Omar Epps (Quincy McCall), Sanaa Lathan (Monica
Wright), Dennis Haysbert (Zeke), Debbi Morgan (Mona), Alfre Woodard
(Camille), and Harry J. Lennix (Nathan)
Steady as she goes, Captain. These might just
have been the words of Spike Lee, the producer of LOVE AND
BASKETBALL, to his first-time-out director, Gina Prince-Bythewood.
Lee's growing cadre of young, passionate African-American directors
he is guiding under his 40 Acres and a Mule Filmworks banner gained
attention with the unexpected hit last fall, THE BEST MAN, directed
by Malcolm Lee. LOVE AND BASKETBALL should build upon that
success; while it's not an earth-shattering effort, it's a mainstream
love story that features exceptional lead performances and an
accomplished directorial hand. It should have a healthy life at
the box office as a steady, middle-of-the-road hit.
Childhood best friends Quincy (Omar Epps) and Monica
(Sanaa Lathan) share a complete and total addiction to basketball.
Accomplished players, their love for the game matures into both
collegiate berths at USC and a mutual attraction to one another.
Their parents are also grappling with obsessions: Quincy's father,
Zeke (Dennis Haysbert) may be cheating on his mother, Mona (Debbi
Morgan), while a Monica's distant father Nathan (Harry J. Lennix)
isn't able to resolve the issues between athletic Monica and traditional
mom Camille (Alfre Woodard).
That's about all one needs to know about the plot of
LOVE AND BASKETBALL. The particulars of this love story
aren't very surprising. The joy of this picture is watching comfortable,
familiar scenarios played to perfection by consummate pros.
As the hoop-crossed lovers, Omar Epps and Sanaa Lathan
use their undeniable chemistry to create an unlikely, but wholly
believable, relationship. Epps, following his solid work in THE
WOOD, brings an understated restraint to Quincy, choosing carefully
the moments when emotions bubble to the surface. Endowed with
some of the most expressive eyes in Hollywood, Epps uses stolen
glances, longing looks, and quick glimpses better than Richard
Gere ever did.
Sanaa Lathan, until relegated to small supporting roles
in forgettable pictures, emerges as a major new talent. Her portrayal
of Monica is expressive and many-leveled, as open and unrelenting
as Epps' is cool and calm.
The couple is surrounded by, arguably, four of the
best African-American actors working today. Alfre Woodard, possibly
the world's most underrated actress, is perfect as Monica's stay-at-home
mother. Like an updated continuation of her CROOKLYN role, Camille
is a woman who sacrificed dreams in order to achieve others. Her
climactic confrontation with Monica is heart-pounding; in a perfect
world, she'd be winning Oscars. Debbi Morgan is a little broader
as Mona, but no less impressive. Morgan, who showed everyone the
extent of her talent in EVE'S BAYOU, alternates between rage and
quiet with effortless ease. As for the fathers, Dennis Haysbert
provides solid support as the philandering Zeke. It is only Harry
Lennix who disappoints; as the quiet, disconnected Nathan, he
perhaps doesn't have as many possibilities as he did in his Oscar-worthy
turn as Aaron in last winter's TITUS.
LOVE AND BASKETBALL is exemplary in its evenhandedness;
it never aspires to be more than it is, but continually fulfills
its offbeat potential. Bythewood knows she's no Shakespeare, or
even a Zefferelli. But her tormented lovers speak a language of
their own, and the small pleasure of LOVE AND BASKETBALL
is learning love all over again. Don't expect genius, but don't
miss it.
