Young Spence (Johnny Nash) is an intelligent and sensitive teen-aged black kid who stands up against ignorance in his mostly all white high school classroom, is caught smoking, and expelled. He must face the wrath of his parents and confides what happened to his beloved grandmother (the excellent Estelle Hemsley). His parents are not going to be understanding, he fears, and only his grandmother and the family maid (a young Rubby Dee) are interested in listening to what he has to say. After getting some money out of his grandma, he heads to the black neighborhood where he ends up in a bar and encounters a group of three argumentative roommates who are obviously hookers. After they leave, he meets the sweet-faced Ellen Holly, an attractive married woman who confesses, she too, has turned to prostitution as a way of getting money she needs since her husband, with his own two jobs, doesn't earn enough. He ends up in the room of one of the three roommates, and by this time his fears over the streets make him realize he has to return home to face the music. Once there, his father (Frederick O'Neal) lambastes him for his actions, while his slightly more understanding mother (the always excellent Beah Richards) tries to calm tensions, which isn't helped by Grandma's constant wisecracks towards her son-in-law. Tragedy strikes, and Nash must find a way to keep his pride yet find his place in a world he isn't sure he can make it in because of his race.
This is based on a basically forgotten play, which like "A Raisin in the Sun", is an amazing tale of a young man's coming of age. In "Raisin", the young man is an adult who hasn't fully emotionally matured, while here, the young man is a teenager who must face up to some sad facts about what life was then about for young blacks in middle-class America. Nash has young white friends, including the class nerd who is devoted to him unlike the others who have been forced to limit their contact with him because of their girlfriend's family prejudices. After an emotional outburst with his proud father, Spence sobs, "I realized you don't have to be black to be unhappy". His loving but emotionally distant father replied, "No, but it sure helps". The roles of the parents are well developed as an older generation fearful of changes they aren't ready for. The father tries his best to understand, but can't find the words to console his son or bring them closer. The mother holds in all of her frustrations until one key scene which results in an explosion that will guide the last 10 minutes of the film. Richards and O'Neal are both outstanding, and Nash is a real find as Spence. He is truly likable and yet not a one dimensional goody goody. His scenes with Hemsley are the highlight of the film. I was delighted to discover that Hemsley was nominated for a Golden Globe, as her performance is definitely award worthy.
In smaller roles, such familiar faces as Paulene Myers, Frances Foster and Ellen Holly are excellent. Fans of the early days of "One Life to Live" will be thrilled to see its original heroine, Carla Scott, in a major role. And yes, that is "Guiding Light's" Vera, who always referred to Alexandra Spauling as "Peanut", as one of the three roommates. This is a nice change from other teen movies of the era which were either rip-offs of "A Summer Place" or overloaded with stereotypical gangster characters, such as "The Delinquents". My only complaint is that it would have been dramatically wise to have included the confrontation in the opening scene rather than to have it be silent. But that's minor. This is a film worth exploring on many different levels. I certainly would not mind seeing this back on stage.
This is based on a basically forgotten play, which like "A Raisin in the Sun", is an amazing tale of a young man's coming of age. In "Raisin", the young man is an adult who hasn't fully emotionally matured, while here, the young man is a teenager who must face up to some sad facts about what life was then about for young blacks in middle-class America. Nash has young white friends, including the class nerd who is devoted to him unlike the others who have been forced to limit their contact with him because of their girlfriend's family prejudices. After an emotional outburst with his proud father, Spence sobs, "I realized you don't have to be black to be unhappy". His loving but emotionally distant father replied, "No, but it sure helps". The roles of the parents are well developed as an older generation fearful of changes they aren't ready for. The father tries his best to understand, but can't find the words to console his son or bring them closer. The mother holds in all of her frustrations until one key scene which results in an explosion that will guide the last 10 minutes of the film. Richards and O'Neal are both outstanding, and Nash is a real find as Spence. He is truly likable and yet not a one dimensional goody goody. His scenes with Hemsley are the highlight of the film. I was delighted to discover that Hemsley was nominated for a Golden Globe, as her performance is definitely award worthy.
In smaller roles, such familiar faces as Paulene Myers, Frances Foster and Ellen Holly are excellent. Fans of the early days of "One Life to Live" will be thrilled to see its original heroine, Carla Scott, in a major role. And yes, that is "Guiding Light's" Vera, who always referred to Alexandra Spauling as "Peanut", as one of the three roommates. This is a nice change from other teen movies of the era which were either rip-offs of "A Summer Place" or overloaded with stereotypical gangster characters, such as "The Delinquents". My only complaint is that it would have been dramatically wise to have included the confrontation in the opening scene rather than to have it be silent. But that's minor. This is a film worth exploring on many different levels. I certainly would not mind seeing this back on stage.