Film noir was a movement that reflected a specific time and place in American film history. It was born in an uncertain post-war America during the mid to late '40s, and reflected changing social, economic and sexual ideology. Over time, the term "film noir" has gained a new definition-one that is more of a genre, rather than a movement. So today, filmmakers try to recreate the noir in their films.
Daring filmmakers, like Spike Jonze (Being John Malkovich) do it by updating the film noir's settings but maintaining the same thematic and stylistic elements. Then, there are the cinematographers-turned-filmmakers, who love the look of noir, but fail to see that it is more than just grainy film, cluttered shot compositions and voiceover narration.
The latter is the most uninspired of the noir-obsessed filmmakers, and unfortunately, Ernest Dickerson has proved himself to be one, with Never Die Alone. Starring Rapper DMX and David Arquette, Never Die Alone is billed as a gripping, modern film noir, but I've seen Chris Tucker movies that are more gripping. The story suffers from being a crime drama cliché that runs too long and seems all too implausible.
Badass thug King David (DMX) has been on the lamb from New York City for a long time, hiding out from a ruthless kingpin, to whom he owes a large sum of money. He records his memoirs on a cassette recorder. The tapes offer a way for the director to mimic the narrative voiceover of old detective noirs, but here, it's unintentionally funny. Narration is a good technique, but here, the dialogue seems forced and poorly rehearsed.
Arquette is a very poor choice for the role of Paul, the underworld-obsessed writer who must find the truth, for truth's sake. Putting deputy sheriff Dewey from the Scream flicks in a drama is like casting Passion of the Christ's James Caviezel in a zany comedy; it's poor casting. When trying to look tormented and scared, Arquette seems constipated, and that's his best acting in the movie.
Paul's apartment is draped with a Wu-Tang Clan poster; he lives in the seedy part of town and drinks his nights away at a rundown bar with all black patrons (Hint: we are supposed to believe Arquette's character is deeply rooted in black culture). Oh, yes, he's also married to a black nurse, played by comedienne and former Talk Soup hostess, Aisha Tyler. Extremely comfortable and hilarious on TV and her limited film appearances, she is completely wasted here as an inconsequential accessory. With about two minutes of screen time, she is the only two good minutes of the whole film.
Dickerson is clearly a talented cinematographer, having shot most all of Spike Lee's films. Unfortunately for Never Die Alone, Spike Lee wasn't there to hone his vision into a real film. Instead, the movie is very rich in style and visual flair, but lacks substance and believability. He should, however, be recognized for his almost daring camera movements, use of high speed, grainy film, and drab to
vivid color scheme changes. Visually, he has captured the look of noir, but the feel of noir needs more than DMX talking into a tape recorder.
There was a time when critics were calling DMX "The new Tupac." This was mainly because of how he branched out from rap to film, but DMX has yet to get the critical accolades Tupac garnered in films like Juice or Poetic Justice.
DMX is powerful on screen, but has not had a good director who can channel his intensity into the right role. He really needs a high-profile role in a Scorsese or Oliver Stone film; something that stretches him out of the thugged-out typecasting, and gets him into new territory. In fact, he can keep playing thugs, but for better directors of the genre, like the Hughes Brothers (Menace II Society) or John Singleton (Boyz N the Hood).
As for Dickerson and Never Die Alone, he should be commended for a worthy nor effort-if only visually. In the future, he should either direct fun blood romps like Snoop Dogg's slasher flick, Bones, or get back behind his camera where he belongs and leave the directing to people who know how.
Fans of DMX will be able to overlook the Swiss cheese plot and terrible acting, but all others, heed my warning: It's only worth seeing on video ... and only if you have a Blockbuster DVD pass ... and you don't have to pay to rent it.
Reach the reporter at saman.mehrezar@asu.edu.
