Once again Tyler Perry makes the bold move of putting a stage play on the big screen. Last year, Perry saw a sleeper hit with "Diary of a Mad Black Woman" and attempts to recreate the loud, trash-talking, over-sized and brash personality of Mable 'Madea' Simmons in "Madea's Family Reunion." Perry garnered a dedicated audience of urban viewers through his regional stage plays featuring Madea, played by Perry himself. This same audience voraciously supports Perry's newest rendition of Madea on the silver screen.
Unfortunately, Madea's larger-than-life character does not translate well to the big screen. Oftentimes the drama of Madea's world seems too theatrical for Hollywood.
The story revolves around Madea's niece, Lisa, played by Rochelle Aytes, and her tumultuous battle with an abusive husband. Aytes' sister in the movie, Vanessa, played by Lisa Arrindell Anderson, tries to comfort her sister while dealing with her own personal struggle of intimacy and love.
Audiences quickly become confused by Madea's role in the movie, much like in "Diary of a Mad Black Woman." Despite being the namesake of the movie, Madea's role as comic relief seems minimal at best in a story surrounded by less than humorous situations. Subplots of spousal abuse, incest, foster children and drug abuse keep the audience shifting their focus from one intense melodrama to another.
Perry's shining light in the darkness of plot development lies in the actual family reunion itself. Although Perry waits until the last 20 minutes of the movie to get to the family reunion, it packs the most memorable punch.
Myrtle, played by Cicely Tyson, alongside May, played by Maya Angelou, together deliver a speech to the Black youth at the reunion filled with historical and religious revelations about the Black community. This moral fiber of Perry's film leaves a lasting impression on the audience, but it feels like it was too little, too late.
Perry should take a few notes from his first big screen debut and toss out the unnecessary melodramatic plots and focus on one overarching story with central characters. The dramatic action and shifting plot lines may fare well on stage, but fails to fly with audiences in movie theaters.
Unfortunately, Madea's larger-than-life character does not translate well to the big screen. Oftentimes the drama of Madea's world seems too theatrical for Hollywood.
The story revolves around Madea's niece, Lisa, played by Rochelle Aytes, and her tumultuous battle with an abusive husband. Aytes' sister in the movie, Vanessa, played by Lisa Arrindell Anderson, tries to comfort her sister while dealing with her own personal struggle of intimacy and love.
Audiences quickly become confused by Madea's role in the movie, much like in "Diary of a Mad Black Woman." Despite being the namesake of the movie, Madea's role as comic relief seems minimal at best in a story surrounded by less than humorous situations. Subplots of spousal abuse, incest, foster children and drug abuse keep the audience shifting their focus from one intense melodrama to another.
Perry's shining light in the darkness of plot development lies in the actual family reunion itself. Although Perry waits until the last 20 minutes of the movie to get to the family reunion, it packs the most memorable punch.
Myrtle, played by Cicely Tyson, alongside May, played by Maya Angelou, together deliver a speech to the Black youth at the reunion filled with historical and religious revelations about the Black community. This moral fiber of Perry's film leaves a lasting impression on the audience, but it feels like it was too little, too late.
Perry should take a few notes from his first big screen debut and toss out the unnecessary melodramatic plots and focus on one overarching story with central characters. The dramatic action and shifting plot lines may fare well on stage, but fails to fly with audiences in movie theaters.