Eve's Bayou

3/4

Starring: Samuel L. Jackson, Lynn Whitfield, Jurnee Smolett, Debbi Morgan

Rated R for Sexuality and Language

“Eve’s Bayou” is one of those movies that doesn’t have one main plotline but instead has a number of little subplots running around that are bound by a common theme.  It’s an audacious effort, and although actress-turned-screenwriter/director Kasi Lemmons has a knack for the written word and can clearly direct actors, her deficiencies as a storyteller hold this film back from being truly great.

The film revolves around the Batistes, an upper class African American family living in Eve’s Bayou, Louisiana.  The father, Louis (Jackson), is a much loved doctor who can’t resist a willing woman.  The mother, Roz (Whitfield), is trying to hold her family together, while the kids, Eve (Smolett), Cisely (Megan Good) and Poe (Jake Smolett) have their own crises.

Acting and dialogue are two of the films strengths.  Samuel L. Jackson became famous for playing loud, profane men with hair-trigger tempers, so it’s a little eye opening to see him nail the part of a lecherous family man. Although his accent fades in and out, it’s a small quibble.  Lynn Whitfield is radiant, playing Roz with the same mix of coolness and sexuality that makes Angela Bassett such an interesting actress.  There are times when Whitfield’s range is stretched, but all in all, it’s an impressive performance.  The child actors are also good.  Jurnee Smolett is a natural performer, nearly stealing the film away from the more experienced thespians.  She also has more lines than anyone else, so the film rests almost solely on her shoulders, and she delivers.  Megan Good is also solid as her withdrawn older sister who may not be as mature as she pretends to be.  The best performance goes to Debbi Morgan, who plays Louis’s slightly cooky psychic sister.  The film really comes alive whenever she’s on screen.

The script is also quite good.  The dialogue is poetic and evocative, but not to the point where it becomes too cute or obvious that Lemmons is trying too hard.  It’s not like David Mamet or Diablo Cody…the dialogue flows naturally from the actors’ tongues.

Unfortunately, the film suffers from lackluster direction.  Kasi Lemmons is a terrific screenwriter, but the narrative is unfocused, and ineffectively weds these stories together with a common theme or purpose.  We know that they all happen during one summer, but there’s no connective thread.  In addition to being unfocused, the narrative is pretty jumpy, particularly at the beginning.

Still, there is a lot to like about this movie.  I enjoyed it, and for those who are interested in seeing it or are merely curious, it’s worth a watch.