Beautifully Human

Rating: 10/10 (8 March 2007)

I've been anticipating Craig Brewer's sophomore effort ever since viewing "Hustle and Flow" and learning that he could make me care about a pimp and rap music. "Black Snake Moan's" promotional posters filled me with some dread, but I was prepared to trust Brewer to make this film about something other than what was implied. Indeed, the posters were an obvious appeal to the individual bias of their viewers, set up for Brewer to undercut these preset assumptions. He does that, and he does it beautifully.
Both Samuel L. Jackson and Christina Ricci have stated that they felt that this film represented their best work. I agree with them both. Ms. Ricci is said to have campaigned hard for this role and her level of commitment is there on the screen. She is both sacred and profane, feral and innocent, a victim and a victimizer--this is a bravura performance. Jackson's damn-the-consequences (I save you,you save me)retired blues man, eclipses anything I have ever seen him do. The chemistry between the two of them is wonderful. Justin Timberlake, in a role that cries out for either Jake Gyllenhaal or Ryan Gosling, does an adequate job.
Jackson's Lazarus is a local semi-legendary blues man who has given up smoky juke joints, fast living and the devil's music to live a life as a God-fearing, truck farmer. He seems to have done this for love and family, only to discover that he will wind up with neither. He loses his wife of twelve years, who obviously preferred the blues man to the religiously rigid farmer that he has become. Early in the film she complains that the two of them have "lost their spark." Laz's attempt at reconciliation is doomed to failure. He is left in a pain that is further intensified by the fact that his wife has betrayed him with his younger brother.
Ricci's Rea, and Timberlake's Ronnie, are in love and are part of a codependent relationship that seems to be held together by chewing gum and bailing wire. Rea is prone to fits of nymphomania and Ronnie suffers from an anxiety disorder that is debilitating. They are good together, but only together. Even short absences from one another is a prescription for disaster. Ominously, in his desire to improve their lot, Ronnie has decided to join the military. He hopes to take advantage of veteran's benefits upon completing his enlistment. This puts into motion the events of the film.
Rea quickly deteriorates with Ronnie away from her. She settles into a drug, alcohol and sexual haze that nearly results in her death. Badly beaten, she is left half-nude by the side of the road by a supposed friend. This is where Laz finds her. Despite knowing that being "black and nearby" is enough to buy him trouble in his community, he takes her into his home. It is here that that the two of them (with the aid of a sturdy chain, cough syrup, cooking lessons, a bible, and two guitars), learn to love, trust, share and heal. Laz serves as her protector until she is able to protect herself. Rea becomes his muse and encourages Laz to give the devil his due. He picks up one of his hidden guitars and plays the blues again.
The depicted journey is heartrending and intense as inner demons are faced by Rea, Laz, and eventually Ronnie. Of course, this being a Craig Brewer film, music plays an important role in the transformation of the characters. There is the fiery growl and shout of Laz's "Black Snake Moan" which is performed with a thunderstorm as the background, (S. Epatha Merkerson) Angela's soothing spiritual "There is a Balm in Gilead" performed in the town marketplace, and Rea's plaintive and hopeful "This Little Light of Mine" performed with her eyes closed and prayerful of Ronnie's return. Each song is significant and plays an important part at an important moment in the film.
"There is a balm in Gilead to make the wounded whole;" "There is a balm in Gilead to heal the sin sick soul" By the time that Rea and Laz are again interacting with the general public they are two changed individuals. The two of them drive into town and are oblivious to the stir that swirls around them. Watching the reactions of the townspeople to this unlikely pair is humorous. The two old men on the marketplace bench are incredulous, puzzled and confused by the pair. When a problem arises, Laz's "Yes, she's with me" defiance seems to disarm everyone. While this causes him to face some very real risks, it does not matter to him. He protects the person that needs him. Rea has finally found a father and Lazarus has found his missing child. It is a family born out of pain.
In the end, everyone gets to lay some demons to rest but there are no miracles. Not all of the monsters have been purged. The lovers are reunited but there is no Hollywood ending. Ronnie and Rea remain flawed, fractured and damaged individuals. The will have to fight themselves and will have to work hard to support each other, every day of their lives. It is their commitment, their effort, and their willingness to forgive that makes their relationship special. There will be no easy path for this couple.
Embracing your humanity, seeing beyond the obvious, accepting both the sacred and the profane that resides within you, continually finding the courage to try--when everything/everyone tells you that you will fail--that is the road to redemption. Beautiful flowers may grow and bloom not just in carefully prepared beds (Rose's Roses), but in dung heaps as well. In the end, this is what this film is about.
"I think that we'll be okay."