The motif of strong family bonds has long been a favorite of old-fashioned dramas, and it plays out well in "Down in the Delta," the methodical, but still affecting directorial debut by noted poet and author, Maya Angelou.
Although it has the look and feel of a made for TV movie -- albeit, a well-produced one -- and occasionally suffers from predictability and some stumbling while trying to tell its story, for the most part the picture works rather well.
While it definitely takes a while to get rolling, the picture does get better as it progresses and aptly uses its casual pace to work its spell over the audience. Although the film doesn't stand much of a chance amidst the onslaught of big budget, holiday-based competition, it should find a receptive audience once on it appears on video and later airings on TV.
While the mostly old-fashioned film is slow-moving and offers few, if any, surprises, it's refreshing to see that it doesn't fall into the standard, melodramatic tearjerker or sickening, saccharinely sweet trap that befalls many films of this genre.
Despite what appears to be the standard issue setup, no characters die to insure that family members finally band together, and things still aren't perfect by the film's end. They've changed enough, however, to spread more than a glimmer of hope not only through the characters, but also the audience, in showing that things can get a little better with some effort and a huge "heapin'' of family closeness.
Of course some viewers -- especially those weaned on family-based TV productions where everything turns out okay at the end -- will find the lack of complete closure as somewhat irksome, and the film occasionally does elicit the feeling that we're seeing only part of the story, and that perhaps there's a sequel or prequel needed to gain that closure.
Nor does it help that many parts of the film feel too episodic -- or otherwise disengaged and removed from the proceedings -- to complement the natural progression of the overall narrative (and are even punctuated by the scenes fading to black before the story moves on).
Even so, it's the whole element of "Nathan," the pawned and much discussed candelabra that -- while seemingly odd and abstract at first -- slowly begins to weave the theme of strong family bonds and history throughout the film. As presented in visual and narrative flashbacks, we learn the history of the otherwise unimpressive candle holder, and it's in these moments that the film's elements finally begin to jell into a more substantial piece.
It also doesn't hurt that the picture's characters are well drawn and those inhabiting them deliver above average performances. While her character might go through the transformation from a waste case to a hard-working woman a bit too easily and quickly, Alfre Woodard ("Star Trek: First Contact," TV's "Miss Evers' Boys") gives her some much needed, but believable dignity that easily makes her sympathetic to the audience.
Other performances are just as good. Both Al Freeman Jr. ("Malcolm X") and Mary Alice ("The Inkwell") give strong performances as the rival siblings who care deeply about their family and its history, while the late Esther Rolle (TV's "Good Times") is good as the mother suffering from Alzheimer's. Meanwhile, Wesley Snipes ("Blade") delivers a solid, if subdued take as a reluctant son, while newcomer Mpho Koaho is also quite good.
Although first-time screenwriter Myron Goble's script occasionally suffers from dialogue that feels a bit too forced and "on the nose" (such as an early telephone conversation between Earl and Rosa Lynn), a tendency to shortchange what would seem to be necessary moments (we never see Loretta going through withdrawal or even much of an urge to partake), as well as the afore mentioned episodic tendencies, the film's overall impression definitely falls under the old saying of the whole being greater than the sum of its parts.
Not great, but rather good, the film exceeds its made for TV trappings mainly due to its shining cast, their performances, and Angelou's nice, first-time directorial touches. We give "Down in the Delta" a 6 out of 10.