25 April 2003
Memory is a tricky business. So are movies that mess
with it. In Levity, Manual Jordan (Billy Bob Thornton) is an
ex-con, released against his will after serving twenty-two years for
the murder of a seventeen-year-old convenience store clerk named
Abner Easley (played in flashbacks by Geoffrey Wigdor). Manual
cannot stop thinking about what he did, but he remembers it in ways
that suit his needs, that is, to feel guilt and pain, to pay --
repeatedly -- for what he's done.
remember most from before was people's voices," Manual says by way
of introducing himself. "Floating on the wind and laughing, like
everyone was in on something, like it all mattered somehow." You
might glean from this that Manual isn't feeling particularly in on
anything; in fact, he's become rather attached to his cell, where he
keeps a newspaper photo of Abner, commemorating the crime.
(Incredibly, twenty-three years later, the newspaper remains
unyellowed, poetic license inspired by writer-director Ed Solomon's
own memory of a man he once tutored at a maximum security prison; in
that case, the prisoner had killed someone as a teenager and kept a
photo on his cell wall.) The parole board commutes Manual's life
sentence to time served, almost as another sort of punishment: "You
don't have that choice," they pronounce, when he says he's "happy"
in prison and would rather not leave.
And so, Manual
goes forth on a mission to confront and maybe reconcile himself with
his memory of that fateful day. Returning to the city (shot in
Montreal), where he committed his sin, Manual takes to watching
Abner's sister, Adele (Holly Hunter). He observes her leaving her
apartment building, trudging through snowy alleys; he follows her
when she goes shopping. She soon spots him, as he's a bit of a
striking misfit, lanky-framed and sunken-eyed, with gray hair
drooping to his shoulders, and wonders if he's following her. Well,
yes, and he wants to carry her bags home for her. Ordinarily, no
way. But in a movie, such creepy coincidence tends to work out.
of social skills is understandable, of course, given that he's been
locked away all this time. Fortunately, he looks slightly less
shabby than he might have, as he has a place to stay and a job,
which come to him completely by chance (or fate). On his first night
in town, he stops by the convenience store where he killed Abner,
and in the parking lot, a pay phone rings, and on the other end is
Miles Evans (Morgan Freeman). This godsend runs a community center,
where he preaches the gospel to kids in exchange for a parking
space. Lots of kids come by each night, as the center is located
across the street from a pounding-dance-music club. He hires Manual
to look after the cars, and to hold after school sit-downs with a
crew of black and Hispanic boys whose basketball hoop is removed by
One of the
club's frequent patrons is Sofia Mellinger (Kirsten Dunst), wealthy
daughter of a one-hit wonder now immersed in booze and drugs.
Sofia's angry and self-hating, and so, each night she disappears
into the club, where she sinks into a stupor. Self-confident even in
her self-loathing, Sofia stands up to the basketball kids,
recognizing that their woo-wooing isn't so threatening as they seem
to think it is. White girl impresses the boys, who start inviting
her to hang out and play pool down at the center.
similarly instructive for Manual, though he imagines that he's going
to be her teacher. When he carts her home one night, following her
lapse into unconsciousness at the club, Manual observes that she's
squandering her life. This makes him mad, especially when she can't
even remember that he drove her home, memory being a crucial sign of
morality for him. Soon, though, she gets him to recall for her what
happened; then he sees her taking care of her dilapidated mum.
Voilą, he sees that she's not just a self-squandering
child, but a lost soul, sad and aching, a reflection, in her snotty,
privileged way, of him.
twisting of memory and desire leads where you might expect. Everyone
in sight has something to be sorry for, from Miles (who finds
himself question about a former worker being tracked by a couple of
federal agents, one played by Dorian Harewood, who needs more time
on screen) to Sofia to Adele, who also comes equipped with a
teenaged son, also named Abner (Luke Robertson), who is, for unknown
reasons, hanging out with a "gang" and getting into "gang" violence.
This bit of business is sketchy and stereotypical, an unimaginative
shortcut to predictable crisis. And while this crisis might look
like a means to Manual's redemption, it really just exposes the
unfortunately, Levity uses Miles as yet another means to the
white guy's self-understanding. As righteous as he appears in his
lectures to the club kids (who scrape their shoes and look at their
fingers while he's talking, itching to be on their way), Miles has
his own troubling memory, to which the movie doesn't explore so much
as lay out as another "reflection" for Manual to ponder. Following
his gonzo alien-shooter in Dreamcatcher, Freeman's
performance here is admirably restrained. But what with his
miraculous phone call, uncanny wisdom, and convenient exit by film's
end, Miles looks a lot like a Magical Negro -- definitely not a
memory that needs to be dredged up again.
Billy Bob Thornton
R - Restricted.
Under 17 requires
parent or adult