The Best Man

The Best Man is a very entertaining romantic comedy. The ensemble cast clicks and clashes with one another at just the right moments. Taye Diggs's character, Harper, is charming and charismatic, but WHY would he write a book that causes pain to those close to him? Is it to enlighten his friends or to reveal his own frailties? Perhaps, a little of both.

There is a good mix of very funny and also intense emotional moments and the audience is captured; cheering some of the cast and hissing others. It's quite uncanny that transformation occurs for certain characters especially when it's needed. Terrence Howard's character, Quentin, is a prime example. At the beginning of the film Quentin is basically a guy who lacks direction and propriety in his behavior. Over the course of the film, he becomes the voice of wisdom and the glue that holds it together for those closest to him.

Malcolm Lee's directorial debut is quite admirable in this well paced, universally appealing film. Don't miss it.

I was very impressed with The Best Man. As an avid moviegoer, this was the very first Black movie made in recent decades that was done right. As a first major endeavor for Malcolm Lee, my hat is off to him for portraying young, successful, upper-middle class African-Americans in a solid storyline that was at once heart-warming, funny, serious at times, but light at others. Overall... simply very well done. The character's development was executed eloquently and, at times so subtly, I nearly missed some things. The cinematography, costumes and sets were all as they should be: done with class.

This young, successful, upper-middle class African-American says thanks for finally doing it right.

`The Best Man' is a flawed but generally rewarding romantic drama, featuring a first-rate cast of likeable, talented actors. The film tells the tale of a handsome up-and-coming writer whose first novel has just been published on the eve of his best friend's wedding. The problem is that much of the material in the book has been drawn from autobiographical sources – and now, as old friends gather for the ceremony, the author and best man, Harper Stewart, has to face the fallout from some of the less than flattering portrayals contained therein. In addition, the novel contains the revelations of a few hitherto well-guarded secrets, some of which bear directly on the principals involved in the wedding itself.

Ironically, the primary strength of the film also emerges as its overarching weakness. The movie provides so richly textured a depiction of the interrelationships between and among the wide assortment of characters that it alternately straddles the line between fascination and tedium. On the positive side, writer/director Malcolm D. Lee is not afraid to give the characters their due, to allow them to reveal their many-layered personalities in scenes that play out in real-time tempo and rhythm. One appreciates the fact that we are not being rushed along from one highly dramatic moment to another without time to really get to know the characters as people. The counter effect of this, however, is that the film often seems too talky, self-indulgent and dramatically flat, a fact not helped by the excessive 122-minute running time. In addition, the whole novel-publishing aspect of the story seems both unnecessary and contrived, not to mention lacking in credibility since it becomes a bit difficult to believe that, if he were so terrified about his friends discovering his true perceptions of them, Harper would have written the novel in the first place. Moreover, when we hear voice-over recitations of a few sections of the novel itself, we are struck dumb that so badly written and trite a work could be so critically lauded and commercially successful.

However, the film's virtues do, ultimately, outweigh its imperfections. The actors and actresses turn in uniformly fine performances and the film deals intelligently and sensitively with the age-old issues of the fear of commitment and the two-faced attitude many men have when it comes to female infidelity. Lee, within the context of his characters, confronts these issues with subtlety rather than heavyhandedness and the last half hour or so of the film turns into a very moving celebration of the qualities of acceptance, commitment and sacrifice necessary to make a relationship truly work. `The Best Man' may require a little patience at times to get through, but the reward for those willing to give it a try makes it worth the effort.

I was surprised to see how little attention this film garnered, despite it's amazing cast and intelligent script. Character based scripts walk a delicate line, but somehow most seem to reap in undeserving praises (St. Elmo's Fire, The Big Chill). Not to sound like a self-righteous broken record, but I truly believe "The Best Man" was passed over because it happened to have an African American cast. It was instantly labeled a "black" movie, before anyone bothered to watch more than the trailer, which is a crying shame, because what everyone missed out on was a fine film.

The characters range from classic (Morris Chestnut's Lance) to surprisingly fresh (Terrence Howard's Quentin), all with very distinct personalities, yet believable connections. (Am I the only one who is so sick of using the "went to college together" excuse for why some film characters are friends, despite the obvious fact that in reality the "cool rebel" doesn't hang with the "prudish nerd" and so on.)

Not only does the film have refreshing takes on the inter-dimensional relationships of characters, it's not afraid to face the characters honestly, to show each individual's flaws...they have depth, soul, contradictions, much like REAL PEOPLE! Amazing! The themes are universal; friends, love, mistakes, forgiveness. The dialogue is witty, yet not overly done to sound like "movie dialogue" that no one in the real world speaks.

And though the race of the characters does not matter in this movie, I applaud Malcolm D. Lee for writing a film featuring black characters that are all successful, independent and intelligent. No one is rapping or drug dealing, no one is blaming the man for setbacks. The characters actually represent the MAJORITY of the black community, just regular people, living their lives. How refreshing from the Hollywood stereotypes, believed by suburban white America, that every successful black man is a rapper or a basketball player and every other one a criminal or janitor. It's a shame this film didn't make for money, perhaps then we'd see more of this trend, movies based on script rather than race.

Though I loved it, this film probably won't change your life. It's not one that will ever be considered one of the best films ever (though I think it took bold steps in closing the race gap in film). And I'm not saying it's an absolute must-see for everyone. But for discerning viewers with perhaps some taste and hunger for something a little different, I recommend you treat yourself to something that you probably haven't seen in a long time: a simply good movie.

For a few weeks now I've expressed interest in wanting to see "The Best Man." As a white male, when I said this, most people gave me a look as if I just said, "I'm thinking about investing money in 'Phat Beach II'!" There seems to be a belief that "The Best Man" is not a movie for me because I'm white.

If you were skeptical about seeing "The Best Man" because you're not black, ignore those fillings and go see the movie. It's slow at points, and yes, it does have some tired cliches in it, but it was nice to see a movie where people talked and developed relationships, regardless of their skin color.

"The Best Man" is not a black film. Yes, it stars black people and was made by black people, but it's more a film about one's friendships and how they develop as one grows older. Don't miss it because you don't think it's meant for you.