Get on the Bus

We join the bus ride with a group of Black Americans as they journey to the Million Man March. During this journey, the camera enters the soul and beliefs of each character that represents a whole spectrum of the Black community. Their conversations range from the politics to the religions and beyond their inner-self . Each one finding new meaning to their life and destiny. Reggie's preachy but fascinating script is handled masterfully by the genius Spike Lee.

Like most of Spike Lee's films, "Get on the bus" is first and foremost a refreshing alternative to the wave of black-on-black violence cinema started by "Boyz n the hood". While racial issues are present and highlighted, the focus is still human interaction and man's flocking nature. Spike Lee knows how to add depth to his characters, and as the film evolves, the lives and pasts of the central characters unravel piece by piece. Yet, as the many differences are revealed, so are the similarities, and ultimately, the need for companionship in the fight against racism is stronger than any prejudice. Other issues, like reverse racism and homophobia are added as extra spice, preventing the film from ever becoming boring. "Get on the bus" is a warm feel-good movie from the man who convinced me that Harlem would be a nice place to live.

Get on the bus is a superb film in every way. The acting , the story ,the photography and the sound track are a joy to behold. Spike Lee should be praised for his unbiased view on the struggle for black rights in America. You may not always agree with some of the sentements of the film but you cant help be captivated. Dont miss it! 8 out of 10

I always intended to watch this movie for a long time but I kept putting it off. I was really surprised at how excellent and well-written this movie actually was. If you enjoy films where a group of diverse people are put into a situation and then left to deal with each other (eg "Twelve Angry Men"), then you must see this movie.

This film was also very intelligent. I think too many people believe that if you get a group of black men together for anything, they'll soon be calling each other "nigga" and violence will erupt, not necessarily in that order. About halfway through the movie, I told my wife that the n-word had not been used at all, and no punches had been thrown.

But I was wrong.

What made it even more interesting was the way the men responded to the person who called everyone "nigga," and there was a fight, which occurred between a homosexual and an arrogant, big-mouthed guy who kept calling him "faggot." I don't condone violence, but the gay guy knocked him down a peg or two, and he certainly had it coming.

This film also solidifies Andre Braugher as an incredible actor. He has taken on such diverse roles and here, he was outstanding. So many of these actors were. Almost every scenario and discussion is covered in two hours well spent.

Armed with 16mm cameras, a miniscule budget financed independently by 15 different black businessmen, and a wonderful script, Spike shot "Get On The Bus" and released it to commemorate the one-year anniversary of the 1995 Million Man March. Set on a bus bound for Washington D.C., this film examines the problems and opinions of various of black men on racial issues in the 90's.

Family, misogyny, homosexuality, religion, violence, education, and economics are all addressed here as well as other issues. Spike does not only shed light on issues that pertain to black peoples involvement in White America, but the film also attacks color-consciousness among light-skinned and dark-skinned blacks (as he did in "School Daze"). Like "School Daze," this may be the only other Spike Lee film that seems to be aimed directly at Black America, and Spike shows the varying degrees of complexity with his cast of characters. There is a rage-filled actor, a homosexual couple in the midst of separating (one out-and-proud, the other closeted), a sensitive cop, a level-headed family man, a gangbanger turned Sunni Muslim, a naive filmmaker, and a tired, defeated elderly man. There is also an estranged father who sees the March as an opportunity to re-connect with his resentful, bound-for-crime teenage son. His son has been recently convicted of burglary and has been ordered to remain "chained" to his father for 48 hours, the irony of which does not escape the other members on the bus.

Given the film is almost set entirely on a bus, Spike restrains himself in dispensing out his evolving camera and editing styles, using only a brief sequence set in a desert to bleach the screen with a heavy yellow tint. Many Spike Lee regulars are in the film, like Ossie Davis and Isaiah Washington who give sound performances (Davis' "I lost everything" monologue is especially moving). The real notable acting is provided by Andre Braugher as an angry, egocentric actor whose rage is fortunately balanced for him with a healthy dose of articulated intelligence and Roger Guenever Smith as a sensitive, bi-racial cop who works in South Central Los Angeles. Those two really are the stand-outs in this film.

The dialogue is so flowing and casual in this film despite its topic matter, that you could listen to this film instead of watch it! I can't recommend this film enough for fans of Spike Lee or fans of great dialogue. As a Spike Lee worshipper, I rank this film in his top 5. Potent.