Brown Sugar

I just loved this movie!!!! It brought back the "old-fashioned" love story. Everyone was so good in it but I thought the actor who stood out was Mos Def especially with his "Humphrey Bogart/Casablanca" analogy. It was just too funny and yet it made a lot of sense. Also his conversation with Boris Kodjoe in the kitchen was also very funny. This (to me) seems to be the first piece of film work that took hip-hop seriously and beautifully incorporated it into a love story. I was also impressed with the fact that there was no nudity and hardly no profanity.

They're both approaching 30 and have found success in their different but equally demanding careers. He's a hip-hop producer/exec, and she's a magazine editor for XXL. Their relationship is defined by their mutual love of hip-hop, and for each other. His name is Dre (Taye Diggs) and her name Sidney (Sanaa Lathan).

It was three years ago that I fell in love with H.E.R. (a girl named Katie) and offered her "Brown Sugar" as a Valentine's Day gift and for her birthday (which was two weeks later). For most who fell in love with H.E.R., hip-hop started back in the '70s with DJ Kool Herc driving around the Bronx flatlands blaring the sound of a new era on his speakers. For me, I fell in love with H.E.R., hip-hop, the first time I heard "Walk This Way" by Run-D.M.C. and Aerosmith, which was recorded in 1986.

Director Rick Famuyiwa has a passion for the music, and it seems to have culminated with "Brown Sugar," a film that some have called an urban version of "When Harry Met Sally" with a hip-hop beat. Sidney begins nearly every interview with the same question: How did you fall in love with hip-hop? For her, it was July 18, 1984, when she discovered a music genre with break dancing, DJing, emceeing, and graffiti tagging - the four elements of hip-hop.

It's the passion for the rhythm and the beat that brought Sidney and Dre together as children. Early in their time in college, they both considered giving it a go at romance, but Sidney decided it wouldn't be right. Her close friend Francine (Queen Latifah) warns she's turning into a Terry McMillian character. Now, as adults with careers and goals, their romance lives have taken radically different courses. Dre has become engaged to Reese (Nicole Ari Parker), who is beautiful and not some monster as movies like this would require. There is a sense of sincerity in a scene where she and Sidney confront one another about Dre.

Dre, meanwhile, who works for Millennium Records, has been assigned by his boss (Wendell Pierce), who wants MTV rotation, to produce a pair of jokesters named Ren and Ten and who call themselves the "Hip-Hop Dalmations" - "they represent that whole unity (that's 'u.n.i.t.y.') thing." Dre quits Millennium after this fiasco and decides to start his own label by first signing Chris Shawn (Mos Def), who he believes is a real artist. Dre and Sidney both realize they have to keep their feelings for one another on the down-low, especially since she is now involved with professional ballplayer Kelby Dawson (Boris Kodjoe).

"Brown Sugar" works as a pretty sweet romantic comedy that also doubles as a metaphor for the loss of dignity in hip-hop. Sid and Dre's being in love is paralleled against hip-hop's acceptance into the mainstream, and its loss of any meaningful qualities. They both feel the beat, and the passion since that day in July 1984 when they fell in love with the same thing, and its growth over the years. But despite the over-commercialization of my favorite music genre, one thing is certain:

I still love H.E.R.

7/10

A delightful film from the beginning to the end. I liked this film for so many reasons. The primary reasons are the following:

1) A creative and deep look at the impact of hip hip as a music and culture on individuals 2) Beautiful chemistry between the characters Sidney and Dre. 3) Mos Def - period 4) Sanaa Lathan - for her essense as an actress in this film, as well as her amazing beauty. 5) Hip Hop Cameos

The start of the film was especially interesting with the old school (and some new) artists explaining their love of hip hop. I've grown so tired of seeing these new rap films with phony actors like Master P, Snoop, and the Roc-A-Fella crew. It was rewarding to see hip hop artists in a film IN THEIR ELEMENT. With that, I'd like to point out that Mos Def has established himself as one of the few rappers who has sucessfully crossed into the film industry without totally insulting the quality of movies (2pac, Will Smith, Ice-T to some degree, and Eve are a few of the better acting ones).

Aside from the hip-hop aspects, the romantic part of the movie worked very well for me. I really enjoyed the up and down relationship of Sidney and Dre. It helps that I love Sanaa Lathan no doubt, but overall it really was an enjoyable romantic comedy in that aspect. Taye Diggs was cast well as Dre, and I thought he showed a good perspective on the being-real v. getting-money battle that so many in the industry go through.

The Cameos were great with everyone from Russell Simmons to good ol' Angie M. up in the New York Studios. Personally surprising to me was seeing one of the assisant basketball coaches at my univeristy appear as a bartender. Questlove, Kool G. Rap, De La Soul all had good comments.

I can't refrain from commenting on Mos Def's character hitting up on Queen Latifah. hahaha, what a great series of scenes. Also cool was the reappearing blue vase (notice that?).

