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dweemeister · 4 years

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Aaron Loves Angela (1975)

The protests following the death of George Floyd have ignited debates about police militarization and tactics in the United States. They have also reenergized, in some cases mainstreamed, a discussion about what is celebrated in popular culture. Some have argued that certain films should not be available for consumption because they have espoused white supremacist values or have merely depicted white supremacy – an argument that this blog rejects in favor of contextualization and curation. By many of those same critics’ hypothetical standards towards how black people can or should be depicted, blaxploitation films might be considered too problematic to show. Blaxploitation, a subgenre of exploitation film, rose and fell in the early- and mid-1970s. It featured majority-black (if not all-black) casts, but the characters they depicted often reinforced violent and sexualized stereotypes under the guise of empowerment.

Among the directors central to blaxploitation were Gordon Parks (1969’s The Learning Tree, 1971’s Shaft; the former is the first film directed by an African-American for a major Hollywood movie studio) and his son, Gordon Parks Jr. Released by Paramount, the younger Parks’ fourth and final film, Aaron Loves Angela, is a confounding film that cannot be cleanly categorized within the blaxploitation subgenre. At times, Aaron Loves Angela looks as if it will be played as a straight teenage coming-of-age or interracial romance film peripherally adapted from Shakespeare’s Romeo and Juliet, but a poorly written criminal subplot direct from low-rent blaxploitation fails to connect with the central drama. As disappointing as the execution is, the film’s interracial romance and – at least when the film focuses on the title characters – its framing through the star-crossed lovers is unlike anything of its kind in mid-1970s American cinema.

It is the early 1970s in Harlem. De facto segregation between blacks and Puerto Ricans does nothing to quell a simmering racial animosity. Two 15-year-olds – Aaron James (Kevin Hooks) and Angela Sanchez (Irene Cara in her film debut) – have a wordless, chance meeting during a high school basketball game. They gaze in each other’s eyes, with that tingly feeling in their stomachs. Of course, that tingly feeling is overwhelming and inconducive to winning a basketball game. Yes, Aaron’s team loses the game and a (predictable) bench-clearing brawl occurs. Aaron and Angela, despite their knowledge that most of their friends and family would disapprove, begin to see each other. Both are the only child in a single-parent household. He lives with his resentful father, Ike (Moses Gunn), once a promising American football player whose career ended due to injury, and too often stating his desire to see his son play professional basketball. She lives with her mother, and has never lived in one place long enough to make lasting friends.

Just as Aaron and Angela start their relationship, screenwriter Gerald Sanford (a journeyman television writer credited with episodes of Barnaby Jones and CHiPs) drops in a subplot that sidetracks the film so much that it not only undermines the budding story of the protagonists, but it seems as if it came from an entirely different film. In Aaron’s apartment building, drug dealer and pimp Beau (Robert Hooks; Kevin’s father) reels in Aaron on a narcotics deal with the Italian-American mafia. Aaron agrees to help for no good reason. Sanford’s inclusion of Beau and his girlfriend Cleo (Ernestine Jackson; whose character commits statutory rape) is an attempt to justify the film’s careening turns into a blaxploitation crime drama – a shootout, a climactic vehicular pursuit with innocent minors endangered. Considering how the film begins, its title, its ostensible spotlighting of two actors in a rarely-produced subgenre of romance, the subplot is a detriment to the young actors’ performances – there are genuine moments of tenderness, but not nearly enough – and the way their characters are written.

Romeo and Juliet displayed interest in developing the young Montague and Capulet; West Side Story affords the music and space for the audience to know Maria and Tony. Aaron and Angela favors the former, with the latter’s personality, family and friends, and ambitions reduced to her attraction to Aaron and nothing else. That Sanford and Parks are so disinterested in imbuing Angela with any character depth is an encapsulation of how carelessly they handle the story. As the criminal subplot begins to overstep its welcome, the amount of time directed towards Angela (without Aaron doting on her) and the Puerto Rican community evaporates. The film’s incuriosity towards its female and Puerto Rican characters probably should have been expected given the nature of exploitation films, but it is nevertheless dispiriting to see this sort of storytelling recklessness for a perspective seldom seen in American filmmaking.

