Prolific director Spike Lee (Do the Right Thing, Malcolm X) offers the fictionalized account of the pilgrimages black men all across the country made to the Million Man March in Washington, D.C., and the process showcases a fine ensemble cast of eclectic actors. Shot in a fast-paced low-budget style, the film chronicles a bus trip beginning in Los Angeles and the passengers, all from vastly divergent ages, backgrounds, and beliefs, getting to know one another and discussing their respective reasons for making the trip. The group, including a gay couple, a father and his son, a cop, and an actor, each confront the hostilities and prejudices they have faced as well as the ones they hold within themselves. And along the road they encounter incidents that bring into sharp focus the need they feel to acknowledge their heritage and shared struggle. Frequently entertaining in its rapid pace and cutting dialogue, this small but ambitious effort is sure to provoke debate even as it entertains. --Robert Lane
2.
Released on the one-year anniversary of the Million Man March, GET ON THE BUS follows nearly 20 African Americans as they ride a bus cross-country to attend the historic event in Washington, DC. The passengers--a diverse group of Los Angeles-based men--include a bickering gay couple, a pompous (and disliked) Republican, a Spike Lee-esque film student, a vain actor, and a quarrelsome father and son who are literally shackled to each other by court order. The fascinating and enlightening discussions between the men shed light on numerous issues concerning the African American community and enrich their lives in the process. Lee chose to shoot his film on super-16mm stock, giving it a grainier, more documentary-like feel--which, when combined with the naturalistic performances from the ensemble cast, makes an impact that is all the more immediate. Lee's camera and the actors breathe fervor into Reggie Rock Blythewood's screenplay. Standout performances include Ossie Davis, Charles S. Dutton, Andre Braugher, De’Aundre Bonds, Roger Guenveur Smith, and Richard Belzer (as the white bus driver). Once again Spike Lee delivers a poignant commentary on the state of African American affairs at the end of the 20th century.
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