A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Sunday, October 5, 2025

To Sleep With Anger (Charles Burnett, 1990)

Paul Butler and Danny Glover in To Sleep With Anger

Cast: Danny Glover, Paul Butler, Mary Alice, Richard Brooks, Carl Lumbly, DeVaughn Nixon, Sheryl Lee Ralph, Vonetta McGee, Ethel Ayler, Reina King, Cory Curtis, Paula Bellamy, Wonderful Smith, Sy Richardson, Davis Roberts, John Hawker, Julius Harris. Screenplay: Charles Burnett. Cinematography: Walt Lloyd. Production design: Penny Barrett. Film editing: Nancy Richardson. Music: Stephen James Taylor. 

The conventional interpretation  of Charles Burnett's To Sleep With Anger is that the character of Harry, played by Danny Glover, is the devil. But remember Rilke's assertion that "every angel is terrible." The film begins with an image of endurance, a man being enveloped but not consumed by flames. It ends with an instance of persistence, an amateur trumpet player whose discordant notes segue into a triumphant harmony. Remember, too, that it's Harry who points out that however much the young trumpeter's practice may annoy the neighbors, if he continues with it he may become a real musician. Harry brings mischief and misfortune to the South Central LA family and their friends, but he leaves them wiser and more harmonious. He brings the refining fire, the resolution to discord. He stirs memories of the Southern past -- the discrimination and abuse, but also the pleasure-seeking and lawlessness -- that spurred the Black diaspora, but by reminding them of it he enables them to move on with their lives more assuredly. Burnett's morality tale is never so didactic: Its strength lies in its ambiguities. It falters occasionally in narrative ellipses and by being a bit overcrowded with characters, but it fully earns the praise it has gained over the years since its somewhat inept release and marketing.