"Let yourself grow." This is at the heart of Nappily Ever After. This romantic comedy film directed by Haifaa al-Mansour, adapted by Adam Brooks and Cee Marcellus, and based on the novel of the same name by Trisha R. Thomas. When a perfectionist ad exec experiences a romantic setback, she embarks on a journey of self-discovery that begins with a dramatic hair makeover.
Since 2003, the project was in development at Universal Pictures with Patricia Cardoso to direct, Tina Gordon Chism to pen the script, which was later rewritten by Lisa Loomer, and Halle Berry on board to star. In mid August 2017, it was announced that the project was now in development at Netflix with al-Mansour to direct, Brooks and Marcellus to pen a new script, and Sanaa Lathan was cast to play the lead role. By late August, Ernie Hudson, Lyriq Bent, Lynn Whitfield, Ricky Whittle, Camille Guaty, and Brittany S. Hall. Around the same time, principal photography commenced, and filming took place in Atlanta, Gerogia. Just like her character, Lathan actually shaved off her hair for the role prior to filming.
The film stars Lathan, Hudson, Bent, Whitfield, Whittle, Guaty, and Hall. The cast gave solid performances though they were performances that you would expect from films of this nature and genre. Although, Lathan as the protagonist gives a great performance. She's strong, funny, vulnerable and sweet depending on what the situation calls for. There's a sense of hope that resonates with a character as confident as Violet that can't be ignored. The character will no doubt serve to empower many young African-American women.
As with the best work of Sofia Coppola, Spike Lee, etc, al-Mansour's sweet-natured film offers both fun and thought provocation for younger and older audiences alike, belying its complexity with a universal tale that speaks to the many. This delightful film by Saudi filmmaker Al-Mansour uses a woman's shaved head as a metaphor for rebellion within a socially-strict circumference. A staggeringly assured cine-essay on female empowerment. The film isn't angry or sentimental. Rather it ends up being a heart-warming and positive story with some laughs and tears along the way. In presenting fine details and focusing on her characters rather than just solely on a social agenda, Al-Mansour has created a delightful little movie that just happens to be set against an imperfect and shallow society. Rather than making a grand social statement, the film excels in its quieter and more intimate moments. Al Mansour uses the simple story as our entry into a recognisably complex culture and a pointed perspective on how African-American women, and women in gerneral, are treated in American society. The film is a well-intentioned yet terminally uneven endeavor. It's simplistic but charming. On the most basic level, the film is a wonderful piece of filmmaking. It's a tale that's delightful and insightful and gently empowering, and Al-Mansour tells it with economy, lyricism and terrific warmth. Free from ranting or raving, this quiet celebration of female empowerment is one first step towards righting centuries of repressive wrong.
Simon says Nappily Ever After receives:
Also, see my review for Mary Shelley.
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