Monday, March 10, 2008
Diary of a Mad Black Woman & No Country for Old Men
How many people can say they saw those two on the same day? As for DMBW, what struck me most was that the nature of the heroine's dilemma (being left destitute when her wealthy husband walks out on her) doesn't have much to do with race. Good thing she immediately meets a handsome, loving, honest welder who teaches her to love again. The most racially charged part, I thought, was the movie's treatment of the church, which is integral to the lives and choices of all the main characters. I'd be surprised to see a movie with a white cast have religion play such a prominent role and yet not mark the movie as Christian in all of its marketing. Also, Madea was funny, particularly in the scene where she calculates what the heroine is owed for eighteen years of a difficult marriage. In re: NCOM—well, what do you think someone like me thought of it? I loved it with all the fervor of someone learning all over again what makes the Coen brothers the Coen brothers.