First, the Recap:
Unblemished vision. To witness the world around you with a complete sense of virtue and unspoiled mindset would seem like an impossible dream when taking in our reality as it is now, a current mix of anger, political polarization, renewed hatred, and overt discontent. As unsettled as it all appears, do we ever consider that there might actually BE those who DO witness life with a total degree of utter unawareness–children. But, what occurs when that veil of verity is suddenly dropped and they get involuntarily introduced to the harsh actualities? It is 1977, Wood Green, London, U.K. and six-year old Grace (Kenedy McCallam-Martin) plays without a care in her young heart or head, relishing the simple joys of all still being pure and beautiful. But when the jarring truth about her skin color comes to the forefront, the questioning of everything begins as now-bewildered innocence fades to dust.
Next, my Mind:
History, hate, racism, and rebellion all collide with the as-of-yet untarnished perspective that is childhood’s purity and the undeniably compelling relevance to our contemporary society through this 13-minute indie short film from writer/director Karen Bryson, producers Lorraine Bhattachary and Shakyra Dowling, plus executive producers Arnondo Chakrabarti, David Harewood, Charlie MacGechan, Chris McMahon, Amar Qureshi, Rajita Shah, Kristin Tarry, and Anne Tiedemann, which will be having its North American Premiere Friday evening June 16th as part of the “Voices of Culture”(Group 3) Short Film Block at the 2023 American Black Film Festival in Miami. One of the first things this critic did upon watching this was to go and look up information on the events utilized as the backdrop for this film, as I was not familiar with it until now. Needless to say, it only served to superbly enhance the understanding, context, and sheer persuasiveness of this effort’s intended messages, which I truly hope sink in DEEP with audiences.
Presented through said incidents that were occurring in the U.K. at the time, with the rise of the National Front and its campaign of fascism-infused bigotry, intimidation, and often violence, the narrative gets a further magnitude of influential punch by being told through the viewpoint of a 6-year old black girl whose only aim is to soak in her wonderfully vibrant life to the fullest, finding happiness with everyone she interacts with and seeing the decency in all she witnesses–until the brutal and, for her, totally perplexing truths about her surroundings and race becomes heartbreakingly real. But, from start to finish, this is one beautifully and intensely stirring exploration of the dichotomy between endearing impeccability vs. searing prejudice, with the blatant destruction of heart and soul the latter engenders becoming the driving force that propels us through to the emotionally potent finale that not only brings us to a pivotal and highly moving moment for Grace, but then to modernity, doing so with the chorus of a familiar cry for acceptance that makes this film absolutely pertinent and powerful.
It goes without question that narratives such as this, which to a multitude of degrees is SADLY the case here, are NECESSARY, not just as the reminder to us about the severe mistakes of our past choices, but more so when the foundational thematic forays then carry forth to our current plights and resurfaced pains, the connective tissue that binds past and present together far too well, and I therefore find myself wholeheartedly wishing this will be that awareness-raising style of film that makes a mark on our very being in order that we might actually start finding the means to HEAL our nation, our world, than inflict further HURT. The visuals we’re given here very much allow a creatively immersive experience through primarily first-person stylings emphasizing a child’s virtuous outlook on things that then gets upended by the curtain being drawn back and an introduction to discrimination is brought to life. Footage and recordings from the era supplement this view with excellent effectiveness as well.
McCallam-Martin is now added to an ever-growing list of child actors that continue to baffle my mind when it comes to the levels of skills they bring to the screen at such young ages, and this actress’ debut performance is nothing short of magical and heartrending at the same time through her role as Grace, a 6-year old having the time of her life, frolicking outside, taking in all of creation with wonder, and associating with her best friend who’s a white girl that Grace doesn’t really “see” the difference in color other than as a bit of playful fun. But, when events begin to unfold that suddenly shatter Grace’s perception of everything, it causes her to lose that awe and instead encounter the biases and intolerance a society is placing upon her as a black girl. How this then moves her ahead is riveting and so apropos to the film’s purposes, and McCallam-Martin fully delivers a performance that exudes the inward volatility and realizations the character has to confront, both in joy and confusion, with adept ease, fully credible energy, and, well, grace!
Primary supporting turns arrive through Stephanie Levi-John as Grace’s mother Bev, who dotes on her youngest daughter but also harbors the wariness to do everything she can to try and protect her from the actualities that are beginning to happen in Wood Green, trying to be diplomatic and not harried by the unnerving effect it is all having on herself and what it means for their family and Elisha Robin as Dorothy, Grace’s older sister and someone who likewise wants to guard Grace’s learning in full about what is transpiring. Other key supporting appearances are made by Sonnyboy Skelton as Gordon, a local boy who actually aims to help in a given situation with Grace but finds that it may not be as welcome as he’d expected–especially given his choice of shirts to parade around in, Roderick O’Grady as Len, a random voice of distorted dissent in support of the growing societal agitations that doesn’t look too kindly on Grace or her mother when they run into him, and Cressida Cooper as Edith, a woman who also chooses to show Grace the disdain towards colored people that exists–and in the last place one would expect it.
Brooke Rufus appears as Wendy, and Karen Bryson herself also shows up in a crucial scene that firmly cements the film’s statements with a quietly emphatic exclamation point. So, in total, “Monochromatic” paints a sobering portrait of racism in itself, but only makes it more dramatically affecting, evocative, and stimulating by illustrating it through the eyes of youth, touching the heart, mind, and spirit of its themes in a manner that should greatly cause us to sit back and acknowledge not just past sins against fellow human beings, but ideally provoke us to be a part of CHANGING the world culture back to a place of unity that is so desperately needed.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
