H.P Joelcraft

She Doesn't Quite Gotta Have It

Sometimes the only way to salvage anything from an otherwise wasted experience of watching a series is to talk about it (which can only get you into trouble) or compose a review (which nobody will read anyway so there's no risk). The Ten-Episode Netflix series based on Spike Lee's first theatrical feature She's Gotta Have it is an example of ideology over aesthetic. If there is an element of fun it may come from spotting references to Spike's other films, one appearance by the director as a bartender with a straight-haired wig like the one he had in Malcolm X, and a new younger actor taking on his alter ego Mars Blackman. The other two of Nola Darling's Boyfriends are buttoned down Jamie and vane preening Greer, neither of which we have much rooting interest in - not that the goal of winning Nola's heart is one that is necessarily something to vicariously thrill for. The new series is referred to as a comedy in this trailer by a YOUNG-looking Spike Lee, but I have to say I didn't laugh once. Many of the moments duplicated from the original lose the original charm and organic feel of the humor. The new series may have been released in 2017 but it is a reflection on 2016 with ongoing to celebrities that were lost that year, primarily Prince, and the rise of Trump with culminates in a fine music video segment. Easily found on youtube. That aspect of politics is a refreshing break from the more blog and hashtag variety of politics that the series centers around. The series was suggested by Spike Lee's wife and he considers it her vision. It is mostly written by women, and may even appeal to women as long as they are of the third wave feminist variety. Spike has mentioned being accused of seeing through "The male gaze" and this is supposed to be an exercise in proving otherwise despite a couple of strip club sequences that set up a sub plot about one of Nola's friends who wants a feature erotic dance spot but is denied it because her rear end is not large enough and so she endures painful injections to increase her buttocks. That falls under the category of satire that earns no laugh. If you have to explore the story, the original black and white feature can also be found on Netflix. The camera styles that marked Spike's debut feature, shot by Ernest Dickerson, is not evident in the perhaps more quickly shot series despite the fact that the feature likely had less money. The shooting is mere coverage, recording the events of the story or the conversations, in the most expedient manner. What's left is the monologues and constant onslaught of declarative statements laid bare. If Nola Darling winds up in jail, she will not call one of her boyfriends for help because she does not want him to get to feel like her rescuer. Granted, the target audience may lap it up, but the series was a slog for this old, fat white male. Respecting the style of so much of Spike Lee's work, I felt an obligation as to push on through the rant-filler and test my tolerance of Nola's self-interested blather. If this is the kind of content that the Post-Cosby, Post-Trump, Post #MeToo generation will call for, it might just mean I will spend less time and money watching movies or on-line content. No matter how expensive a nose ring may be, from a distance it looks like the wearer could use a Kleenex. Spike has been on record that one regret from his movies had been a scene of Nola in the original film getting raped by the "nice guy" type represented by Jamie. It might have taken that much to make people feel sympathy for Nola, who comes across as self absorbed and shallow in both movie and series. In place of this crime, there is a rude guy on the street who reaches out to her in flirtation and when rejected spews verbal abuse. Ironically, except for one scene of a hug repeated from several angles, there is little evidence that the show is directed by Spike Lee himself and he likely took the job so there would be one less person to hire. There is no feel of inspired storyboards or shot sequences. A woman could have easily been hired, or ten different female directors - one for each of the ten episodes - and none of them would have to be on the level of Julie Taymor or Jane Campion. The sets are decorated with artwork due to Nola's career as an artist and blatant historical faces like Malcolm X and so on mainly for the sake of direct-to-camera monologues that eat up lots of time, like, "I don't have to explain myself but here is a five minute explanation. . . ." Meanwhile, rather sitting through ten episodes of this series to see a cringe-worthy dance between characters who don't belong together and live in an alternate universe where everything is okay with Nola disrespecting her suitors in a far fetched coda, just watch the original Prince video of Raspberry Beret.