This is a tremendous directorial debut by actress/writer Kasi Lemmons. Mixing shades of Tennessee Williams with bits of southern delta voodoo mystery, Lemmons has crafted an impressive story headlined by a great cast. This is despite the fact that we know right from the beginning what's going to happen near the end of the movie. The film opens with the following passage, "Memory is a selection of images. Some elusive, others printed indelibly on the brain. The summer I killed my father, I was ten years old." By structuring the story the way she has, Lemmons creates a noteworthy tragedy where family lies and mistrust are its eventual undoing. Although we know that Samuel L. Jackson's character is going to be killed, it's the mystery of how, and better yet why, that keeps our attention riveted on the screen.
That's relatively easy for Lemmons to accomplish as she's gathered a noteworthy cast that delivers some fine performances. Obviously everyone will focus on Jackson and his take on the adulterous family physician. Proving what we've believed -- and known -- all along, Jackson again proves that he's one of the best actors working in the movies today. He creates a character who's both good and bad, a guy you like for his charming ways and his love for his family, but hate for his cheating behavior that ultimately destroys him and that family. Playing against his normal (of late) "in-your-face" acting type, Jackson delivers a deeply drawn character that reminds us more of someone Laurence Fishburne would play. Like that other great actor often does, however, Jackson easily fills the role and creates a memorable character.
The performances that are the most outstanding, however, come from the two young ladies who play the sisters in the film. Meagan Good perfectly captures that adolescent age where childhood crashes into the harsh reality of becoming an adult, and is quite believable in her performance. Yet it's Jurnee Smollett as the title character who delivers the best performance. In just her second feature film (she had a small part in the Robin Williams movie "Jack"), Smollett holds her own against the film's more accomplished actors & actresses, and creates an amazingly complex ten-year-old character. Seemingly at ease and avoiding the often precociously cute little girl stereotype, Smollett delivers one of the best performances from a child her age in a long time -- and it may be one of the best ever. Don't be surprised if a few acting nominations come her way from this film. After such a fine performance, she should be in high demand in Hollywood and seems to have a bright future should she wish to pursue a career in films.
The other performances from noted actresses such as Lynn Whitfield, Debbi Morgan, and Diahann Carroll are also very good. What sets these characters, and this film, apart from many other films is that the characters are so distinctive. They've been expertly fleshed out in the story, and the performers have given them even more depth and soul once they've embodied them. While you'll occasionally find films that have these attributes, it's very rare for a first-time director to accomplish that. Perhaps it's due to Lemmons' acting background that she focuses as much energy on the characters as she does the plot. Then again, maybe she's inspired by her husband, Vondie Curtis Hall (a minor character in this film) who has proven to be quite the triple talent himself (actor, writer, & director) and who helmed the little seen, but also impressive directorial debut, "Gridlock'd."
The film only has a few shaky moments, such as Lemmon's decision to add a lighthearted, nearly fun musical score that accompanies several of Eve's dealings with Elzora. They seem misplaced and undermine what's really happening, nearly giving the scenes a comic spin when this girl is actually trying to put an occult contract on her father's head. Otherwise, there are some splendid moments, including a sequence where the kids are trapped in the house because their mother won't let them leave for fear of Mozelle's premonition of them getting run over. Likewise, scenes where Mozelle tells a story that comes alive in the reflection of a mirror while she watches are handled quite professionally and certainly do not suggest that Lemmons is indeed just a first time director. With such a film under her belt, we expect to see many sensational features from this young talent in the near future. While it's certainly not the happiest film in town, it has enough bright moments to keep it from being a downer, and plenty of tremendous performances and direction to make it worth seeing. We give "Eve's Bayou" an 8 out of 10.