Going in, the last chapter in the movie career of Bernie Mac was a tough call.
Would Soul Men do justice to his legend? Or would fans and critics offer kind words out of respect while leaving secretly unsatisfied in one of those tragedies where death snatches the opportunity for redemption?
In August, months prior to the release of the film, Bernie Mac passed away from pneumonia complications.
But Soul Men allowed Mac to go out with a resounding laugh. The unlikely duo of Mac and Samuel L. Jackson offered a magical chemistry that couldn’t have been any more spectacular.
The only downside to seeing them create comedic interludes with impeccable timing and grown folks humor was the unfortunate knowledge that the duo will never be on screen together again.
Adding to the sense of loss that came with Mac’s untimely death was the lost possibilities regarding the brand n in the spirit of Jerry Lewis and Dean Martin, Gene Wilder and Richard Pryor, Laurel and Hardy n the two could have built had Mac survived.
Sadly, Soul Men was both the beginning and the end. But audiences will be so caught up in the ridiculous and ample humor that they won’t realize until the credits roll what “The End” for this movie really means.
The film highlights the experiences of washed up R&B duo The Real Deal. Personal conflicts and the failure to capture the success after lead singer Marcus Hooks (John Legend) left their group for a solo career forced Louis Hinds (Jackson) and Floyd Henderson (Mac) to part ways.
Soul Men picks up decades later, showing the completely different paths both men took leading them away from the limelight.
Henderson traveled the straight and narrow as a successful business man. Hinds followed suit with the “has been” cliché n equipped with the substance abuse and life of crime that makes for ideal tragic biopic and E! True Hollywood story material.
Upon the passing of their former bandmate turned international music superstar, they dust off their iridescent tuxedos and patent leather shoes for a comeback at Hook’s all-star farewell tribute at the Apollo Theater.
Robert Ramsey and Matthew Stone are for the most part predictable in their screenplay. However, they manage to add unexpected twists and turns with respects to the jokes and comic relief that pardons them for their formulaic work.
Their script not only allows Mac to shine in his trademark style of humor in all of its glory n foul language, facial expressions and all n the writers give Jackson an outlet from his intense character typecast in the form of a mellow, laidback element of the comedic spotlight.
It’s Jackson as you’ve rarely seen him before and Mac as you always want to see him. Both actors are at the top of their funny game from the beginning to end in this movie.
Director Malcolm Lee appeared to have an easy job in his co-stars. But he should have used the downtime Jackson and Mac allowed him to coach some of the supporting ensemble to rise to the caliber set by the stars.
Sharon Leal’s Cleo character was cute, but not necessarily convincing. And while funny, Cleo’s overzealous thug boyfriend Lester played by Affion Crockett could have been taken down a notch.
Legend’s role in the film is little more than an expanded cameo. Although images of Hooks are seen throughout the film, the singer never recites a speaking line. Other musical celebrity appearances include blues singer Millie Jackson, legendary Stax guitarist Skip Pitts and members of Booker T. and the MG’s.
In the type of fate twist that is reserved for Hollywood writing, the film was also to become real-life soul man Isaac Hayes’ final film appearance. Hayes played himself in a series of small cameos and passed away from a stroke less than 24 hours after Mac’s death.
Soul Men ends on a high note. In a somewhat prophetic interview in between the outtakes, a visibly ill Mac reflects on his career.
The impromptu encore that includes deleted scenes and bloopers provide a touching and hilarious farewell to the style that made Mac one of the kings of comedy.
Soul Men opens in theatres tomorrow (Friday, Nov. 7). The film is Rated R with a running time of 103 minutes.