The drug deal subplot also reduces the screentime for the best performance in Aaron Loves Angela. Moses Gunn, as Ike, is excellent here. He vacillates between fits of alcoholic rage and uttering thoughts regretted the moment after their delivery to sober melancholy and overbearing parenting. Stereotypes of black fatherhood in American mainstream media will often have the father be absent from their child’s life, sometimes simply unsupportive, and occasionally involved in criminal enterprise. Certainly, Ike exudes hostility and bitterness – which, on its face, appears to uphold those historic negative stereotypes frequently seen in movies (not just blaxploitation films). Noting his brief, injury-ended professional football career, that depthless well of antipathy is justified – in recent years, the National Football League (NFL) has been criticized for neglecting the financial and physical wellbeing of its retired players. Parks and Sanford should receive some credit, even if this is accidental, for providing dimension to a black father’s negative behavior. The film does not condone Ike’s behavior towards Aaron, but it retains some sympathy for the embattled father – something that might not have been perceptible with anything but a solid turn by Gunn. As Ike, Gunn plays a lifetime haunted by ghosts of glory.

Aaron Loves Angela also boasts songs by Puerto Rican singer/songwriter José Feliciano (who has a cameo in the film; some of the songs were co-written by his then-wife, Janna Merlyn Feliciano). The best and most notable feature of the code-switching soundtrack is “Angela”, played over the film’s opening credits. “Angela” is an impassioned song, strummed along to Feliciano’s signature guitar along with rolling string harmonies that make the piece distinctively Feliciano’s. The English-language version of “Angela” has not received much attention due to Aaron and Angela’s lack of success at the box office and contemporary obscurity, but the Spanish-language “Angela” (with a Spanish “g” pronounced as an “h”) was a generational hit among Spanish speakers. Irene Cara, a skilled vocalist (as any fan of 1980’s Fame will tell you), does not sing in this film.

Following Aaron Loves Angela, Gordon Parks Jr. formed a new production company, Africa International Pictures, and set to work on his newest project, an adventure film entitled Revenge. At least one-third of Revenge was completed when, on April 3, 1979, Parks and three others perished in an airplane crash that occurred shortly after takeoff. Revenge was never completed. The younger George Parks was survived by his father. For the young actors, they continued to work in the entertainment industry albeit thriving in different mediums. Kevin Hooks left acting to become a television producer and director while Irene Cara would become better known for her musical career (“Fame”, “Flashdance… What a Feeling”) than for her acting.

Movies centered on an interracial romance, let alone youthful interracial romance, are almost never distributed by major movie studios. Often consigned to smaller, independent studios and limited theatrical releases, these films deserve to have an audience. For Aaron Loves Angela, this was a film made by an established Hollywood studio, but apparently floundered with audiences – explanations for its lack of financial success are almost nil in freely-available literature because of the film’s obscurity.

Here is an attempt at inference. By 1973, the blaxploitation subgenre had been protested by civil rights groups and disgruntled actors and directors under the banner of the Black Artists Alliance because of their portrayals of black characters. Studio executives took notice of these protests, and the blaxploitation film would be in terminal decline for the remainder of the decade – these protests occurred even though these films provided black actors and actresses with a volume of starring roles that had never been seen in American cinema. With its 1975 release, Aaron Loves Angela arrived during the subgenre’s hasty decline. It is not an accomplished film, but Aaron Loves Angela’s central conceit – a film centered on African-American and Puerto Rican teenagers in a relationship – has unfortunately been buried due to the timing of its release. The virtuous qualities and cultural damage of films like Aaron Loves Angela and blaxploitation in general remain an open debate – one that deserves the recognition of nuance and previously unheard voices to help guide.

My rating: 5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Aaron Loves Angela #Gordon Parks Jr.#Kevin Hooks #Irene Cara #Moses Gunn #Robert Hooks #Ernestine Jackson #Gerald Sanford #Jose Feliciano #TCM #My Movie Odyssey

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