The Last Black Man in San Francisco-2019
Starring-Jimmie Fails, Jonathan Majors
Scott’s Review #1,018
Reviewed May 1, 2020
The brilliance of The Last Black Man in San Francisco (2019) is multi-fold. The immediate call-out is that the work is the creation of up-and-coming director, Joe Talbot, an artist with a great eye for both the visual and humanistic aspects of cinema. Whomever influenced this young man deserves props for he has a great future ahead of him. Being this is his film debut and he also co-wrote it, the future is bright indeed. The film is loosely based on the life of his childhood best friend, Jimmie Fails, who also stars.
A24 is arguably the new “it” film studio for independent entertainment offerings and this is to be celebrated. Indie films provide creative artists with the means and the time to develop their product and tell stories that are fraught with meaning and in many cases dare to go where other films have not ventured to at risk of turning a mainstream audience off. This is to be celebrated and championed and has resulted in many great and unique films. Hereditary (2018), Midsommar (2019), and The Lighthouse (2019) immediately spring to mind.
The Last Black Man in San Francisco gets off to an interesting start as two young black men, Jimmie (Fails) and Mont (Jonathan Majors) wait for the bus as men clad in protective gear appear to clean polluted waters. The implication is clear that residents are not protected while the men are. Protesters chant while images of the changes San Francisco has experienced over the years are shown. The two then skateboard to a Victorian house in the city’s Fillmore District that Jimmie grew up in and says was built by his grandfather in 1946. Their skateboard trip is cerebral and surrealistic and ten glorious cinematic moments.
Evident is that Talbot is channeling either an autobiographic story or one of a friend- it proves to be the latter. Unclear is if Mont is supposed to be Talbot, but my guess would be in the affirmative. Jimmie and Mont are inseparable, residing both at Mont’s grandfather’s house (played by a startlingly elderly Danny Glover) and the house that Jimmie’s grandfather built. The friends trudge along their daily life by enduring insults hurled at them by a neighborhood gang and fixing up the Victorian house whose owners neglect it and are subsequently are evicted.
Jimmie and Mont are fantastically nuanced, rich characters, each for different reasons. Jimmie is pained that his city has forgotten his grandfather and his legacy, cast aside for progress and wealth. His father (Rob Morgan) is angry, his mother, a recovering drug addict is barely in his life, as they run into each other by chance on the city bus. Jimmie’s Aunt (Tichina Arnold) resides outside the city and serves as his confidante.
Mont is a creative, yearning to write a play based on the local gang, but struggles to create the words or authentically express his voice. He works in a fish shop and frequently acts out his thoughts of others down by the water. Considered odd, he is a good guy and loyal to his grandfather. Since a female love interest is never mentioned (another high point of the film) neither Jimmie’s nor Mont’s sexuality is ever discussed, nor is a potential relationship between the two ever mentioned. The ambiguity works amazingly well and conjures up comparisons to the groundbreaking Moonlight (2016).
When a sudden death erupts the proceedings, Mont finally finds his voice and composes an improvised stage play which he stars in as a dedication for the fallen victim. He elicits responses from the people in attendance (including all principal cast members) as a shocking secret erupts resulting in disarray. This takes the already layered film into a new direction as all Jimmie thought to be true is suddenly shattered.
In a word, the film feels fresh, both visually and from a story perspective. Fails and Majors are top young talent with bright futures who add a patient climb with their characters amid a film that paces slowly but steadily, letting the events marinate to a frenzy in a thought-provoking way.
I eagerly await the next project by the talented Talbot. In a film industry hungry for new ideas, the creator of The Last Black Man in San Francisco (2019) offers a journey into the minds of two black men written not as stereotypes, but as interesting and intelligent individuals sadly not looking forward but looking backwards. The film provides characters who are not standard but are so much more than that.
Independent Spirit Award Nominations: Best First Feature, Best Supporting Male (Jonathan Majors)