Softpedal

To assess the Precious backlash among discerning African Americans, N.Y. Times writer Felicia R. Lee bends over backwards so far that she does the Linda Blair spider-walk from The Exorcist. "Dozens of black people were interviewed about their perspectives on Precious," she writes, but she only quotes eight, and there's only one Precious hater among them -- N.Y. Press critic and N.Y. Film Critics Circle chairman Armond White.

One other guy, novelist, former newspaper reporter and Emory University instructor Nathan McCall, takes a mild swipe at Precious director Lee Daniels for indulging in stereotypes by having made "light-complexioned actors the good guys" and "showing Precious eating a bucket of chicken."

And there's some dispassionate analysis from Mark Anthony Neal, a professor who teaches black popular culture at Duke University. "People are suspicious of narratives that don't put us in the best light," Neal says, adding that the roots of that suspicion "can be found in a long history of negative images in popular culture that helped keep black people in their place by reinforcing the notion of their inferiority," as Lee paraphrases.

But the other five are admirers of the film, and two of these are vested -- Sapphire, the author of Push, which the film is based upon, and Lionsgate film division president Joe Drake.

So once again -- one hater, two mild-mannered men of letters expressing qualms, two Precious team members and three lovers/admirers.

You can call this a fair and balanced approach to a thorny cultural issue, or you can imagine a conversation between Lee and her N.Y. Times editor in which the latter says, "Okay, this is an interesting debate but let's be careful not to imply in any way that we're siding with the neg-heads. Precious is seen as a big cultural score by many voices in the African American community, starting with Oprah Winfrey and Tyler Perry, so let's not over-represent the haters. In fact, let's just quote Armond White for that viewpoint and then quote six or seven others who will tamper things up and take the edge off. That way we're covered."

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Posted by Jeffrey Wells on November 23, 2009 at 12:31 PM

comment #1

Ray Author Profile Page says ...

What does Armond White like, actually?

www.sammyray.com

Posted by Ray Author Profile Page at November 23, 2009 3:14 PM

comment #2

Noiresque Author Profile Page says ...

Honestly, and please don't take this as snark, but I think you may be viewing the reaction to the film through unnecessarily racialised terms , because black reviewers, critics and intellectuals by their very roles must view depictions of the black community in film through the lens cultural criticism. What you posted is a NYT Arts piece in any case, so of course the editors have an agenda! It's moot.

Honestly, in terms of which black people like the film that I've spoken to, they are the ones who like a certain kind of cathartic "misery" genre that borders on the melodramatic (melodrama not as a damning phrase, incidentally, but as a literary method) like Requiem For a Dream, Graves of Fireflies, Breaking The Waves, whether it be "black" cinema or international-art-house-Oscar-bait or a cartoon.

Posted by Noiresque Author Profile Page at November 23, 2009 3:15 PM

comment #3

Sabina E Author Profile Page says ...

Who cares. Indians cried and boo-hoo'ed when Slumdog Millionaire came out and now this.

*yawns*

I'm still waiting for PRECIOUS to come out in my area. I have ordered the novel PUSH by Sapphire, on Amazon. I can't wait to read it when it arrives.

Posted by Sabina E Author Profile Page at November 23, 2009 3:19 PM

comment #4

LauraReeling Author Profile Page says ...

In the current issue of Film Comment: Precious
Lee Daniels breaks new ground with a wrenching look at black life by Wesley Morris

Posted by LauraReeling Author Profile Page at November 23, 2009 3:46 PM

comment #5

VictorLazlo Author Profile Page says ...

"kind of cathartic "misery" genre that borders on the melodramatic (melodrama not as a damning phrase, incidentally, but as a literary method) like Requiem For a Dream, Graves of Fireflies, Breaking The Waves, whether it be "black" cinema or international-art-house-Oscar-bait or a cartoon."

Articulated my position perfectly. The misery genre has been tried and true oscar bait for years and race is not a factor. From Oliver Twist, to PINNOCHIO, people eat it up.

Posted by VictorLazlo Author Profile Page at November 23, 2009 5:33 PM

comment #6

Bob Violence Author Profile Page says ...

What does Armond White like, actually?

Right now? The Blind Side -- but then he's perfectly willing to give noxious racist bullshit a pass if it fits whatever crazy-ass agenda he's currently pursuing (see also: Norbit), so quelle surprise

Posted by Bob Violence Author Profile Page at November 25, 2009 2:20 AM

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