If you haven't seen the film, go out and rent it. Enjoy! 9/10

Dre and Sidney have grown up friends and matured through their shared love of hip hop music. Now in their late twenties, he is an executive of Millennium Records while she is the editor of XXL. Dre's marriage sparks deep feelings within Sidney, which she battles to control. However changes in both their lives in terms of love and the direction of their relationship with hip hop, brings about choices they both must make.

Before this film had finished production I had spotted on imdb that artists such as Common, Talib Kweli and Mos Def were in this movie and I was looking forward to see it. I saw it today as my wife is a fan of Diggs and must say that I was left feeling slightly underwhelmed. As a romantic comedy it is surprisingly light on both romance and comedy. The tangled web of `do they love each other, don't they love each other' loses steam long before it reaches the end of the film and the prominence of cheating in the story is a turn off. It still sort of works but not as well or as compelling as in other films – the fact that both of the lovers get involved in marriage caused me to be less supportive of them becoming a couple (which is important for a rom-com to get right).

In terms of laughs the film is pretty thin and it only got a few laughs out of me. It is all reasonably amiable but this doesn't make it funny. The best laughs came from minor support characters rather than the main story, which is far too busy talking about hip hop or looking sad over unfulfilled love.

In terms of hip hop, I was expectant after the film opened with talking heads from many famous artists, including several whom I'll buy anything they release. However after this opening the music is only really referred to in a dull voice over by Lathan. The film does make good swipes at modern hip hop (particularly funny and barbed is The Hip Hop Dalmatians) but it is nowhere near at transferring the effect of the music as, say, 8 Mile or Slam were. The soundtrack is really lacking in strong joints and hip hop is only given the stage briefly when Mos Def performs at a show. Strange then that this film claims to be about hip hop as much as it is about romance.

The cast are pretty good even though the material is not quite as good. Diggs is not given good dialogue and his constant hip hop talk doesn't always sound natural when he says it. Lathan is a lot more comfortable and is better, although again, she is held back by a depressingly over-sentimental voice over. The two together do have chemistry and it is a shame that the plot wasn't set up better to use this. Mos Def is the star of this film and it is a shame that he is only given a little screen time. He has the funniest scenes and when he is talking to Kelby about being a rap coach and, later, romancing Francine, he shows real astute comic touches in his performance. Likewise Latifah is good and about a million times better than she was in the woeful Brining Down The house – here the support role suits her.

Overall I felt that his film didn't really succeed at anything it tried but was still watchable and quite enjoyable nonetheless. The romance was too confused by marriages etc to really work well and to get the audience behind it and the comedy never really arrived apart from a perfect performance by Mos Def. The whole hip hop thing meanwhile, could be viewed as under-served or simply a marketing gimmick depending on how cynical you are.

Brown Sugar (2002) could have been retitled Love & Hip-hop if only to simplify matters. Like Love & Basketball, it marries the tried-and-true romantic flick formula to the emergence of mainstream "black" culture. Because of these similarities and the presence of Sanaa Lathan, most viewers will quickly lump Brown Sugar into one of two pools. They will either see it as yet another "black" film about a lifestyle that was once counter-cultural and is now, thanks to MTV, cliched or as one more in a long line of romantic comedies.

This film fits into both categories but is far better than most of its fellow films. The hip-hop culture is a childhood background that has turned into a profitable lifestyle for Dre and Sid, the two main characters. Their careers are products of the American craze for pop culture but their love for hip-hop is strong enough to allow them the hope that they can somehow make a difference in the business. Films with black stars tend either to drown them with imagery of the ghetto (a la Menace II Society, Baby Boy, etc) or completely ignore the African-American element, dress the characters in business suits, and absorb them into the "white" corporate world of success. Brown Sugar does neither. Hip-hop is natural to Dre and Sid and is present in their conversations without being obtrusive. Writer Michael Elliot is wise to let them lead their lives in the corporate world without ever losing their childhood backgrounds.

In the other camp, romantic comedies generally sacrifice character development and plausibility to accomodate the dreaded near-misses, love misunderstandings, and the climatic scene where the man publicly confesses his undying love. For the most part, Brown Sugar steers clear of these pitfalls and remains true to its characters. The movie never pretends that any of its characters are perfect or indeed that any of them are ever sure of any of their emotions. This is not a fairy tale movie where characters have sex because they are in love. This film is more realistic. The characters are young and romantic at heart and for one reason or another, they find sex first. That then leads them to at least the misguided pretense of love. As one character explains it, "put a man and a woman together for long enough and something's bound to happen." Infidelity is shown as a sign of emotional uncertainty not of villainy. Even the best of the characters eventually considers it. But neither Famuyiwa's camera or Elliot's script vilify them for it. The characters earn the viewer's sympathy despite their mistakes and when confronted by their angry spouses, they do try their best to be honest and direct.

The script also avoids the kinds of contrived jealousy traps that most romantic comedies rely on. When one character finally falls for another and acts on his feelings, he is not lead astray by a misunderstanding. He arrives early enough to realize that she has managed to find love elsewhere while he was making up his mind, but too late to do anything about it. Even the public pronouncement of love is cleverly flipped. All in all, this movie should be watched by anyone who has seen one too many weak romantic or African-American comedies and needs to be reminded that a string of bad movies does not ruin a genre.