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About That Popular 'Black Films Don't Sell ...Revisiting Spike Lee's *Forgotten Films* #2 - 'Girl 6' (1996)
First, as a recap of what this series is about...
I call them Spike Lee's *forgotten* films, not because we don't remember them, but rather because, when discussion of Spike's film (specifically fan favorites) are had, these are the titles that rarely get mention.
Films like Do The Right Thing, Malcolm X, Jungle Fever, She's Gotta Have It, and others are usually at the top of the list. They're also his most familiar films. Ask the average audience member what Spike Lee films they've seen, or know of, and one of these titles will probably be mentioned 9 out of 10 times - especially Do The Right Thing and Malcolm X.
But Spike has about 25 feature films in his oeuvre, including TV movies, and documentaries. How many of those have you seen?
This series will revisit those Spike Lee films that, for any number of reasons, just aren't talked about as much as the aforementioned few. Whether it's because they were poorly received by audiences and critics alike, or there just hasn't been as much awareness of them, maybe due to a lack of accessibility/availability. For example, how many of you have seen Sucker Free City - a TV movie/pilot that never made it to TV, as the series it was intended to be (Anthony Mackie starred in it by the way, which led to both he and Spike working on She Hate Me immediately afterward); Showtime never picked it up as a series; so HBO passing on Da Brick earlier this year wasn't the first time a Spike Lee project was killed by a cable TV network after the pilot.
The first film in this series is was 2004's She Hate Me. If you missed that post, click HERE to read it.
The second film I'm revisiting is Girl 6.
We could say that there are 2 kinds of Spike Lee films - those that follow a much more conventional, traditional narrative path, and those that, well, don't. Call it the "experimental" Spike Lee; Spike playing in his sandbox, with varying results.
And as I thought about Girl 6, I did wonder, if Spike Lee was a white director, and if this was a film about a white woman, would general reactions to it have been different when it was initially released? I say that because I wonder if black filmmakers are "allowed" (and I'm being careful with my use of the word "allowed") to be "different;" to push passed the expected; to be experimental (there goes that word again); not just by the mainstream, but even within our own community. Have we all become so used to a certain kind of black cinema (limited to 3 or 4 different types or categories, especially in the last 20 years), that when something so unlike what we've come to expect, comes along, we (everyone, not just black audiences, and of course I'm making a generalization) aren't quite sure what to make of it. We don't immediately understand it, and given how critical thinking in cinema isn't exactly embraced broadly, we aren't much interested in dissecting and closely examining those not-so easily digested films; and so we quickly dismiss them.
It's easier to do that, I suppose, especially when there is so much else fighting for your attention.
I'm much more interested in what I call investigating cinema; looking at pictures as whole, or in pieces. I think even films we consider unworthy, aren't exempt from that kind of critical exploration.
And, as I started this entry stating, I imagine if Spike were a white director, and a film like Girl 6 were about a white woman, it may have been praised for its attempts (whether intentional or not) to disrupt the expected order of things, even if it wasn't entirely successful. Comparisons would have been made to past auteurs and styles, with critics discussing it as if it were some "neo-New Wave" construction. And its place in Spike's oeuvre would have been a little higher on the acceptability scale.
Although I think we could identify both kinds of Spike Lees in just about all his films. I wouldn't call him purely an experimental filmmaker (the word itself rather broad), like a John Akomfrah or Kevin Jerome Everson, for example; but I also wouldn't call him a filmmaker in the mold of pure storytellers of years past.
His films aren't always so perfectly and cleanly constructed around story, and they can have an unfinished quality about them, as if he's still working through each one. And I actually appreciate that when it occurs or when I make myself aware of it.
With films like Girl 6, I'd posit that Spike is being more than just a storyteller - pushing the boundaries of the familiar linear narrative style that most films follow. As I said, Spike Lee playing in his sandbox, with Girl 6 being Spike at his most playful - a film that was sandwiched between *serious* message movies in Clockers (a film that he said he hoped would seal the coffin on so-called "hood" movies), and Get On The Bus (a celebration of the diversity in black masculinity, and black unity); his 9th feature film, it marked a break from his previous 8 releases, with maybe She's Gotta Have It being its closest sibling (and not only because Girl 6 borrows from Nola Darling's opening monologue).
