Can we really believe that tears are a sign of a movie’s quality? Too many shameless and relentless centuries of cinematic mediocrity suggest the answer is no. If a movie is willing to stop at nothing in its mission to make you cry, statistically speaking, you’ll probably comply. Or because it makes you feel awkward as a viewer. But just as comedies have what Mike Nichols once called “expensive laughs” – parts of getting laughs at the expense of truth, scene pacing, etc., our film history is full of tears from top to bottom. quality scale.
That’s one of the beautiful aspects of “We Grown Now,” the sinuous and vital third feature from writer-director Minhal Baig. At its core, friendship gives space to listen, see, and reflect, as well as feelings, rather than attacking the throat. You can cry, or you don’t have to. But this movie doesn’t just make sure you do it.
Baig grew up in a Pakistani-Muslim family in Rogers Park on Chicago’s north side, a few miles from the Cabrini-Green public housing project. The last tower was destroyed in her 2011. “We Grown Now” is a tenderly observed story of Cabrini-Green’s two boys learning how to say goodbye to each other when they have to, reclaiming that place and its community.
Ten-year-old Malik (Blake Cameron James) and his friend and high-rise neighbor Eric (Jean Knight Ramirez) call Cabrini-Green home, and through their eyes, you’ll see every inch of the concrete block. , the whole stairwell, and the old man in tatters. The mattress feels a bit inviting and ready to explore. In the opening scene, highlighted by composer Jay Wadley’s gently assertive, string-heavy music, the boys drag discarded mattresses from an empty room down the stairs and onto the asphalt outside. A jumping contest requires a landing pad, but is actually a jumping/jumping/flying contest. As James says in voiceover, “Tall or small, the ability to jump means everything here.”
Malik lives with his sister Amber (Avery Holiday), mother Dolores (Jurnee Smollett), and grandmother Anita (S. Epatha Merkerson). Anita, who moved to the Great Migration Area of northern Mississippi, sees that her daughter is working hard but not being rewarded much, even though she wants a promotion within her company. I am witnessing it. “We Grown Now” focuses on Malik’s days and nights, primarily his life with Eric. He navigates projects and schools and dreams of what lies beyond the places they know.
In one scene, they skip class and go on an adventure downtown, visiting an art museum and Union Station. Like the rich North Shore posers in “Ferris Bueller’s Day Off,” they pause for a moment at Georges Seurat’s painting “Sunday at the Grande Jatte.” A second later, they move on to another painting, Walter Ellison’s “Railway Station.” Inspired by a depiction of black and white travelers arriving in Chicago during the Great Depression, Malik and Eric discuss where the black people in the painting came from, where they are going, and why the white travelers A few words are exchanged about not carrying your own luggage. luggage.
This scene is outstanding. The boys shouted, “We exist! We exist!” all at once from the balconies of the upper floors. A small thing in the scheme of things. “We Grown Now” creates a fully realized visual and philosophical perspective that connects with the boys at its center. The film may be a dream, but it doesn’t ignore the reality of what’s happening to Cabrini-Green. The murder of 7-year-old Dantrell Davis during an escalation in gang violence in 1992 led to chaos for the Chicago Police Department, new and restrictive rules and regulations, and late-night legally questionable apartment raids. Became. All of this tells a story. It’s no wonder Malik’s mother, Dolores, is concerned about her son’s safety. Smollett’s character, along with her own mother, begins to think about escaping her family in her quiet voice.
The now-vanished Cabrini Green towers have been expertly recreated, and Chicago’s existing buildings have been doubled, even though they no longer exist here. The sinuous cinematography is by Pat Scola, who also worked on “Pig” and the upcoming “Sing Sing.” Few would argue that Mr. Smollett and Mr. Merkerson are better. There is never a single moment between them that is forced. They could have written more about Eric’s family (Lil Rel Howery plays the patient father) or Malik’s emotional range outside of his family, but Baig is an excellent young actor and an open-minded man. We are getting hints from people who have a kind heart. , Malik’s inquisitive mind.
Change happens quickly in this story of the growth and trials of friendship. Baig lands on a satisfying major chord that bids farewell, and while it’s sad, it’s not the only one. At any point in our lives, many breakups go awry or are avoided. Thanks to Malik and Eric, they’re wiser and hopefully ready for whatever happens next.
“We Grown Now” — 3.5 stars (out of 4)
MPA Rating: PG (Thematic Content and Language)
Playing time: 1:33
How to watch: Released in theaters on April 19th.
Michael Phillips is a Tribune critic.
