Cornbread, Earl and Me

source: Cornbread, Earl and Me

CE&M is a movie whose story is better than its performances. Cornbread is played by Keith Wilkes who later became Jamaal Wilkes the hall of fame basketball player. As to be expected, he wasn't very strong as an actor. He plays a basketball player, which is not acting. Earl is played by Tierre Turner, a kid who looked no older than twelve. His part was small even though his name is in the title. The "Me" in the title is Wilford Robinson (Laurence Fishburne). Sure, he's a great actor now, but he was just passable then. I don't want to be remiss and forget to mention the veteran actors Bernie Casey, Moses Gunn, and Rosalind Cash. They were all good and lended some much needed credence to the movie. As for the storyline, Cornbread is a young high school graduate who is going to college in the fall on a full scholarship for basketball. He is a good kid who eats, sleeps, and drinks basketball. He literally has no time for anything else he's so consumed with it. When he gets killed by the police in a case of mistaken identity it sparks outrage from the people and an equal and opposite stonewall stance from the police and the city. It is a tragic story that squeezes the heart and puts fire in the belly. I like movies that can do that. The movies I watch that can elicit strong reactions are either bad movies that are so bad I'm just upset, or good movies that put the viewer in the exact state they want them to be in. CE&M does just that in spite of the so-so acting.

Intermittently powerful, all-too-familiar social-problem realism and maudlin melodrama, "Cornbread, Earl and Me" is, either way, a melancholic affair. The overwrought histrionics, overly-optimistic resolution, and some poor acting are especially unfortunate given how moving the best scenes are here. The rainy killing by policemen and subsequent attack on those murderous officers by the neighborhood is a strong scene--ever more shockingly so as it comes after a dull first act. Moreover, it's well foreshadowed by prior unlawful actions by the cops in harassing and unwarranted searching of suspected criminals. The subsequent intimidation of witnesses leading up to the courtroom conclusion is in way familiarly spot on, too, as the police department and city officials close ranks to obstruct justice and protect their own, but it also often veers over-the-top, as does much of the rest of the picture. Rather surprisingly given that they cast would-be NBA Hall-of-Famer Jamaal Wilkes that the basketball scenes, or single brief montage rather, are scant and unimpressive. It seems evident he wasn't cast for his acting abilities, after all, and is in good company there with other sports legends. (Not everyone is as fortunate as Wilkes's Lakers teammate Kareem Abdul-Jabbar, to be memorably cast in "Airplane!" (1980), and some face the far more reprehensible fate of appearing in a "Space Jam" burger (1996 and 2021).) The gee-wiz simplistic saintliness of Wilkes's "Cornbread" is of eye-rolling annoyance. And, those poor neighbors putting up with his dribbling a basketball in his flat on his way to an athletic scholarship. Either that apartment building was constructed with some of the best in sound-proofing floor and walls or those neighbors are unsung heroes. Laurence Fishburne also made his debut here, and evidently he could act even as a child, or at least it seems that way by comparison to the actress, Rosalind Cash, playing his mother, who is the most prominent offender here of some very poor, soap-opera levels of acting (and, indeed, Cash's career ended with a role on daytime soap "General Hospital"). They should've cut the candy bar theft scene that results in her ridiculously weeping over her kid stealing 15 cents worth of merchandise. I get the point of the scene--everyone gets the obvious intent of it--to establish Wilford's, the "Me" protagonist of the title, maturing sense of ethics, but there are better ways to accomplish as much without constantly hitting the audience over the head with the cinematic equivalent of a sledge hammer. Perhaps, this is a product of its era, as much of the representation of African Americans on screen was in blaxploitation flicks, so subtlety doesn't seem to have been valued much, but this material was and is still is socially-relevant and powerful enough to do without the dramatic cop-outs.

