The Michigan Daily - Weekend etc. - Thursday, January 12, 1995 - 5 'Crooklyn': less daring, mo' accessible By JOSHUA RICH With "Do the Right Thing"(1989), Spike Lee rose to the hierarchy of major film directors amidst great con- troversy. His no-holds-barred portrait of one hot summer day on the streets of Brooklyn's tough Bedford- Stuyvesant neighborhood startled movie audiences who were awakened Home I Entertainment I Center, to the tumult of life in the inner-city. Following this critical and artistic success Lee began to use controver- sial plots and themes as foundations upon which to base his films. Contro- versy soon became a weapon that helped promote and popularize Lee's subsequent projects. He went on to direct "Mo' Better Blues" (1990), a racy glimpse into the life of jazz musicians, and "Jungle Fever" (1991), an atypical portrayal of interracial romance. But in 1992, with "Malcolm X," an epic saga de- picting the life of the late Nation of Islam leader, Lee's battery of contro- versy misfired. Lost behind repeated ramblings by its title character and others singing his praises was a bril- liantly crafted movie that could have been a huge success hadLee remained more mainstream. Shedding his heavy cloak of con- troversy, Lee's latest effort, "Crooklyn" (1994), takes us back to his native Brooklyn streets in his least pretentious (and perhaps least daring) film to date. And, despite its sound failure at the box office in the summer of 1994, this movie is successful in its simple narrative presentation. "Crooklyn" is a semi-autobio-, graphical depiction of a lower-class African-American family living in Brooklyn in the 1970s. Written by Lee's sister, Joie, this film focuses on the strong female members of a large family with six men and only two women. There is the strong mother (Alfre Woodard) who struggles to earn a living as well as take care of her large family, and Troy (Zelda Harris), the lone daughter in the clan, who perseveres in a world dominated by males. Through this snapshot of Ameri- can life at a time before street corners became drug markets and the inner- city became a modern day war zone, we discover that this family is not concerned with race relations or vio- lence on the sidewalks. Rather, they worry about more basic things: having enough money to pay for dinner and their electric bill; a next door neighbor who plays his music too loud; or the New York Knicks winning the NBA champion- ship. As a result, the viewer is not im- mersed in the potential of racial con- flict or drug-related violence in "Crooklyn."'We discover that surviv- ing as Americans and as a complete family is not an easy task for a poor yet loving family. As always, Lee's direction is of the highest level, for he presents a story that is well-photographed, clev- erly edited and brilliantly narrated. Especially enjoyable is the movie's soundtrack which mixes traditional jazz ballads with '70s soul music. Supplementing these technical achievementg areoutstanding perfor- mances by Woodard, Harris - infal- lible in her motion picture introduc- tion at such a young age-and Delroy Lindo ("Malcolm X") as the caring but weak father. The combined mastery of all in- volved helps create a story that is subtle, yet powerful despite the ab- sence of Lee's trademark controversy. "Crooklyn" serves as proof-that un- derneath all his talk and political ac- tion, Spike Lee remains one of the most talented and inspired filmmak- ers in modern American cinema. 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