps not too different from real life if the bar fight during the filming of Oliver Stone’s “W” is any indicator.
Spike Lee has confirmed that he is doing “Oldboy,” according to Aintitcoolnews. The article makes the point of telling us that it’s a remake of Chan wook-Park’s film, not the anime. Also, according to Blackfilm he’s revisiting some of the characters from his breakout 1989 film, “Do The Right Thing” in “Red Hook Summer.”
Spike Lee, despite what one may think of his politics, is an interesting and incendiary director, whose presence enriches the movie scene and seemingly presents endless opportunities for discussion, contemplation, and debate.
Lots, and lots of debate.
Apparently, Spike Lee isn’t the only person who doesn’t quite enjoy Tyler Perry films.
Yesterday, I read on Aintitcool.com that Spike Lee was going to direct a film version of “Oldboy.” What is uncertain is whether “Oldboy” is based upon Park Chan-wook’s 2003 movie or the anime “Oldboy” (the basis of the “Oldboy” movie). Originally Justin Lin (“The Fast And Furious: Tokyo Drift”) was in the running for this project, though he went on to direct “Fast Five,” one of the biggest films of the summer that does not involve robots in disguise (It has earned almost $600 million dollars worldwide).
This is really a good idea, because if “Inside Man,” “25th Hour,” and “Clockers,” proved anything, it’s that Spike Lee excels at gritty, urban drama.
A Mystery At St. Anna
I just learned something (which is not as unusual as some might think;): The only Spike Lee Joint that wasn’t profitable was “Miracle At St. Anna,” and I assumed that was because the box office had spoken. And Box Office Mojo, seemed to confirm that perspective, seeing that the film earned almost $8 million in the United States, and just over a million overseas.
And that’s that.
Or is it? According to The Hollywood Reporter, TF1 Droits Audiovisuels, the company that handled international distribution for the film, was fined $46 million dollars for FAILING to distribute the film.
It’s anyone’s guess that, if TF1 had distributed the film at the time it was released, if it would have been a success.
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