[DA SWEET BLOOD OF JESUS
opens in Cleveland on Friday February 13th exclusively at the Cedar
Lee Theatre.]
Review
by Bob Ignizio
The 1973 cult vampire/art film GANJA
& HESS is exactly the kind
of movie that should
be remade. Writer/director Bill Gunn's strange hybrid of horror,
blacksploitation, and art film had a lot of interesting ideas and
potential, but it's the kind of film that even admirers tend to
describe as “flawed”. Evidently one of those
admirers is Spike Lee, who has remade GANJA
& HESS under
the title DA SWEET
BLOOD OF JESUS.
The results are... well, about the same.
Lee
sticks close to Gunn's original story in which anthropology professor
Dr. Hess Green (Stephen Tyrone Williams) is stabbed with an ancient
tribal dagger by his unbalanced assistant, Lafayette Hightower (Elvis
Nolasco), who then kills himself. The dagger doesn't kill Green, but
instead makes him an immortal with a thirst for blood. Beyond those
most basic attributes, however, there is little resemblance between
Dr. Green's affliction and traditional movie vampirism, with Hess
notably walking around during the daytime without suffering any ill
effects.
Not
long after Dr. Green's transformation, Lafayette's ex-wife Ganja
(Zaraah Abrahams) comes looking for him. Ganja and Dr. Green hit it
off immediately, and even when she discovers Lafayette's body in the
deep freeze she doesn't stay mad long. Eventually the two marry and
Green turns Ganja into a bloodsucker (or “blood addict” as the
movie refers to them) as well. Yet despite his immortality, a swanky
home on Martha's vineyard, expensive cars, and sexy immortal wife,
Dr. Green begins to find his undead existence less than satisfying,
even as Ganja begins to embrace her new state.
This
is the kind of movie that has a lot of ideas, but can't manage to
express them coherently. It's clear that DA
SWEET BLOOD OF JESUS
wants to say something about the nature of addiction and religion
within the context of black America, but the film is so vague that
we're never quite sure what that is. And the film isn't just
thematically vague; fairly major plot points, like what happens to
Hess' victims, tend to get glossed over. Eventually you'll figure out
that everyone Hess kills comes back as a bloodsucker, too, but it's
kind of distracting wondering why victim number one, a prostitute,
just gets up in the morning after having her throat slashed, pissed
but seemingly none the worse for wear.
There's
also a lot of padding, which makes watching the two hour film more
than a bit of a slog. To compound matters, Lee seems is less
confident in his film's arthouse leanings than Gunn was, amping up
the sex and violence. I don't necessarily have a problem with that,
and had Lee gone for more of a straight up horror/exploitation
approach, while still exploring its themes in a more subtextual
manner, it might have worked. This just feels like a movie sitting on
the fence, though, unsure of exactly what audience it's aiming for.
But perhaps the film's most egregious shortcoming is the lead
performance by Stephen Tyrone Williams, whose bland delivery and
utter lack of presence make his Hess seem as bored as we are watching
the film.
That
said, there are a few moments here and there that make one want to
stick with DA SWEET
BLOOD
in the vain hope that Lee will somehow pull it together in the end.
One particularly indelible scene is when Hess is leaving the
apartment of one of his victims, a single mom, and he cheerfully baby
talks to the infant while its mother lies bleeding on a bed nearby.
Even after I realized that Hess' victims come back as blood addicts
themselves, Lee managed to do something with this set-up that
actually added to the horror. In the end, though, moments like this
are too few, and the rest of the film too muddled and meandering to
ever gel into a satisfying experience. 2 ½ out of 4 stars.
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