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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Showing posts with label Michelle A. Banks. Show all posts
Showing posts with label Michelle A. Banks. Show all posts

Saturday, November 15, 2025

Compensation (Zeinabu Irene Davis, 1999)

John Earl Jelks and Michelle A. Banks in Compensation

Cast: Michelle A. Banks, John Earl Jelks, Nirvana Cobb, Kevin L. Davis, Christopher Smith, K. Lynn Stephens. Screenplay: Marc Arthur Chéry. Cinematography: Pierre H.L. Davis Jr. Production design: Katharine Watford Cook. Film editing: Dana Briscoe, Zeinabu Irene Davis. Music: Atiba Y. Jali, Reginald R. Robinson. 

Zeinabu Irene Davis's Compensation was partly inspired by a poem with that title by Paul Laurence Dunbar: 

Because I had loved so deeply, 

Because I had loved so long, 

God in His great compassion 

Gave me the gift of song.

Because I have loved so vainly,

And sung with such faltering breath,

The Master in infinite mercy

Offers the boon of Death. 

The film tells parallel love stories, one set in the beginning of the 20th century and the other at its end, with the same two actors playing both pairs of lovers. Michelle A. Banks plays Malindy Brown in the earlier story, and Malaika Brown in the other. Both young women are deaf, as is the actress -- Marc Arthur Chéry rewrote his screenplay to accommodate that fact when Davis discovered Banks in a play and recognized her rightness for the role. The change added another layer to a film about the changes in Black lives over the course of the century. Malindy falls in love with Arthur Jones (John Earl Jelks), who has just arrived in Chicago from Mississippi -- part of the great migration from the South that changed America in the century. Jelks also plays Nico Jones, who falls for Malaika at the end of the century. The intermingled stories focus on communication problems -- Malindy not only has to teach Arthur sign language but also to read -- and the impact of serious illness on the lovers. Davis beautifully integrates archival footage of life in Chicago, and uses silent movie-style intertitles and captions to tell the story, an illuminating approach to depicting both the transformations and the continuities in the Black experience.