It was only after I watched it again recently that I considered appreciating Girl 6, not necessarily for the story it tells (or at least seems to want to tell - and what that is, may differ from one viewer to the next), but rather, appreciating it for the style in which it tells its story.
Although, given how active my mind constantly is, the more I thought about the film, the more layers I uncovered, and the more ways I was able to interpret it (for example, is it a story about addiction, as Girl 6 allows herself to be gradually consumed by what was effectively meant to be more of an aside, in becoming a phone sex operator in order to earn an income, so much that it takes a potentially fatal occurrence to give her the slap back into reality she needed to remember what her motivation was for entering that line of work in the first place, and what it was she really was pursuing).
But that's the beauty of art, isnt it? Being able to watch a film (in this case) and receive it in more than 1 or 2 ways; each time you watch it, you see something entirely different, which can be stifling for anyone who has to write about this stuff. You want to be thorough, but also succinct.
If we summed up its plot looking at it solely at the surface, we could say that it's a lamentation on the plight of the struggling actress, or more specifically, of the struggling black actress - her hopes (as represented in fantasy sequences featuring star Theresa Randle playing some of her favorite screen characters), and her will to survive (becoming a phone sex operator in order to earn a living, while still seemingly working on her craft, even though it's not exactly an ideal situation).
But what I felt was a relatively weak 3rd act, when Spike spoils all the fun we'd been having for the previous 80 or so minutes and gets all serious on us, trying to squeeze some lessons in there, got in the film's way.
This could be regarded as a film more about mood and setting, than story. And that works for some (it works for me) and not others. Individual scenes are probably more remarkable (the ending kiss between Randle and co-star Isaiah Washington as he ex, with multi-colored telephones dropping seemingly from the sky, all in slow motion, immediately comes to mind, whether you think it has meaning or not), than when you think of the film as a whole.
It's like the Theresa Randle show, or rather a showcase for her abilities - a highlight reel that you may have thought would lead to even more prominent roles (and she puts in a full performance, demonstrating range); but like so many other talented black actresses who came before and after her, Hollywood apparently wasn't all that interested, even though she bared almost all, showing her breasts in the film's opening sequence - one of those memorable, seemingly iconic, if controversial cinematic moments that not only raised eyebrows, but also may have raised her industry profile (for better or worse) the way it has for other actresses. I'm thinking of Sharon Stone's flash in Basic Instinct for example, and the immediate impact that movie had on her career.
Not that I'm championing Randle's *northern exposure* in the opening scenes of Girl 6; I thought it was entirely gratuitous, and the point there could really have been made without her disrobing, not only for "QT", but for the audience as well. It's the film's one misstep that comes very early on, which may have actually been a good thing in hindsight, because you get passed it very early, there isnt another occurence like it, and you soon forget it (well, hopefully).
I thought of that scene for a bit, trying to make sense of it, believing that there may have been more to it than meets the eye, but kept coming back to it as nothing much more than a case of a male director saying "I can do this so I will."
But whatever motivation or message (assuming there was an intentional one) that I was supposed to get from that moment, was clouded by the image of (and my heterosexual male appreciation for) the woman's breasts.
Like She's Gotta Have It, it's interesting to observe Spike's attempts to simultaneously celebrate young, independent (and all the word suggests) black women, while also seemingly wrestling with his own heterosexual male filmmaker biases and tendencies, when it comes to depictions of women.
But get passed that early "dark" moment, and then go play in the sand with Theresa and Spike for the next 100 minutes, because that's what it often felt like (toss in several winks, via cameos from the likes of Naomi Campbell wearing a "Models Suck" T-shirt, Madonna, Richard Belzer and Michael Imperioli, and a hotchpotch of sets on which Randle wonderfully plays out her fantasies - including impersonations of past roles played by Dorothy Dandridge and Pam Grier; really, Randle shouldn't have had to audition for another film ever again in her life!!); so your appreciation for the time you spend with Girl 6 and Jimmy, will depend in just how much you like and/or care for Girl 6 and Jimmy (Spike Lee playing a similar character he's played in his other films, although more restrained here than usual, but still hilarious at times).
