Review: Jeffrey Wright and cast deliver in Cord Jefferson's American Fiction
Recognized for his exceptional talent, Jeffrey Wright has always been a standout in the numerous films he’s graced. From his role as Felix Leiter in three James Bond films to Beetee in the Hunger Games series, Wright leaves an enduring impression with each on-screen appearance. His portrayal of Peoples Hernandez in the 2000 Shaft spinoff remains etched in the memory of audiences. That’s why it is so satisfying to see an actor of his talent secure an all-too-rare lead role in a film.
The novel "Erasure" by Percival Everett serves as the source material for writer-director Cord Jefferson's adaptation in which Wright assumes the role of Thelonious “Monk” Ellison, an unwarranted narcissistic college professor and perennially unpublished writer. Because of his inability to manage students and cultivate relationships with his colleagues, Monk is forced to take a leave of absence. Now with time on his hands, the LA-based Monk reluctantly returns to Boston and is confronted with a host of family issues that have been festering for years. His physician sister Lisa (Tracee Ellis Ross) has been the sole caretaker for their mother (Leslie Uggams), and his recently divorced plastic surgeon brother (Sterling K. Brown) who has suddenly and vigorously come out of the closet and is living the party life in Arizona.
But as they come together in Boston they are forced to make some unexpected financial decisions to deal with their mother’s declining health and the need to place her in a facility where she can get the care she needs. The situation lays bare tensions among the siblings and confessions and contradictions about their individual relationships with their mother and previously deceased father. While encountering his personal demons, Monk continues to stew about his standing as a writer.
The books Monk has been able to get published are historical writings that, to his consternation, find themselves relegated to the "African American studies" section of bookstores solely based on the author's race. Meanwhile, the literary world is enthusiastically embracing the new best seller, "We’s Lives in Da Ghetto" by Sintara Golden (Issa Rae). Her book’s story is abundant with stereotypical characters and written in a hyper-stereotypical style of Ebonics.
Driven by intense bitterness, Monk creates a satirical piece entitled “My Pafology,” written under the alias, Stagg R. Leigh. For those of us who remember Lloyd Nolan’s hit Stagger Lee and the story behind it, this is cleverly placed irony. “My Pafology explores perceived notions of street life that include an engaging, imaginary scene in which he as the writer scripts dialogue between a gun-toting reprobate (Okieriete Onaodowan) and a verbally abusive alcoholic (Keith David). There are even breaks where the characters banter about what lines should be included.
What he expects to be a joke that will be immediately rejected by industry overlords is instantly seen as the next big book and the offers roll in. What further titillates publishers is that Monk’s alter ego is a wanted man forced to live in the shadows. Adam Brody plays a director who wants to make the film version of Monk’s novel, whose ideas alarm the protagonist even more. It gets to the point that Monk, to the horror of his agent makes an outlandish proposal that he believes will kill the book. Guess again.
Contrary to the trailer, American Fiction isn’t a laugh-a-minute comedy. It’s unapologetically a dramedy with well-placed and well-deserved laughs spiced with several emotional and heart-tugging moments. Many of the characters are flawed, particularly Monk, but it is those imperfections that make them extremely relatable. The three most endearing depictions were by Myra Lucretia Taylor as Lorraine, the Ellisons’ long-time housekeeper, Raymond Anthony Thomas as Maynard, and Erika Alexander who adeptly plays her role as the woman who humanizes Monk.
American Fiction is adult entertainment at a time when it’s most needed. Cord Jefferson in his directorial debut has delivered a winner. The studios that overlooked his work in the past will surely be looking to him for new endeavors. Wright and Jefferson strike just the right tone, making this film a pleasure to watch.