Girl 6

A good performance by Theresa Randle carries the movie. Theresa is believable and charismatic in the lead role (not to mention good-looking [grin]).

There are a number of nice touches and funny bits. The way Theresa is gradually drawn into the phone-play and begins to half-believe the fantasy is well done. Halle Berry does a good cameo and the practice session where Naomi Campbell firmly puts down a sleazeball caller is hilarious.

Enjoyed the music too. Prince wrote some of the songs and in particular there is a really nice blues vocal in the scene where Girl 6 waits to meet 'Bob Regular'.

Complaint: I wish Spike Lee would stay out of his own movies - he can't act. His flat, emotionless performance spoils the credibility of his supposed friendship with the Theresa Randle character.

I can't help but to be amused by the other comments/reviews on this movie. They (even the positive ones) completely enforce exactly what this movie is actively trying to point out about our society.

Several people noted that the narrative was weak or nonexistent, that the film didn't "go" anywhere, and/or that there was too much extra "stuff" that distracted the story from the "real" plot line. I'm here to tell you that this is the whole point of Spike Lee's brilliant Girl 6. It's not a flaw in the movie, it is part of it's very construction.

Every time an extradiegetic scene was placed within the overall plot (such as the Dorothy Dandridge, Foxy Brown, Jeffersons scenes as well as the recurring image of the elevator shaft) the audience is pulled away from the narrative of the film and forced to see it as such: a movie! And fictional movies have no basis in reality; the people and actions depicted are not real. This disrupts our normal expectations about what we expect to see in a film.

The movie is also scattered with touches of reflexivity. For example, Naomi Campbell, wearing a shirt that says "Models Suck" and Quentin Tarantino, acting very ironically in a way he has been accused of. At the end, the movie theater in L.A. is showing a movie entitled "Girl 6" and a billboard proclaims that it's "The End." Absolutely all of this is purposeful and calculated. It does exactly what so many people were disappointed not to see, by subverting our expectations and implicitely pointing out that this is NOT a movie you can just "fall into" and become a passive spectator, that it actively engages the audience and breaks down our concepts of the master narrative by giving us an ending we did not expect.

Girl 6 is not a movie about phone sex, as so many of you seem to believe. It is a feminist (if you know anything about Suzan-Lori Parks, you know she would never condone something sexist, let alone write it) film that deliberately references itself in order to subvert our expectations about films, society, and women.

It's really a shame that so many people are, in fact, so hooked on "traditional" forms of narrative (taught by a sexist society) that they fail to see the value of this film.

Girl 6 could have been helped from a little trimming, this is the first and probably foremost criticism. At 106 minutes, which should be average length for any movie to aspire to have, it's a few minutes too long and although one might lose the visual metaphor of the drop down the elevator, whatever it really means, the whole sub-plot involving the little girl falling down and breaking her head is unnecessary throughout and brings the film to a halt every time the 'newstory' segment pops up. And every so often, though not frequently, a technical touch or a performance might be a little too over the top, too flamboyant even for the Spike Lee Joint standard.

But aside from this, Girl 6 is fun and enjoyable "fluff" for Spike Lee, which means that it's still risqué and poignant and sharp-tongued (more than usual here and in more ways than one, some pun intended), and loaded with hit or miss R&B songs (this time by Prince, not quite as cool as Batman tracks but close). It's about an aspiring actress (Theresa Randle) who hits roadblocks in her career when she gets told to take her top off for a "TOP Hollywood DIRECTOR" called "Q.T.", and played not too embarrassingly by the man himself. After some crappy gigs she goes for something that involves sex but only with the vocal chords, and indeed involves a kind of on-the-spot improvisation: phone-sex operator.

From here the plot kind of takes off, however episodically and sometimes very loose in structure (there's some connection with one phone sex guy, Bob, whom Girl 6 crushes on and gets practically dumped, and a "Scary Caller" who treats her like dirt), and mostly involves us seeing what the person on the other line might look like in grainy video, and her own fantasies of movie-stardom from her favorites. This latter part provided the funniest and most visually creative scenes of the picture for me, particularly when Lee himself becomes Mr. Jefferson from the Jeffersons and when Girl 6 becomes Foxy Brown. While some of the visual flourishes we all like from a Lee Joint are present, and maybe too typical, it's fun to see Lee work through talky material, and all the actors have fun with their roles; especially Randle, who gives it her all in a seemingly breakthrough serio-comic turn and who gets to dress up and go for broke in many moments.