In addition to the She's Gotta Have It references in Girl 6, I also saw thematic similarities with the film that was first in this series on Spike's *Forgotten* films - She Hate Me. Specifically, lead characters in both films find their livelihoods challenged, and are forced to make choices that they likely wouldn't under normal circumstances, with survival being of utmost concern for each, as both become consumed with what they likely initially believed would be temporary stints in order to earn income, however out of character; and each has their moment of realization that where they ended up, wasn't at all part of their grand plan, leading to decisions to change for the better, as we'd like to believe.
As I said earlier, this marked a departure for Spike up until it was released, and we could say a halfway point, when taking the 20 or so scripted feature films he's made in total for the big screen; as we won't get to see "experimental Spike Lee" again for another 9 or 10 films when, well, Red Hook Summer is released in less than 2 months.
Filled with familiar pieces of Spike Lee nostalgia and some of his favorite things (sports memorabilia for example), the icing on this cosmopolitan cake is? The bold colors and warm, inviting cinematography by Malik Sayeed, as well as the wall-to-wall Prince soundtrack, comprised of both the old and the new.
So what did you see in Girl 6?
Next up in the series will be Sucker Free City.
Watch a 15-minute cut of Girl 6 below:
29 Comments
urbanauteur | June 26, 2012 6:38 PM
Girl#6 was spike's nod to mastro Fredico Fellini's 8 1/2, Juliet of the Spirits and director George Sidney's most obscured masterpiece JEANNE EAGELS, starring Kim Novak, if you can find it,check it out.
Big Styles | June 26, 2012 5:51 PM
really surprised that no one (not even Tambay) mentioned that this film is written by a woman, specifically one Suzan Lori-Parks. Not a big deal unless the Pulitzer is a big deal to you. I think you owe it to the film, (a certified classic of black aesthetic IMO) to re-examine and re-edit your story based on SLP's obvious choices. Girl 6 was collaborative, I wonder what she thought of the opening scene? BTdubs, the b-plot with the little girl and the elevator shaft is brilliant, and Debi Mazar deserves major props for her part. Also, Jennifer Lewis got to hit more than one note, she was down right subtle here. CHARLESJUDSON took it home, last but not least, Malik Sayeed. That is all.
Monique A. Williams | June 24, 2012 10:21 AM
I love Girl 6. Though I was too young to really appreciate it when it came out, I saw it again a few years back and thought it was great, clever, and quirky. And Theresa Randle should have definitely got more work after this. Sad. And the clip you posted was a great sum of the film.
Spike doesn't always get it right, but who does? I'd rather take a chance on a Spike Lee Joint than a Tyler Perry Presents Trash anyday.
Charles Judson | June 23, 2012 11:48 AM
One of the things I remember most about GIRL 6 was how many reviewers felt this was Spike trying to compensate or comment on the sexism in his films. It's a weird space Spike exists in when it comes to women and sexuality. He's one of the few directors to eroticize Black folks on film without it drifting into the exotic. On the other hand he has moments like Nola's rape in SHE'S GOTTA HAVE IT. Then there are characters like Jada's Sloane Hopkins in BAMBOOZLED and Perez's Tina in DO THE RIGHT THING that at times exist as surrogates for Spike Lee as the director and writer inside the film. Spike so often wants his main characters to see the light and "wake up" and sense he can't do that, he seems to use female characters as the prods he can't be. Unfortunately, that often turns them into what some critics consider shrews, which I think is unfair because there are times Sloane in BAMBOOZLED sounds like Spike on the lecture circuit. So was the sexism charge fair? I would mostly say no. Which makes folks initial reactions to it a little unfair. Because just the idea that Black Woman's sexuality would be treated with as much depth, that she could be wrestling with how to control and wield her sexuality without it overwhelming her and defining her (which is why I think the opening scene with QT is so important and it only works if she shows her breasts--also note how wide a range the women in the hallway cover, which