With Lee Daniels we have come across another frontal, literal and tremendous biopic, based on a true story. The director is a pornographer of the misery of his people, at least from the cruel and binary Precious, a film-manipulation-sentimental of the guilt complexes of the old targets of the Academy, who generally buy the blackmail from the director, to avoid problems with the radical tendencies of Twitter progressivism.
Lee Daniels horribly films reverse racism soap operas, where you have no choice and escape as a viewer. One of the traps of the political correctness of the supposed “author” is to lower a line through a closed dilemma, according to which there is a division between a victimized minority and an oppressive power. Just like a cartoon Black Panther of 2021, adopting the moralistic compass of Judas and The Black Messiah Y The Blues Mom, the two fellow lobbyists in the recent grueling awards season.
Lee Daniels’ work gives me a tremendous headache. I suffered symptoms of covid-19, fever and neck pain, when suffering Paperboy at a press function. This was a sweaty tragedy of swamps and stars in unlikely roles of white trash. From The butt I only remember the plot of a well-intentioned script, about an exercise in historical rereading of privilege, class differences and power in the White House.
All overproduced to create a cloying effect on the audience.
The United States vs Billie Holiday ratifies a dilemma raised by Quentin in his book Back to the movies in 40 days. Transcribing the words of the master of criticism, the film’s program consists of adopting the two aspects of the “deceptive” genre of the biopic, according to the eyes of the Argentine writer: “if you do not exceed respect and stupidity, you exceed in truculence and sordidness, hardly go beyond the cartoon ”.
The film wants to pose as tough and modern in its portrait of the singer’s drug addiction, accompanied by an entourage of outcasts, like a hipster and self-indulgent Fellini.
But the lack of subtlety, the trap of breaking codes at the wrong time, dilutes the narrative pretension to shake dull consciences, affirming them rather to a conventional interpretation of otherness and eccentricity, as a backdrop of rejoicing for the fascinated morbid by the populist degradation of exoticism.
However, The United States vs Billie Holiday can be justified by the performance of Andra Day, despite his tics for the Oscar rostrum. The hoarse and waxy voice is announced exaggeratedly, outlining a look and makeup of theatrical descent, whose destiny will be to please the arbiters of taste in the election of the nominees of the year.
A cinema, then, for convinced and fans of the hegemonic trend in the United States of Biden versus Trump. A non-cinema, of course, if we understand art as a space of indeterminacy and elusiveness of pre-established patterns.
It is going to be a Hollywood problem, ruining the function from the announcement of titles like The United States vs Billie Holiday.
Better to leave it as “Strange Fruit”, a great song, without a doubt. Song against racism and the Ku Klux Klan. For something, anyone is moved when contemplating the version of the original musical theme, by Andra Day in the film. In conclusion, Lee Daniels’ sticker illustration does not exceed its source of inspiration.
Keep the files and vinyls of Billie.