Gary Dretzka
Leonard Klady
Emanuel Levy
David Poland
Doug Pratt
Ray Pride

JANUARY 23, 2005

8:40p - The first question is… "Is Hustle & Flow that much better than the rest of the field at this year's Sundance Film Festival?"

With due respect to some very interesting and skillfully made films that wear their aesthetic on their sleeves more… the answer is "yes."

The second question is… "Why?"

The creator of this film, writer/director Craig Brewer, collaborates with his lead actor, Terrence Howard, in one of those once-in-a-lifetime moments of great good fortune and skill. Howard is one of the most undervalued actors in the game and it is virtually impossible to imagine anyone else playing D Jay. But at the same time, in no small part due to the real subtlety of Howard's acting, this is not one of those "The actor! The actor!" films. (See: Monster or - dare I say it? - Ray)

Brewer sets his story in Memphis and like a professional running back going after a lightening fast but smallish defensive end, goes right at every possible stereotype in the book. The hero of the story is a low-end pimp who dreams of something better. In his care are his white, blonde, skinny whore, his former-whore who is carrying a trick's baby and one more whore, who works at the strip club and goes home (or to the car) with the customers. Two of the characters he ends up hooked up with are Anthony Anderson, who is excellent here after a long stretch of playing stereotypes, and DJ Qualls, who you might remember from Road Trip as the ultimate geeky white guy. Neither one of these characters plays it the way you expect it.

And that is why Hustle & Flow is so good. It is not a blaxpoitation picture that is just set in the new millennium. It is the next step forward from blaxplotation, tipping its hat to the traditions of the early 70s, starting with Amy Vincent's hard-as-nails/soft-as-a-kitten camera work (Vincent's name might not be overly familiar to you, but her work in films like Eve's Bayou, the color-rich Jawbreaker and The Caveman's Valentine and her last gig as Second Unit DP on Lemony Snicket is dressed to impress.) Paul Simons' costume design makes itself look easier than it is, but he - again, in collaboration with the director - manages to hit every not just right, from D Jay's aggressive but never comedic clothing choices to the ho-wear the three women in his life wear. This is the kind of movie where all the women are constantly near-naked, but it still feels like a unique moment when you catch a quick glimpse of Taryn Manning putting on her top

Speaking of Ms. Manning… this actress/singer/designer/etc/etc kind of faded into a bunch of small roles and small films over the years since what we thought was her breakout opposite Kirsten Dunst in Crazy/Beautiful. But any of us who doubted her as she bounced from celebrity gimmick to celebrity gimmick will have to pay more attention again. She may not have a whole wide range as an actress, but what she brings, she brings hard. Taraji P. Henson, who has her first major supporting role here (if you didn't see Hairshow) is another home run find. She is like a young, black Susan Sarandon mixed with Lady Sings The Blues era Diana Ross, playing the entire film with wide eyes and a pregnant belly. And when it is time for her to shine, she works the degree of shininess three different ways… and as an audience, we still know that she has another level just waiting for the next chance. Later, she has an emotional scene that could not have been played better. And Paula Jai Parker, who has the thankless role of playing the toughest of the girls, still finds her spots to develop the soft, scared woman behind the brass and breasts.

Those of us who watch a lot of movies have become accustomed to Anthony Anderson's tricks… tricks which endear him to audiences, but tricks of a clown nonetheless. Not here. He still charms, but this is a dramatic turn and you connect with this man's life in a real way. It doesn't hurt that Elise Neal, who ironically started her movie career playing a hooker in Malcolm X, plays his strong, but oh so humane wife, Yevette. This is another one of those roles - the potentially disapproving wife - that turns into a lovely brush stroke, thanks to Ms. Neal and Mr. Brewer's gentle care. (And you'll tell me if I'm wrong, but Mrs. Go To Work Each Day puts the working girls in their place as a conservatively dressed, but very sex y adult woman in one scene… great twist… )

DJ Qualls also keeps it together, underplaying instead of eye bugging, which is what he's mostly been hired to do. Ludicris keeps his arrogant-ass-who-made-it-out character real, as ever, with the help of Brewer's script. And it's always a joy to watch Isaac Hayes work.

But it is Terrence Howard who is just heart-stoppingly good in this film. The film is a sure bet to get five or six Indie Spirit Award nominations next year. And, if handled correctly - which is really hard to do with a small movie like this about Black people and for a little known actor - he could grab an Academy Award nomination next year. He is that good.

The hum has been that is a movie about a pimp, but that is a gross over simplification. This is 8 Mile… well, a more honest version of 8 Mile... not only because of flaws in that film, but because you really don't know what is going to become of these characters, while in 8 Mile we all knew that Eminem made it. It is about a hard life and the dream of getting out. It is about a man who has limited skills, but who knows the skills he does have so very well and uses them like a razor sharp blade or a feather soft pillow, depending on the need.

And in Howard's eyes, which have always shown more than most actor, you see the hard core street pimp who you believe can beat a woman - which is never okay on any level - and still find true love and empathy in his heart all at the same time. He is as complex as he thinks he is. And as an audience, we are lucky to be there to witness it.

This is a really fine, really small film… but maybe it is more than that. Paramount will have to work hard to find out. It makes no pretense to being epic or the story of all of us. But it is surprisingly heartwarming, surprisingly funny and just plain surprising, no matter how close to the white heat of stereotypes Mr. Brewer steers us.

It's one of those films that I like even better after having to sit down and write about it. Good show.

More movies in a bit….

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5:42p - Some slight corrections on the Hustle & Flow deal… two studios that were in negotiations for the film other than Paramount say that the key number in getting this film, however the contract reads, was $10 million and not really $9 million, but that Paramount was shy about matching the number for the now infamous deal for The Spitfire Grill.

Also, according to these sources, the additional $6 million is made up of two $3 million home entertainment guarantees for future films from producers John Singleton and Stephanie Allain.

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12:55p - Tom Freston Gets His Napoleon Dynamite… He Hopes.

The deal was done in the wee small hours of the morning after last night's overloaded screening of Hustle & Flow… and the L.A. screening of Hustle & Flow for Paramount's team of Brad Grey, Rob Friedman, Gerry Rich and Donald DeLine.

The deal is for $16 million overall. It covers three pictures for producer John Singleton, $9 million earmarked for this film - the highest price at Sundance since Happy, Texas - and budgets of $3.5 million set for two more films from Singleton. The deal buys worldwide rights and home video, from which most observers seem to expect the most cash flow on this dark urban tale to come.

The deal is for Paramount and MTV, with heavy promotional plans for this particular film via Viacom BET arm. In other words, this is Freston's first big Viacom synergy move. The deal was negotiated by Paramount Classics' Ruth Vitale, David Dinerstein and Freston, with Stephanie Allain a primary handler for Singleton's side.

It is not completely clear, but first indication is that there is no ongoing hold for the director of Hustle & Flow, Craig Brewer. But that detail may turn out to change a bit.

Paramount will be trying to break the recent history of major releasing Sundance product, looking more for Searchlight's Napoleon Dynamite numbers than the $12.5 million or so that has been the top expectable number for majors picking up indie films at Sundance.

More later...

Day Three
Day Two
Day One
Preview: The Hot Button