for a director looking for a "specific" type, QT seems to be casting an awfully wide net) is and was revolutionary. We haven't really had a film like it since. Which is interesting because 5 years later it would become a big deal that Halle Berry was going to show her breasts in SWORDFISH. Upping the ante is that 2001 is also the same year Berry would be in MONSTER'S BALL and would win an Oscar, in the words of those most critical of the movie, for "having sex with a white man" and "looking ugly". This is the same actor QT holds up as beautiful, but doesn't praise her for her acting; even stopping the casting session to focus on more of the type he's looking for. Which makes that scene kind of unintentionally meta because the year after that Tarantino would release JACKIE BROWN with Pam Grier. There's arguably no other Black actress whose sexuality has been so blatantly on display both on and off screen. Halle has been sexy on and off film, but you can find too many roles in which her sexuality is a key component of her character. Folks don't even know how to leverage it without it spilling over into camp and becoming a parody of womanhood, a la CATWOMAN. Which isn't surprising, in BOOMERANG she's the idealized woman that Murphy will make love to, but she's not Robin Givens, the woman guys f*ck. And I think that's one of the keys to GIRL 6 and Spike Lee's films. He doesn't always handle it well, but Spike is one of the few directors who's willing to even suggest that Black women (and men) want to make love and f*ck. They're like most women on the planet. Thanks to working with Park, GIRL 6 goes a bit deeper to explore that complicated relationship with sex and sexuality both on a personal level, how that comes out in one's work, and how that is shape and twisted by the film world that Randle's character wants to be a part of. There's a complexity and maturity to GIRL 6 that's still missing. Films like BABY BOY dwells on the baby making part of sex and manhood, but not much more, and has scenes like the African squat that seem like a missed opportunity to show that Black people can f*ck too and still be decent human beings. Tyler Perry can do films about marriage, but there's barely a mention that these people have healthy sex lives. In the last few years THE GOSPEL, a flawed film for sure but one I still enjoyed, stand out as one of the few films I can remember in which a Black Preacher openly admits he likes having sex with his wife and that just because they can't have children doesn't mean they should cut that part of their lives out. MEDICINE FOR MELANCHOLY stands out as a film that explores the ramifications of a one night stand and illustrates how that one moment of passion was much more than sex. I think the legacy of GIRL 6 is how much we desperately need a few more films like it.
Adam Scott Thompson | June 23, 2012 9:46 AM
I always felt like "Girl 6" was a spiritual sequel to "She's Gotta Have It."
Nadia | June 23, 2012 9:16 AM
Hmmm, it was a mixed bag here for me. the strength of the individual pieces did not add up to a cohesive whole. Randle's nameless character doesn't seem to come out too differently at the end than she was at the beginning. Fantasy sequences are handled very nicely. The phone sex girls give some nice diversions as they cater to a variety of clients. The subplot about a little girl who falls down an elevator shaft (6 floors) seems to parallel Girl 6's descent, but it's not handled as well as it could have. But love the songs by Prince and un cameos from Quentin Tarantino, John Turturro, Madonna, Halle Berry, etc. Like I said, a mixed bag. I liked it enough, but it's one of Spike's weakest films IMHO. He also didn't write the script. But I think as you said, an interesting diversion for Spike.
Rod Gailes OBC | June 23, 2012 8:56 AM
I have fond memories of leaving the set of my feature film "Camouflage" after a very long shooting day and going to see "Girl 6". I was in love with Theresa Randle, a big fan of Spike's, and a maniacal Prince fan. "Girl 6" was the perfect storm as far as I was concerned. It contains Spike's least self conscious and BEST acting ever. (Playing opposite a pretty girl who's also a good actress always helps.). "Girl 6" takes us on a ride, a very dark, funny, unpredictable ride with telephones raining from the sky. Lighten up and enjoy it. Sometimes it Snows in April.