Cornbread, Earl and Me is NOT a blaxploitation film, what a ridiculous idea. This is a serious, beautiful, and powerful drama that is well acted and thoughtfully conceived. It also has a great soundtrack. Obviously, it is also highly underrated. Everything in this movie rings true to real life, so it is funny to notice that some other reviewers say the opposite. It seems to me their problem is that it doesn't ring true to the fantasy of motion pictures, rather than that it doesn't ring true to reality. Does the courtroom scene not seem realistic? Here is a news flash: the real life drama that goes down in real life courtrooms is chaotic and often bizarre. That's reality. Everything in this film felt true to me, and it rings true as a human story, leaving politics and ideology completely out of it. And speaking of the courtroom scene, the way the coroner in charge of the courtroom treats the people coldly and superciliously and then gradually becomes ashamed of himself as they behave with grace and dignity is TOTALLY TRUE TO LIFE. It doesn't even have anything to do with race, which is one of the beautiful things about this film. The black people in the gallery feel like it has something to do with race, and the movie makes you understand how they would feel that way, but it also leaves the door open for you to understand that from the coroner's perspective race really might not be any factor in the equation of his behavior. He's just trying to churn through the usual bullshit and get through the day. You don't know there are poor people who try to maintain their dignity and want to pay their way instead of signing off on a poor man's waiver? If you think that's not reality, you haven't seen much of the world. You don't know that their lips sometimes tremble when they reject the waiver and pay their cash instead? So much of this movie is really beautifully acted. Laurence Fishburne puts in one of the best performances from a child actor that you will ever see. Several of the adults are even better. To put it simply, this is a great film. The scene when the cops shoot Cornbread is as good an example of how the wrong person can end up being shot as you will find anywhere in motion pictures. The cops are afraid, they're doing something brave under difficult circumstances, we in the audience can practically feel the rain pouring down on us and clouding our vision, and they shoot the person they legitimately believe to be a murderous criminal running away from them. It takes them weeks or more to realize they were wrong. They aren't bad men, or even bad cops, they just made a bad decision under a bad set of circumstances. Or is the basketball element and the families involved supposed to be a caricature that should offend us? Really? Because it could have come straight out of the documentary Hoop Dreams which was produced twenty years later. Are we meant to suppose that all of the people depicted in Hoop Dreams decided to base their whole lives and personalities off of Cornbread, Earl and Me? Or can we admit that in fact families, neighborhoods, and characters like this existed in real life? Apparently Cornbread, Earl and Me is too real for some people. Or maybe it just goes over many audience heads. The beauty of its drama is sometimes subtly wrought, to be fair. But if you can watch it with an open mind it is an extraordinary film and well worth your time. Having seen it once as a teenager, and once again recently (many years later), I feel strongly enough about it to create an account to write this review. So there you go.

This is a rather well done film with great performances. Where it drops the ball is on the overdramatic music that sledgehammers the emotional tone of the more dramatic scenes. It resists the temptation of villianizing all of the antagonists, especially the judge (which no doubt would've been portrayed as racist and corrupt in a similar film made today). Bernie Casey (who I'll always think of as U.N Jefferson in Revenge Of The Nerds) is terrific and it's too bad I don't see him in too many films today. Great 70's feel and the first appearance of Larry Fishburn makes this a film to check out.

I think the label of blaxploitation for this film is quite unfair- it's heartfelt, various Black and White characters are shown as flawed rather than the "us vs. them" mentality of many racially charged films of that era- and you deeply care about what happens to everyone involved. Plus Moses Gunn is as fine an actor as ever set foot on the silver screen. Just thoroughly enjoyed it in spite of low budget feel and some clichéd moments. I even got choked up at times. Well worth seeing. Additionally, I was quite saddened to find that so many of the cast died relatively young. For a film from the mid 70s, there's an awful lot of actors in this movie no longer with us.

How many young Black men have been shot by police in the past few years? Ignoring the number of men who have actually committed a crime, some police officers seem eager to shoot up our young men. Consider the young man out for the evening with friends celebrating his bachelor party. Disgusting and they never get what they deserve. Yes it is political--what meaningful movies aren't? It is meaningful in that the 1974 movie just foretold what was to continue for years to come. It was rather goofy and poorly written but despite the script, the people in the movie are fine actors. I liked it because it showcased some of the best actors in Hollywood from that period. Watch it and judge for yourself.

