WATCH THE TRAILER HERE
First, the Recap:
Take the leap. Step out in faith. Conquer your fear. It would seem safe to assume we’ve all been told these concepts multiple times throughout our lives when situations that call for them arise. Often, it is being told to us by those whom (we hope, at least) do have our best interests in mind and wish to see us succeed in whatever endeavor might be at hand. Yet, is it not true, like so many aspects in life, that actually TAKING the actions needed is FAR easier said than done? Ahmad (Roderick Lawrence) has apprehensions when it comes to expressing what’s stirring within him, and it has become more than a hinderance to many interactions he experiences, stewing about in his head. When an unexpected, short, initially awkward, but ultimately exhilarating meeting with a beautiful woman (Toni Lachelle Pollitt) shakes up his world, will he be able to break free and pursue what he wants, or will the lack of confidence in communication be his undoing once more?
Next, my Mind:
The paralyzing impact of anxiety, the disquiet of a stifled mind, and the simmering fire of a genuine heart yearning for release in love all get succinctly yet wholly, emphatically, engagingly, creatively explored and placed on display through this 14-minute short film from director Wes Andre Goodrich, writer/executive producer Obbie West, writer James J. Johnson, writer/producer Roderick Lawrence, producer Salma Qarnain, co-producers Dario M. Harris and Patrick Nichols, plus executive producers Cameron Carr and Ike Mbanefo. Being transparent, and initially on the most foundational basis here, the addressing of this particular struggle being portrayed is actually one this critic could relate to on a personal level, which only added weight and relevance to events as they unfold, and it certainly the entire notion of being more assertive, confident, and truthful in who we are and what we desire individually is nothing to take lightly or for granted, as I feel it IS this degree of relationship with others we as human beings were meant to have.
Now, narrow this grander idea down and we discover this narrative which finds a lonely and frustrated man searching for the means of self-expression that will emancipate him from the state of inward and, by default, outward hesitation he must face in order to become the passionate and eloquent person he truly is, especially in the newly forming circumstance he finds himself in after a first connection with a passenger during his ride share job. But, from the very opening of the film, we’re taken on this quest for liberation in a multitude of ways, thematically plumbing topics ranging beyond the baseline one including the beauty and butterflies upon having that first impression of someone we are attracted to, being ignored, trying to just BE ourselves while, even if unconsciously, putting on a potential facade so we “match” what we THINK another would look for or want, finding the fortitude to stand up and be heard but with humbleness and integrity, not giving up, listening and accepting encouragement from friends for good or ill, and more.
But, then we come to the real moment that lends the biggest amount of convincing, persuasive sway to the narrative and its objectives which is the well-executed, intelligently crafted, and for this critic, artistically perfect finale that utilizes a deeply effective mix of poetic verse-style monologue and rap-inspired swagger that so aptly brings about a summation of everything we’ve witnessed both primary characters strive and long for, providing an unequivocally impactful defining moment that leaves you as the viewer quite satisfied while likewise firmly cementing and wrapping up the film’s topical adventures with sincerity and relatable meaning. To state it this way is honestly no exaggeration, or at least not for this critic, as I continue to laud indie film for its ability to so beautifully manifest stories that strike home to a realistic, grounded, and fully influential magnitude, speaking to the human condition and its myriad of challenges and triumphs. Additionally, it’s a portrait of two people perceiving their love language. It’s simply affecting.
Lawrence absolutely soared for me here, bringing about an utterly credible, thoroughly engaging, quietly emotional, inwardly intense performance that exudes the mental skirmish he faces through his role as Ahmad, an affable but mildly troubled man who has so much to say yet finds himself unable to bring about the actual words verbally to share it in specific situations. Through the frustration he has attempting to overcome this, one set of moments changes his life upon meeting a young woman whom he briefly interacts with during a ride share. Knowing she’s something more than JUST another pretty face, Ahmad must be willing to allow what’s been buried within to come spilling out in a manner that he hopes would win the day. Watching Lawrence maneuver the character through this mix of effective drama, a little humor, and smart use of poetic verse is a joy to take in, and his “everyman” demeanor also helps maintain the aforementioned sense of relatability and the accompanying empathy we feel towards Ahmad. An accomplished performance suited for this role.
In a very similar manner where the need to aim for coming across as totally accessible, plausible, and creating a character we’re also rooting for is most assuredly necessary to make the greater themes of the tale portrayed work, Pollitt does a fantastic job at delivering precisely that through her role as the woman who arrests Ahmad’s attention from the moment she gets into his car via Rideshare to all the moments that follow and beyond. Initially oblivious to him due to being distracted by her own thoughts (and headphones, let’s be fair), here slowly-building awareness of his notice of her sparks an associated set of minutes they connect, yet in its fleeting span then appears to vanish once she exits the vehicle, also due to his lack of confidence to SPEAK. The factors that bring them back into each other’s circle is more a surprise on her end, and at first it isn’t clear whether this reconnection will become anything or not. I loved the subtlety and understatement in Pollitt’s acting style here, as it infuses the character with vulnerability but NOT weakness. Instead, there’s an energy that comes from her that lends itself so adeptly to the story and plays off Lawrence with ease and apropos chemistry.
Primary supporting appearances are made first by Madeline Grey DeFreece as the sister of Ahmad’s new infatuation who has an interesting hand in bringing the two back into each other’s space, then Alphonso Walker Jr. and Justin Winley as Ahmad’s best friends Jabari and Meek who have their own ideas and comments about his lack of ability to gain more opportunities with this enigmatic woman they’ve been advised about, both playfully chiding him about it as friends will do but also encouraging him to SPEAK. Additional appearances arrive from Jaleeca Yancy and Terrence ‘T.C.’ Carson as well as a host of others who make up the the poetry club attendees and jazz bank ensemble that’s playing there. Please know you’re ALL seen and appreciated for your parts to play here. So, in total, “Speak Up Brotha!” magnificently conveys its messages of managing an apprehensive state of being, the wonder of pursuing blossoming romance, and the revealing of expression that engenders newfound love, understanding, and communication, ideally awakening within us all the desire to DO exactly what the film’s title plainly and decisively states when it comes to the dilemmas that could cross our paths that demand it–SPEAK UP!!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