JMac | June 23, 2012 12:15 AM
Now come on people. It's Friday night and this is a loonng post. I saw it earlier today but held off from commenting until after I watched the dreaded French slave comedy movie [which actually wasn't bad - 6.5/10] and had some time "marinate" in the article. I agree the best thing about Girl 6 (the best worst movie of Spike) is Theresa Randle - I didn't know she had those types of acting skills and irritates me that nothing much happened with her career after this. Also agree about Spike's exploitation of her. I remember it took me a few tries to get through this movie because the scenes were often too difficult and painful to watch esp as they were happening to a fellow black woman. It made me hate QT since I have a feeling he didn't have to do much acting for that part. It's been such long time since I've seen Girl 6 so I wouldn't be able to comment on the stylistic aspect of it nor those little details that hardcore movie aficionados would look for regardless of the movie or director. I would need a good uninterrupted re-viewing - with my laptop open to this page - to even attempt to contribute what little I can. We'll see who else stops by once they have the time.
Neziah | June 23, 2012 12:03 AM
Don't worry, Carey, you are not alone. Although I don't consider it one of his best works (at least not yet), "Girl 6" caught me by surprise when I blind-bought it a few years ago on DVD (it was nearly out of print). I knew about the critical panning it got, but it was the only Spike Lee film I had left to see out of the many he had made, so I thought to myself, "Why not?" As you stated at the end of your analysis, it's a very colorful film, and I echo that statement, the cinematography in this film is among the best in a Spike Lee film, period. I also loved the film's quirky style. Like in a Fellini film, it has a very surreal quality in many of its scenes, and I have to give Spike props for experimenting and trying new things and succeeding at them, which can't be said of a lot of directors out there who attempted to redefine their style. I'm a big Prince fan. In fact, Prince would probably make my top ten musicians ever, so I quite admired his soundtrack for this film. The story itself isn't bad and Theresa Randle gave a credible and note-worthy performance (no doubt her best to date), but it's the chaotic and unconventional way the story is told that won me over, and the tone and style of the film. It kept me engaged and entertained in equal measures. I have to admit, I don't know exactly what most critics disliked about the film, and I honestly don't really care, because like all art, the quality of this film is subjective to the viewer. I personally dug the hell out of it and I'm happy to own it.
James Evans from the Cabrini-Green | June 22, 2012 11:59 PM
Tambay, regarding the lack of posts here: could it be, could it POSSIBLY be that just PERHAPS your verbose enthusiasm for Spike's "joints" is not shared by most? Your writings are respected, but as long as you can compliment Mr. Lee is just as long as his detractors can spotlight the flaws ("flaws" being an understatement.) I promise you these films are *forgotten* (asterisks yours) for a reason.
CareyCarey | June 22, 2012 10:49 PM
Mr TAMBAY A OBENSON, here we are, just me and you walking down Spike's memory lane. I know... I know... I run my mouth too much which lead to you cussing me out like I had a tail and eventually kicking me off your blog. But today, you have to know you're driving in the middle of my street. Spike Lee's street that is. I might be the biggest Spike Lee fan who visits this blog? I believe it's safe to say I am one of the few visitors who can claim ownership of an autographed copy of his 367p Do The Right Thing 20th Anniversary Book, and a poster from She's Gotta Have It. Pictures and pages from that book are right here (in my hands) take a look -->http://careycarey-carrymehome.blogspot.com/#!/2011/01/my-mind-is-on-spike-lee.html. Now of course I've seen every Spike Lee film that you mentioned and others that he merely served as the director of a one man show, such as John Leguizamo's Freak and Rodger Gweneveur's A Huey P. Newton Story. But this discussion... this post is not about me, so let's continue on down road to the man of the hour. But first, let's do a review. You said: "I'm much more interested in what I call investigating cinema; looking at pictures as whole, or in pieces. I think even films we consider unworthy, aren't exempt from that kind of critical exploration". UT OH! I think it's time I borrow a few of your words --> "and I'm being careful with my use of the word "intellectuals" ) to be "different" . Yep, mission control we have a problem. Now believe me, it's not my intent to do a LeonRaymond, proclaiming Europeans