Da 5 BloodsReviewed By Rob Gonsalves
Posted 07/03/20 02:45:16
At this point, I would sit for two hours of Delroy Lindo just monologuing into the camera, and maybe so would you after watching Spike Lee’s epic new adventure-drama 'Da 5 Bloods,' in which there are at least three such monologues.Lindo, easily the film’s MVP, bites hard into his role as head-scrambled Vietnam vet Paul, bringing the frightening intensity familiar to those who first noticed him in Lee’s Malcolm X, Crooklyn, or Clockers. He carries this long and bruising film the way Paul totes a backpack full of gold: shakily enough to remind you of the character’s vulnerability, but steadily enough to point up his strength — and his dangerousness. It’s a large-scale performance, forceful and heartbreaking, and right now I honestly can’t see anything or anyone standing between Lindo and a Best Actor Oscar. It’s his to lose.
The film he’s in would justify its existence for enabling that performance even if it were otherwise junk, and it certainly is not. I very much enjoyed Lee’s previous feature, BlackKklansman, but that was deft entertainment and Da 5 Bloods is closer to art — impassioned, sometimes rough around the edges, a little explicit in its dialogue from time to time, but heartfelt and built out of guilt, trauma, and Marvin Gaye songs. (Gaye is almost the film’s unofficial co-composer; Terence Blanchard offers a rich, sweeping orchestral score.) I’m not sure if it’s meant to heal any wounds incurred in the Vietnam War or any rifts between Americans and Vietnamese — though one character seems designed to augment Gaye’s and the film’s message of love — but it doesn’t have to. It gives black vets as well as Vietnamese heirs of the pain we caused there a voice we don’t often hear.
Lee and Kevin Willmott reworked a white-focused script called The Last Tour (which Oliver Stone was once going to direct), and it isn’t just black skin mapped onto white characters — the story and its tensions seem to have been rethought from the ground up to speak to specifically black angers and torments. The story concerns four black vets — Lindo’s Paul, Clarke Peters’ Otis, Norm Lewis’ Eddie, and Isiah Whitlock Jr.’s Melvin — who return to their old horror grounds in Vietnam for two purposes: to find the remains of their squad leader “Stormin’” Norman (Chadwick Boseman in flashbacks) and to dig up a trunk full of gold bars they’d found in a downed CIA plane back then. These are the plot things — and Boseman is electrifying as the good soldier who sometimes has to keep his men’s rage in check — but what matters to us is the journey of Paul and his grown son David (Jonathan Majors), a teacher who comes along in part to reconnect with his dad and also to keep an eye on the old hothead. The other three vets get brief bits here and there, but Da 5 Bloods is really about a reckoning not only between father and son — a common theme in Lee’s work — but between guilty survivor and the memory of the dead.
Never a shy director, Lee more or less lets his story and characters speak for themselves. Among several powerful moments is a flashback in which the soldiers hear over the radio that Martin Luther King Jr. has just been assassinated; it’s turned into demoralizing propaganda by the real-life broadcaster “Hanoi Hannah,” and four of the five almost falter in the face of it, but Norman pulls them back from self-defeat. Norman’s climactic scene might read on the page as a bit too pat, but the acting involved is first-class and earns the wet eyes the scene pursues. Lee is still doing his weird double-dolly shot (though thankfully only briefly here), and I don’t know why he feels the need to capitalize every word not only on social media but, here, in subtitled Vietnamese or French.But this is still an ambitious achievement (using at least three aspect ratios — why let Wes Anderson have all the fun?) with as much love expressed for movies as for the young black cannon fodder who left their blood and bloods over there.
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