Bottom line, it's not as bad as you've heard or seen it rated on this site, but it's also somewhat of a trifle in the Lee cannon, albeit within its own limitations almost (though not quite) the level of romantic-comedy we might expect from the director of She's Gotta Have It. Hey, it's better than She Hate Me, at the least, and somewhat less incoherent.

Amazing how badly received was this film. Only an average of 5 from the IMDb viewers?? In my opinion it is a remarkable film from many points of view, daring and interesting, one of Lee's best.

There are many layers in this film. Let us start with the story - an Afro-American actress refuses to expose her body for screen tests, finds herself unemployed, and the lucrative job she finds is in the phone sex industry. Is this job less exposing and more honorable? It seems it is, and what comes plays on a fine line between acting and living a virtual life, that takes over the mundane aspects of the say-to-day life (a kleptomaniac ex, a timid neighbor). The dream plan becomes more complex, intertwined with the story of a little girl that went through an accident to be saved redeemed by the good people around. The film asks questions about the border between passion and addiction, between real life and imagination in a series of lively sketches. Lee with his Afro-American New York reminds here Woody Allen at his best when re-creating the Jewish New York.

Unfortunately, the end is conventional and a little bit confusing. However, the film has many qualities, and a strong cast, first of all the amazing Theresa Randle. I wonder how such a wonderful actress disappeared after such a film, does anybody know what happen to her career? Good movie, worth watching, growing up in time. 8 out of 10 on my personal scale.

Spike Lee is a man that loves to provoke. He awakens the viewer as he asks to participate in what he is showing on screen. Most of Spike Lee's films have been unmercifully panned by his detractors, including the printed media in this country, and it's a shame because Mr. Lee is one of today's most original creators. In "Girl 6", based on a screen play by the talented Suzan-Lori Parks, a playwright herself, the director directs his satire to the porn industry. If you haven't seen the film, stop reading here!

Judy, the young and black woman at the center of the story, is seen at the start at a casting session with Q.T. (Quentin Tarantino, at his most obnoxious self). Judy is asked by the director to show her breasts, which she reluctantly does, but she is so repulsed by the experience, that Tarantino, or no Tarantino, she's out of there.

This young woman can't find work to enable her to live. The solution presents itself when she answers an ad for a sex phone line after having turned down a woman who runs a strip joint. It appears that Judy is a natural for the job. Suddenly she becomes one of the most demanded woman in the place. She listens attentively, talks soft and is never too pushy or mean to the men who seek her.

Judy makes a mistake when she gives someone her home phone number and goes to meet one of her "regulars" at Coney Island's boardwalk. That's when the dangerous creep keeps persecuting her with threatening phone calls. Since she basically is an actress and wants a change, she decides to leave New York and go to Hollywood, a sad mistake. The last thing we see her do is go to another casting agent who demands to see her breasts, the same thing that the great Tarantino demanded from her! In fact, Spike Lee shows us how women, especially young ones, are vulnerable to fall pray to these unscrupulous operators just to get into the movie business. One thing is evident: Spike Lee is a director who gets magnificent performances out of the stars of his films. In this case is the wonderful Theresa Randle who as Judy runs away with it because she is perfect as Judy. In fact, this young actress turns a great performance under Mr. Lee's direction. It's a shame we don't see her in roles that will let her show her talents in a positive way.

The large cast does amazing work. Madonna does one of the best things she has ever done in a film with the manager of the strip tease joint. She's perfect! Quentin Tarantino plays himself with all the characteristic excess. John Turturro is seen briefly as Judy's agent. Michael Imperioli and Peter Berg are seen as some of Judy's callers. Gretchen Mol, Debi Mazar, Naomi Campbell, Jenifer Lewis are part of the sex phone women, and Ron Silver shows up at the end. Spike Lee himself is the next door neighbor, but he takes a back seat in order to leave the front to the amazing Theresa Randle.