With two feature-length movies to his credit, Jeymes Samuel’s emergence as a filmmaker conjures up a popular Maya Angelou quote.
“Courage is the most important of all the virtues,” Angelou said. “Because without courage you can’t practice any other virtue consistently.”
A new filmmaker who introduces himself with a Black western and follows up with an interpretation of the old-Hollywood biblical era epic with an all-Black cast and 21st century swag takes all kinds of nerve. It’s the type of risk that will either have viewers blindly committed to his artistic courage– or ready to abandon ship from the start.
The British musician turned filmmaker entered the industry with the exclamation point last year with his acclaimed all-star Western “The Harder They Fall.” This weekend his sophomore effort, “The Book of Clarence” lands in theaters nationwide.
Samuel was apparently keenly aware of the creative stakes of the film he wrote, directed and co-produced (with Jay-Z, James Lassiter and Tendo Nagenda). Ahead of the preview, Samuel issued an on-screen elevator pitch to audiences where he discusses his intention for the film and expressed his hopes that they are inspired by the work and the title character’s journey.
It compelled this reporter to think, “How bad does a movie have to be for the writer/director to beg the audience to stay along for the ride before it even starts?”
And for the first hour or so after the film’s captivating opening scenes, it felt as if I was right. Even the magnetism of Oscar-nominated LaKeith Stanfield as the title character or RJ Cyler’s charm and impeccable comedic timing as his sidekick Elijah were enough to save the convoluted story.
Despite the top shelf production value with thrilling cinematography that punched up the action sequences to the point where they felt like they were shot in 3-D, Samuel’s attempt at an epic felt more and more like an epic fail.
A Christ-era weed man that stumbles upon redemption after a con goes sideways is confusing enough. Compounded by a lopsided parallel with the trials of Jesus and his disciples framed around his crucifixion, “The Book of Clarence” was flat out dizzying for the first hour in.
However, the film steps into its potential just over halfway through when Elijah bears witness to a miracle experienced by Mary Magdalene. Aside from a silly moment or two – particularly a dance sequence to the Jones Girls’ “Nights Over Egypt” and comedic relief by Benedict Cumberbatch that felt out of sync for the tone of the culminating scene it served as a segue for – Samuel’s purpose and faith driven labor of love bears fruit from this moment on.
Unfortunately, the delay in realized potential for “The Book of Clarence” might come too little, too late. Particularly since it feels as if the purpose of Clarence’s chapter in Samuel’s story was never made explicitly clear.
However, the cast of veterans and newcomers are up to task as the team of enthusiastic sales representatives for “The Book of Clarence.” The ensemble’s chemistry is so effective that audiences will give them a pass for the myriad of dialects – even between on-screen besties Stanfield and Cyler.
Among the standouts in the cast of veterans and newcomers include Omar Sy (of “Lupin” fame), David Oyelowo and James McAvoy. Teyana Taylor’s Mary Magdalene – who is spellbinding despite limited screen time. The same can be said for Eric Kofi-Abrefa as Jedediah the Terrible.
Reactions to “The Book of Clarence” will starkly contrast. A pair of guests at last Thursday’s screening at the Esquire Theatre perfectly summed up the split consensus.
The audience had to suffer through one viewer’s intermittent bouts of snoring that were so loud they echoed through the theater and provided more laughter than the film’s effective moments of comic relief. During the second hour of the film, another audience member shouted “Thank you, Jesus,” and initiated a praise break that is usually reserved for a spirit-filled run through the aisles of a church.
“The Book of Clarence” opens in theaters nationwide on Friday, January 12. The film is rated PG-13 with a running time of 129 minutes.