have a special gift of understanding, which black audiences... "which most of S&A readers won't have a clue". Nope, that's totally ridiculous. However, as much as I deplore the phrase "We are not a monolithic group", it's apropos for this discussion. Tambay my man, I have to tell you something that's gonna hurt me more than you. You sir... and I don't know it you know this... but you are in the minority. The overwhelming majority of moviegoers have no desire to watch a film in antisipation of a future "critical exploration". The average moviegoer, like all individuals, black, white or whatever, are fueled my our emotions, not our brains. Consequently, I believe it's safe to say the average person could care less about the inner workings of a film, nor the action and personal behind the camera. Nope, if it moves them emotionally -- on several levels -- they remember said experience. But I, on the other hand, love to talk about films, and especially Spike Lee's joints. So I've come here today, not to spank Leon for that ridiculous statement, but to talk about/discuss GIRL 6. I mean, the halls are quiet today and you've dropped a boat-load information. Some of which I agree with and others (for reasons connected to what I said above)I have to give a side-eye. But woe is me. It appears I've used up my allotted "air space". I'll come back if others are interested in a discussion on the movie, however, to do justice to your post, and it's many finer points, I'll need at least 2 more pages. I guess, in short, I am questioning the "wisdom" of psychoanalyzing Spike Lee's adventurous journey. Not that you've done such, but as you've mentioned, most folks have no idea of Spike's "participations" over the years. In his many roles as director, he has worked with athletes (i.e, Kobe & Jim Brown), comedians (The Kings Of Comedy), musicians, and a vast array of actors of all colors (not to mention his foray in commercials). Each endeavor required him to change gears and wear a different size hat. And btw, when do you plan to give us the rest of the Melvin Van Peebles story?
LeonRaymond | June 22, 2012 8:22 PM
TAMBAY, forget American Audiences on this one GIRL 6 was hailed in Europe as one his greatest works, they got what he was trying to do, they understand a lot more than a lot of American Audiences, much more than a lot of Black audiences, what you call experimental films they call an The Director being in the moment, being a true artist. Fellini, most of your readers won't have a clue, Fanny & Alexander, they won't get that one either. the film Z they more than likely never even heard of Costa Gravis films. The film DIVA with the Black Opera singer, they would be lost on what that was about and never seen it less heard about it. So dissect all you like, there are certain audiences for certain films. Most American Black audiences will select Do The Right Thing, cause most Black Americans will see racism in white sugar bowl.
CareyCarey | June 22, 2012 5:45 PM
Surely this is not TOMFU*KABILITY day? I mean, forget about Light âplay too muchâ Anthony Mackie. Tambay has taken the time to write this 2100 wordâthought provokingâ post (and attach a 15 minute clip), so where all the good people at? Well, let me put it like this: Gonna tell aunt Mary, 'bout uncle John, he claim he has the misery, but he's havin' a lot of fun. Oh baby, yes baby, woo baby, havin' some fun tonight. Girl 6 is in town but no one's around. Well, long tall Sally, she's built for speed, she's got everything that Uncle John need. Oh baby, yes baby, woo baby, havinâ'some fun tonight. Well, I saw uncle John with bald headed Sally, he saw aunt Mary coming and he ducked back in the alley. Oh baby, yes baby, woo baby, havin' some fun tonight. Now listen y'all, hold up, turn the music down. I'm trying to tell you guys (and gals) something. I am suggesting⦠LONG TALL SALLY'S where y'all at? I am more than sure yawls know something about Girl 6? Surely you have an opinion on one of Spikes lost treasures (I know I do). Huh - what black woman on this planet hasnât seen that Spike Leeâs joint? So come on Lauren, JMac, Someone, Bondgirl, Kai, XI, Sandra, Nadine, Vanessa, Chrish, Misha, Geneva Girl, BLUTOPAZ, Akimbo, Nadell, BOHEMIAN PRINCESS, Priss, Michelletoo, CHGSISTA, Ava, DONELLA, Leggy Peggy, NICE NEZIAH, Saadiyah, Patti, JAI, Nemisis, Lady J, GIGI, SLB, Jai, and the rest of the usual suspects, talk about it. Somebody has to take the first leap. I mean, y'all don't want me to break out in my version of D'angelo's "Brown Sugar"! "Let CareyCarey tell you 'bout this girl... maybe I shoudn't, I met her in Philly and her name was Girl 6. Some know her as ********* (fill in the blank) from S&A. See, we be making love constantly, that's why.....
Donella | June 22, 2012 4:53 PM
LOVE the soundtrack.