Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, September 24, 1994 TAG: 9411050033
SECTION: EXTRA PAGE: B8 EDITION: METRO
SOURCE: MIKE MAYO CORRESPONDEN|
DATELINE: LENGTH: Medium
Can or should a white man make a film about drug-dealing in a black neighborhood? The filmmaker's skin color not withstanding, isn't he simply perpetuating destructive images of contemporary black characters?
Individual moviegoers will come away from "Fresh" with their own answers to those questions, but they will probably agree that it's a compelling, engrossing piece of work. Considering the source material, it ought to be.
When the differences in character and setting are removed, it's easy to see that "Fresh" is new version of Clint Eastwood's "For a Few Dollars More," which itself was a remake of Akira Kurosawa's "Yojimbo." All three films are about a hero who's caught between rival gangs and must set them against each other to survive.
In writer-director Boaz Yakin's telling of the story, the protagonist is a 12-year-old Brooklyn boy.
Fresh (Sean Nelson) is an intelligent, enterprising kid who's on the verge of young manhood. Despite his youth, Fresh makes his way on the mean streets by running heroin for Estaban (Giancarlo Esposito). He also picks up some extra dollars working for Corky (Ron Brice) in the more violent world of crack distribution.
At the same time, Fresh does his best not to be late for school. He respects his Aunt Frances (Cheryl Freeman), who takes care of him, and deeply loves his older sister Nichole (N'Bushe Wright), a heroin addict. He meets his absent father (Samuel L. Jackson) over the chess board where he applies the lessons of the game to life.
It really wouldn't be fair to reveal any more of the plot, despite the familiar elements. Yakin is telling a complex story - really too complex for its own good toward the end - that's driven by some shocking moments. Any film set in this environment has to contain some violence, and Yakin's does. But he never exploits that violence, and he approaches the characters seriously.
The acting is uniformly excellent. Esposito and Jackson do Oscar-caliber supporting work as the two most influential adult males in Fresh's life, and N'Bushe Wright is completely convincing as a soul who may or may not be lost. The key, of course, is young Sean Nelson, and he makes an impressive film debut.
Fresh is the kind of tough kid who hardly ever lets his emotions show. Nelson's portrayal of him is understated and internal. He reaches the audience through long, unblinking stares and an often masklike expression. It's a chilling but still believable performance.
Though "Fresh" does deal with some overly familiar racial images, it's an effective film that tries to look beyond conventional assumptions. As a suspense movie, it works on the most basic what's-going-to-happen-next? level. Disturbing but still recommended.
Fresh: ***
A Miramax release playing at the Salem Valley 8. 110 min. Rated R for violence, strong language, subject matter, brief nudity.
by CNB