A darling non-argument is also mounted against the death penalty, with Lawrence Musgrove P. Mercilessly, that is only the tip of this stultifying cinematic nightmare. Lawrence goes into the night, Leticia drinks, and Tyrell turns chocolate bars into his substitute for daddy. All of this pans out in the poor side of town away from the Musgrove frying squad , which is separated from the rich part by a bridge that is only one of many metaphors that clutter this dubiously childlike vision of the world.
Hank grapples with his own familial loss with a grain of salt, but he too stands to benefit from an emotional overhaul, and once his taste for chocolate ice cream and coffee has been offensively acknowledged he takes both black!
What will Hank do when Buck finally meets his dark-skinned princess? The film seems inspired by the race-tension melodramas of yesteryear, only it ratchets up their noxiousness. As if portending a sequel, Forster gives the codger a black man for a roommate.
The scenes where the perverts are likely to pay the most attention are the ones with the most problems on this Monster's Ball DVD. When Heath Ledger's Sonny gets busy with a whore at a sleazy hotel, dirt and flecks are noticeable. Regardless, Roberto Schaefer's lyrical cinematography is delicately preserved here. Notice the strength of the transfer during a scene between Sonny and Sean Combs's Lawrence 30 minutes into the film. Forster and Schaefer dubiously color code their actors the white Sonny wears a black police uniform and the black Lawrence wears a white T-shirt beneath his prison garbs yet the color contrast is very impressive.
Just as good is the film's 5. Extras The first of two commentary tracks included on the Monster's Ball DVD seems to confirm that director Marc Forster was more concerned with style than substance.
For nearly two hours, Forster and Schaefer discuss distancing effects, color schemes and their engagement of other films Apocalypse Now during the film's opening scene and The Man Who Fell To Earth when Sonny looks into a mirror. Forster's intentions are noble yet borderline offensive because Monster's Ball still feels like it's a film directed by an outsider looking in, one seemingly hoping to appeal to a black mentality.
During the film's infamous sex scene between Hank and Leticia, Forster explains the ridiculous cutaways to a caged bird: No, Forster is not a black man. Forster joins Berry and Thornton on the disc's second commentary track. Berry is noticeably passionate about her acting, so much so she refused to let Forster use a hand double for one of the film's scenes. Just as Berry was concerned that another actress's hands would strip Leticia of her authenticity, she voices concern for Coronji Calhoun's emotional well-being as she discusses the scene where she had to beat him for being a "fat little piggy.
More importantly, Thornton off-handedly mentions how he used to love red gumballs. Berry used to like yellow gumballs. Before this commentary track was directed, Forster didn't even know what a gumball. Monster's Ball, a film about very sensitive American problems, seems like it was indeed directed by the wrong person. The disc's very funny behind-the-scenes featurette may unfortunately force the spectator to look at the film's acting in an entirely different light.
Thornton tried to make his fellow actors laugh whenever he was outside the frame of any of their shared scenes. He's funny despite his unusual obsession with the anus but this can't be good for actors trying to get into character while trying to suppress laughter. Overall Get that slow-motion button on your remote control ready.