THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Wednesday, March 6, 1996 TAG: 9603060025
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
TYPE: Movie Review
SOURCE: BY MAL VINCENT, MOVIE CRITIC
LENGTH: Medium: 98 lines
TIM REID, born and raised in Norfolk, makes an honorable, tasteful and highly prestigious directorial debut with ``Once Upon a Time . . . When We Were Colored.''
Sparked by fine performances from a virtual Who's Who from black films of the past, the movie traces communal life in the cotton town of Glen Allen, Miss., from 1946 to 1962.
Reid, who received a business degree from Norfolk State University, has made a risky but admirable choice in tackling Clifton Taulbert's best-selling memoir of growing up during the post World War II years in Mississippi. This is a memory drama that is etched with revealing details - the kind of details that so often are ignored in favor of so-called ``action'' in other films.
``Once Upon a Time . . .'' deserves to take its place alongside such other memorable film chronicles of African-American experience as ``Sounder,'' ``The Learning Tree'' and ``The Color Purple.'' Rather than sell hate, as many more ``commercial'' films do with no hesitation, this film sells understanding.
In spite of the racial segregation under which the characters live, they more than survive thanks to communal support. They, in their own way, provide a buffer between themselves and the outside world.
The scene is often the cotton fields, where the pay is low and the living is by no means easy. Growing up in this environment, author Taulbert (played as a youngster by both Willie Norwood and Damon Hines) is anything but stifled. The film chronicles how he is encouraged to develop and become emotionally adjusted.
Contrary to some initial expectations, the film is anything but ``soft.'' It depicts a way of life much more complex than what is usually tackled in movies. This is the only film in recent memory in which a black character dies peacefully and in bed - of natural causes.
It is a film that deals with life both as it was and as it is - with no compromises to the current commercial trends.
Reid is a smart businessman who must have known the risks he was taking and is commended for taking them. On the commercial level, the film may well depict a part of history black audiences will not want to remember. If it loses dollars because of that, it makes up for it in honesty.
The fledgling director worked in marketing for DuPont after he left Norfolk State. His entry into show business paid off with his being cast in 1978 in the popular ``WKRP in Cincinnati'' TV series. Since then, he and his wife, Daphne, have shown a rare sense for the film business via the formation of the successful United Image Entertainment.
``Once Upon a Time. . . '' has a sometimes too noticeably limited budget, but at the same time, it is ambitious, with no less than 83 speaking roles.
The coming-of-age chronicle is episodic in nature, which, as it turns out, is both its strength and its weakness. It lacks a narrative force that grabs and holds - yet, at the same time, its episodes flow naturally as if from memory itself.
A memorable scene has the young Clifton, not yet able to read, being taught to spot the letters ``W'' and ``C'' and to know what they mean. The child knows that ``W'' stands for ``White Only'' which is a no-no and ``C'' stands for ``Colored,'' which is OK. The scene is simplicity personified. It is chilling.
Then there is the episode about the local iceman who is being edged out of the business by unfair competition. He's played by Richard Roundtree, who dates back to the ``Shaft'' movies and lived in Hampton Roads for six weeks while he starred at the now-defunct Tidewater Dinner Theater. His episode is an example of the community's pulling together.
There is the story about the ``cootchie'' girl who comes to town to star as a ``Nubian Dancing Girl'' in a local tent show. She brings stories of the outside world.
There is the story about how Polly Bergen, as the white woman who lives up in the big house, provides books for young Clifton. The cast includes Taj Mahal, as a preacher who urges that Jesus' telephone line is never busy. There is Phylicia Rashad, human and humane in a way she was never allowed to be on ``The Cosby Show.'' There is Leon, as a returnee from up North who spins lies about how great everything is there. Paula Kelly, Bernie Casey and Isaac Hayes are all there in impressive cameos.
It is the second consecutive week in which a Norfolk native has had a Hollywood film debut locally - a remarkable and encouraging happenstance. (Last week, Gary Fleder's ``Things to Do in Denver When You're Dead'' debuted locally). These two films, both worthy in their own way, put Norfolk on the filmmaking map. More importantly, we can easily expect many more films from these two directors.
``Once Upon a Time . . . '' may seem to be too tame for some ticket buyers. They should look, and ponder, again. There is nothing tame, or ordinary, about a community that pulls together to preserve the very essence of survival. We need such communities, and such films, today. ILLUSTRATION: Color photo by BET Pictures
Charles Earl "Spud" Taylor Jr. plays the young Clifton Taulbert.
Graphic
"Once Upon a Time..."
Rated: PG
Mal's rating: 3 stars
by CNB