By Greg T.

“Yes, we are our [parents’] sons and daughters, but we are not their choices. For despite their absences, we are still here. Still alive, still breathing with the power to change this world, one little boy and girl at a time” –Daniel Beaty, Knock Knock

Let’s face it. The Photograph is a romantic comedy.  That is not at all an insult, because when was the last time you saw a romantic comedy with black leads?  After the soul-crushing Queen & Slim (2019) and the hauntingly sad If Beale Street Could Talk (2018), I was more than ready for a film where Black people fall in love and live happily ever after.  The Photograph delivers in that regard and showcases the acting chops of several actors I’d like to see more of on the big screen.  

The story is straightforward, and the plot is typical of the genre.  After Mae’s estranged mother and famous photographer, Christina (Chante’ Adams), dies unexpectantly, Mae (Issa Rae) receives a letter, and she later discovers a photograph that leaves her thirsty for more information about her mother’s early life.  With the help of Micheal (LaKeith Stanfield), an up and coming investigative reporter who is writing a story about Christina, she follows the clues back to her mom’s hometown.  Along the way, Mae and Micheal fall in love.  Through a series of flashbacks, we learn more about Christina’s life, her hopes, and ambitions that stretched far beyond Louisianna’s borders.

The film looks great, and it is buoyed by a soundtrack that bridges the generational gap between the storylines of Christina’s early life and Mae’s and Michael’s romance.  The soundtrack also serves the purpose of keeping 50-somethings engaged in a story about 30-somethings. If it is intentional, it’s pure genius.  Most of the cultural references are contemporary, but the infusion of classic R&B pulls the older crowd back into the loop.

Unlike most romantic comedies, The Photograph does touch on a few themes worth mentioning.  First, can we ever really escape our parents’ choices? Without spoiling the film, there are hints of generational trauma related to love gained, and love lost passed down to both main characters.  Do we choose potential spouses based on our parents’ relationships?  

Secondly, does society punish women, particularly black women, for choosing happiness and ambition over family? It’s nothing for a man to move his family to a different city to pursue a career or for financial gain.  Rarely do we see women making similar choices in films.  

Lastly, until now, no one captured the cross-cultural work dynamic quite as Issa Rae does on HBO’s Insecure.  Watch carefully during the scenes at Michael’s workplace, and you’ll be privy to a virtual workshop on how to navigate office politics when you’re one of a few minorities.  I loved Michael’s responses to his supervisor’s passive-aggressive comments upon learning of his career choice. 

The Photograph offers a refreshing respite from the stereotypical roles portrayed by black actors in most Hollywood films.  It is, quite simply, a love story with strong performances by Rae, Stanfield, and Lil Rel Howery as Michael’s affable brother and marriage guru.  Boy meets girl.  Boy falls in love with girl.  Boy and girl live happily ever after, and no one gets shot.   Is it perfect?  Not even close, but what long-lasting relationship ever is?