Food on the throatThe new Netflix film makes it clear that his first scenes that are not here to soften or hide reality. What begins with trivial images – a dirty whale, a dirty house, an image of a tired woman – quickly turns into a kind of emotional radiography. Director and screenwriter Tyler Perry, known for his tendency to melodrama, retains his seal, but this time with a more direct intention. Instead of using pain as a show, this makes it a detailed story about a woman’s life In the middle of a large personal crisis.
To do this, the plot follows Jaii (Taraj P. Henson) a mother among the poverty, which not only loads the world, but also with the feeling that everything is against it. Despite the fact that he is not free from excess, this film manages to bother the viewer with raw social truths. So history gives tragic turns without falling to freedom, Because every event, how exaggerated, seems anxiously real.
The protagonist does not have a bad day: she has an emotional demolition in a slow state. Like a black mother, her routine is a constant struggle to hold and take care of her daughter with several conditions. Perry does not deprive the flaws, and this can be perceived as saturation if it was not The accuracy with which the actress interprets the collapse.
Blows come after another: an unfair dismissal, a bank that leaves it without funds, social services that capture her daughter, and a legal system that reacts with disproportionate violence. All this happens without a pause As a choreography of injustice, which reflects a broken social machine.
Personal collapse to violent crime
The address of Tyler Perry, although excessive, in some cases makes this continuity to lose influence. Instead of confusing, every misfortune feels more real. In our respite there is something perverted effective. The viewer falls into a rhythm that does not seek to entertain, but suffer. And this is in this exaggeration, where Food on the throat Find your strength: not as a difficult condemnation, but as a painful view of institutionalized violence.
The situation reaches his breakdown when Jaria witnessed the crime, trying to accuse his check for dismissal. In the midst of confusion, he takes weapons and, not planning it, he will wrap the hostage bank into the abduction of the Bank. What may seem forced is achieved with such stress that absurdity becomes a deserves. The script uses this case to establish a new emotional dynamics. So Detective Raymond (Tean Taylor) is included in the stage, Whose voice becomes one of the few sensitivity among the tragedy.
On the other side of the phone, it is an empathic view inside the system, which tends to dehumanize. On the other hand, the cashier Nicole (Sherry Shepard) becomes an unexpected ally in the bank, giving Jia and the viewer, a minimum emotional respite. This triangle, which is achieved more with silence and appearance than with action, is the heart of climax. The hostage ceases to be a stress script to become a confession space where John’s accumulated rage is expressed. Tyler Perry in one of his good solutions allows this moment This becomes the center of relief in the middle of an increasingly tragic story.
A thin line between the drama and the exaggeration in the “Fed
Food on the throat He bases his influence on the extreme. Sometimes it concerns theatrical, as if the script would like to hit the viewer with every line. There are scenes where the dramatic load seems excessive reacted, especially when Jaria falls to his knees in the rain, screaming in the void. But even at that time, Henson He knew how to maintain a delivery confidence that never breaks completely.
If the film fluctuates, this is from the script, and not for her actress. A peak moment, with a monologue that works as a manifesto of all forgotten, finds a translator capable of turning around, tenderness and rage in the same stageShe does not play in Jaria with a field: he lives her.
On the other hand, Tyler Perry, although subject to emotional emphasis, makes the melodrama not only with style, but also in structure. And although the rhythm is interrupted by unnecessary submits – especially the power game between the local police and the FBI – history always returns to the face of Deny. There, in his silence and screams, it was there that the essential and emotional center of the film was written.
Complex film for defining
Food on the throat This is not a honed film. This is a dirty, emotionally saturated and full of risky script solutions. But this chaos has its own central message. The accumulation of problems, the thin line between the tragedy and the cartoon is trying to achieve the presentation of collective indignation. Janiyah is not just a woman in a crisis, this is an echo of millions This applies to the consequences and consequences of the hostile system.
The film is overloaded from time to time, and not everything works. Some sequences remained, and a significant part of the dialogs more explains what is necessary. However, between the obvious and excessive moments of brutal sincerity arise. The end, although contradictory, corresponds to the internal logic of history: after so many suffering, there is only the right to represent another possibility. The fact that this possibility is fantasy does not gain weight.
On the contrary, it strengthens him. Because Food on the throat He does not want to be realistic: he wants to be urgent. In his imperfection, he finds his value. And this, at a time when empathy becomes a luxury, is not small. This will not be sophisticated cinema, but honest enough to move. The best that can be said about such a complex film in order to fully understand.
Source: Hiper Textual