This movie seemed to show what really goes on in inner-city America between black people and the police in general, even if the police like in this movie are black too. This movie is set in 1974 Watts, fast back cars, number running pimps, soul music, Afro haircuts, everything 70's. What happens in this film is two cops, one of whom is black mistake a black basketball player for a rapist and shoot him to death accidentally. This basketball player Nathaniel "Cornbread" Hamilton is a well liked, talented, nice kid who is headed off to play D-1 ball. He has never committed a crime in his life and has done well resisting ghetto temptations that lead to bad things but unfortunately for him, he is mistaken by the police and is shot to death on the spot before he can do anything else. When his parents hire a black lawyer to charge the police for wrongful death, we see some really Uncle Tom type police officers who will stop at nothing to keep the truth from being revealed. The black officer who pulled the trigger calls all the blacks in the neighborhood "savages" and the black precinct captain threatens to take away a woman's welfare check for having her son testify against the police. Of course there are racist white cops too but that is expected in any Blaxploitation. I feel this movie was pretty real based on things I've heard about the 70s and I think anyone who wants to see how bad it is between the black community and police departments anywhere and why it will remain bad in years to come.

Cornbread, Earl and Me is a long way from a perfect film. Some of the characters are overdrawn, and some are cornily acted. But it is, as others say, truthful -- painfully so. And that's to it's eternal credit. At the center of the films' inevitable and staggering sequence is a very young Laurence Fishburn as the nominal "Me". I had heard the odd-sounding title of this film for decades without seeing it. When it came on THIS network, I settled in to give it a watch, expecting something poignant and earnest. It delivered. To snipe at the film unfairly, perhaps, I wish that the police hadn't been so corrupt by design. I wish that the investigators from central precinct hadn't been so fast to act like jerks. I guess I wanted the epically weepy, tragic vibe of the central scene to carry on for at least the middle third of the film. But in rapid succession after the death, we are presented things which turn our sadness to anger and then to militancy. At that point, even the most naive viewer will be aware of how heavily we are being manipulated by the film's makers. The danger of subconscious and then conscious satirical reaction and resulting camp "failed seriousness" is never far away in the last half of this film. I don't disagree with the politics. I don't disagree with the film's matter-of-fact assertion that police are often abusive of the privilege and power that their gun and authorization to use it gives them. I know this is true. But knowing it, that's the thing: I don't have to sit still to be told it and retold it for an hour and a half. Evoking a touching, bitterly poignant moment ... now that's something many and many a freshman film maker attempts, and achieves only clumsily or not at all. I have to give this director and writer kudos for lining up the awful moment where the two halves of the film, the pastoral and the horrific, collide and fracture the characters' world. It's heart-rending. But I think they made a mistake in not allowing the rare and beautiful chord they achieve -- The Truth, wound up in sorrow-- to sustain for a bit longer. The courtroom scenes and a lot else in the last half are rather amateurishly staged and acted. But, thank God, we will always have the first half of this film, with Laurence Fishburn's incredible breakdown, Rosiland Cash's terrible epiphany and the harrowing minutes after that. These moments would seem to guarantee the film immortality. A generous 7 of 10 stars. When this film is good, it wails. When it is bad, it is truly some of the worst "blaxploitation" footage I have ever sat through. If ever any film did, this one proves that a film's heart being in the right place will keep you on it's side, even as it wheels off it's axis and into the void.

A kid witnesses the shooting death of the neighborhood basketball star. The basketball player had been mistaken by the police as a crime suspect. The kid is subjected to harrassment from the policement involved to keep quiet about what he knows. The cops even go so far as to intimidate his mother. This is an early film appearance of Lawrence Fishburne's. He was thirteen or fourteen when he did this movie. The always magnificent late Rosalind Cash plays his mother. The film makes a sharp comment about the conflicts people have with the very people who are supposed to be protecting them.