In the category of "Most Striking Film Image" of 2019, here it is: two young African-American men (who've been best friends since childhood) skateboard through the streets of San Francisco, as various citizens go about their lives. The pace is in slow-motion, but everything we need to know about the social, economical, and ethical situations is summed up in these characters, especially since they look directly at the camera as these men pass them by.
A favorite at the 2019 Sundance Film Festival, The Last Black Man in San Francisco centers on these two friends (caretaker Jimmy and writer/artist Montgomery), the communities they grew up in (most of which are going through economical and social hardships), and particularly the home Jimmy's grandfather used to live in.
Jimmy states that his grandfather was "the first black man in San Francisco," and that he (Jimmy) is the "last" (hence the reason Jimmy is the film's main character, and the reason for the title). He spends a lot of time trying to fix up the house, even though it technically belongs to another couple on the brink of divorce, and despite the objections of other friends or family, including an old friend who lives in his car, and gang members who hang out on the street corner by Montgomery's place, hurling profane and racist insults at each other. (One man named Kofi seems to start making a change of character, however.)
Jimmy states that his grandfather was "the first black man in San Francisco," and that he (Jimmy) is the "last" (hence the reason Jimmy is the film's main character, and the reason for the title). He spends a lot of time trying to fix up the house, even though it technically belongs to another couple on the brink of divorce, and despite the objections of other friends or family, including an old friend who lives in his car, and gang members who hang out on the street corner by Montgomery's place, hurling profane and racist insults at each other. (One man named Kofi seems to start making a change of character, however.)
The trailers suggest this film is lighthearted and sentimental to a fault. The final result is far from it. (Well, mostly, despite one possible cheesy moment.) First-time director Joe Talbot (who co-wrote the screenplay with Rob Richert and lead actor Jimmie Fails) made the smart choice in using orchestral, and sometimes ethereal, music in the score by Emile Mosseri (possibly a reflection of the current influence of filmmaker Barry Jenkins). There's even an amazing rendition of "If You're Going to San Francisco," which give the story a more universal appeal.
The theme of remembering (or confusing) where we come from and keeping the past alive is profound, on one hand. On the other hand, it shows how much Jimmy has allowed his identity to be based on the house, and how he seems to be living in an ideal fantasy, determining what he chooses to love or hate and what is true and not true. Monty expresses many of these experiences through his art, including playwriting. The result, like that aforementioned striking image, is powerful and compelling.
The theme of remembering (or confusing) where we come from and keeping the past alive is profound, on one hand. On the other hand, it shows how much Jimmy has allowed his identity to be based on the house, and how he seems to be living in an ideal fantasy, determining what he chooses to love or hate and what is true and not true. Monty expresses many of these experiences through his art, including playwriting. The result, like that aforementioned striking image, is powerful and compelling.
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| (Left to right): Jonathan Majors and Jimmie Fails in The Last Black Man In San Francisco |
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