Love Jones

There was always something about 1997's LOVE JONES that caught my attention.  The advertisements did not suggest anything beyond a standard romantic drama, though for its time it was fairly progressive.  Actually depicting black characters as something besides gangbangers or heavies.  A film that considered the lives and loves of African-Americans without resorting to leering comedy or raunch.  Literate, middle to upper class folks with artistic leanings.  Writer/director Theodore Witcher generally succeeded here, though his screenplay hits many of the cliches you would expect in a story about young coupling in the big city.  But again, it's how it is all presented, and a certain intelligence pervades.  Also a certain aura, one that confirmed my interest in this movie.

Darius (Lorenz Tate) is an aspiring writer who hangs with his pals at this cool Chicago nightclub that sports jazz and poetry.  One night he meets a striking young woman named Nina (Nia Long), who a few scenes earlier we learned is a gifted photographer suffering a recent breakup.  There are immediate sparks, enough for Darius to dedicate a poem to her at the mic that very night.  Awkward, perhaps too bold of a move.   His subsequent efforts to get a date are rebuffed, but the guy is persistent and Nina will eventually relent.  Their date goes very well, enough so that Darius is cooking her an omelette after their night together.  

How will they play this? Are they truly just "kicking it"? Friends with benefits, as they used to say? Or is there something deeper? Thus begins the on again/off again dance, with Nina testing Darius' intentions by getting back with her ex, and Darius hooking up with his "friend" Lisa.  And Nina dating one of Darius' buds, the self-absorbed Hollywood (Bill Bellamy).  Our lovers run very hot or very cold.  You might find yourself face palming at some of their (especially Darius') actions.  People act funny when they're (not entirely sure they're) in love. 

The scenarios are realistic.  The characters are very believably drawn, appealing, and natural.  The friendships depicted feel as if torn from someone's life, not a screenwriter's guide.  The point of view is almost sage-like.  But the plotting is familiar and time worn.  The beats are recognizable.  The Big Scenes are there, including the one where Darius runs to a train station just in time to miss Nina as she moves to NYC.  The wise married friend giving advice.  The reconciliation in the rain.  Rain plays a significant role in LOVE JONES, always accompanying positive moments.  Often in these type of films rain is symbolic of loneliness.  

Witcher, who to date has not directed another feature, achieves this subtle relaxed vibe from opening to closing, even when the drama is high.  Almost a mystical feel, quite intoxicating.  This is aided by sublime tunes, including some by Charlie Parker and Dionne Farris' lovely "Hopeless", heard over the opening credits.