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DVD REVIEW
Rated - R
0 OUT 5 POPCORN BAGS
KAM WILLIAMS SAYS:
Rated - R
0 OUT 5 POPCORN BAGS
KAM WILLIAMS SAYS:
It’s not a good sign when a film is released on DVD only a month after opening in theaters, especially
when the picture was made over a decade ago and took forever to find a distributor. But this is exactly
what we have in the case of Harlem Aria, an abomination marking the ignominious directorial debut of
William Jennings.
At the point of departure we’re introduced to Anton (Gabriel Casseus), a mildly-retarded 28 year-old
reminiscent of that title character Cuba Gooding played in Radio. The difference here is that this idiot
savant is blessed with a love of opera and a great singing voice.
Unfortunately, the prospects aren’t exactly brilliant for Anton, given that he’s stuck working in a dead-
end job at a laundromat. Plus, he lives with his overprotective aunt (Eyde Byrde) because his gullibility
and generosity make him easy prey for the unsavory vultures prowling around his Harlem
neighborhood.
Everything changes the day he decides to run away from home to pursue his passion and ends up in
Greenwich Village where he forges an unlikely friendship with homeless Wes (Damon Wayans), one of
those bad things that happens to good people. The fast-talking street hustler introduces his mark to
Matthew (Christian Camargo), a classical pianist playing requests for passersby in Washington
Square Park . Soon, Anton and Matthew are performing together, with conniving Wes serving as their
manager and collecting tips for the suddenly popular panhandling duo.
Don’t be fooled by Harlem Aria’s promising premise or syrupy sweet resolution, since the problems
with the production betwixt and between are plentiful, starting with Wayans’ portrayal of Wes as a jive
and relentlessly-crass creep. From his use of the n-word (like “Niggerati” in lieu of the black Pavarotti)
to his homophobic asides (ala “You look like a gay Ninja Turtle”) his lines are more apt to offend than
to induce laughter.
And I wasn’t sure what to make of half of his ostensibly improvised non-sequiturs, such as “My d*ck is
bigger than your d*ck, and I’m going to hit you with it if you don’t shut the f*ck up.” Co-star Gabriel
Casseus‘ interpretation of Anton was equally troubling, given that here’s a half-wit who seemingly can’t
even boil water yet he somehow magically morphs into a talented tenor capable of crooning all the
classic operas in their native languages perfectly, simply by donning a tuxedo replete with tails.
A crude coon show that relies on lines delivered in African-American cadence for comic relief. 100
minutes of Hell that had me reaching for my meds.
when the picture was made over a decade ago and took forever to find a distributor. But this is exactly
what we have in the case of Harlem Aria, an abomination marking the ignominious directorial debut of
William Jennings.
At the point of departure we’re introduced to Anton (Gabriel Casseus), a mildly-retarded 28 year-old
reminiscent of that title character Cuba Gooding played in Radio. The difference here is that this idiot
savant is blessed with a love of opera and a great singing voice.
Unfortunately, the prospects aren’t exactly brilliant for Anton, given that he’s stuck working in a dead-
end job at a laundromat. Plus, he lives with his overprotective aunt (Eyde Byrde) because his gullibility
and generosity make him easy prey for the unsavory vultures prowling around his Harlem
neighborhood.
Everything changes the day he decides to run away from home to pursue his passion and ends up in
Greenwich Village where he forges an unlikely friendship with homeless Wes (Damon Wayans), one of
those bad things that happens to good people. The fast-talking street hustler introduces his mark to
Matthew (Christian Camargo), a classical pianist playing requests for passersby in Washington
Square Park . Soon, Anton and Matthew are performing together, with conniving Wes serving as their
manager and collecting tips for the suddenly popular panhandling duo.
Don’t be fooled by Harlem Aria’s promising premise or syrupy sweet resolution, since the problems
with the production betwixt and between are plentiful, starting with Wayans’ portrayal of Wes as a jive
and relentlessly-crass creep. From his use of the n-word (like “Niggerati” in lieu of the black Pavarotti)
to his homophobic asides (ala “You look like a gay Ninja Turtle”) his lines are more apt to offend than
to induce laughter.
And I wasn’t sure what to make of half of his ostensibly improvised non-sequiturs, such as “My d*ck is
bigger than your d*ck, and I’m going to hit you with it if you don’t shut the f*ck up.” Co-star Gabriel
Casseus‘ interpretation of Anton was equally troubling, given that here’s a half-wit who seemingly can’t
even boil water yet he somehow magically morphs into a talented tenor capable of crooning all the
classic operas in their native languages perfectly, simply by donning a tuxedo replete with tails.
A crude coon show that relies on lines delivered in African-American cadence for comic relief. 100
minutes of Hell that had me reaching for my meds.
Halem Aria
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Gabrielle Casseus
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currently showing in a theater near you. Or if you want
to find out what our iloveblackmovies critics had to say
about a movie that is no longer showing in theaters,
visit the movie archive.
