jon m chu – Smaller Pictures

In the Heights (2021)

One of the biggest releases of the year so far is In the Heights. Based on the stage musical of the same name by Lin-Manuel Miranda, In the Heights follows the community of Washington Heights, a Latin dominated neighbourhood where everyone has dreams and does everything they can to achieve them. The protagonist of the film is shop owner, Usnavi, who dreams of returning to his native Dominican Republic one day and whose shop is hugely important to the community. As we explore the lives of those around him, we see the trials and tribulations that the Latin community faces against many issues including racism, increasing gentrification and basic human rights being compromised. The original stage musical first premiered in 2005 and went on Broadway in 2008, winning a slew of Tony’s and putting Lin-Manuel Miranda’s name on the map. The film is written by Quiara Alegría Hudes who also wrote the original book for the stage musical and directed by Jon M. Chu, In the Heights explores its subjects in a way that feels timeless and just as relevant today as it was back when it was first staged.

Although Hamilton may be the play that Miranda is known for among the masses, In the Heights was his first musical and was a huge success among theatre fans across the world. When listening to the music from both, it’s amazing to think that they were composed by the same man because of how different they are in style and tone. In the Heights is a celebration of Latin music, combining an array of cultural touches with contemporary US hip hop and rap. Each character has their own distinct type of song which gives the audience a sense of their personality. From Usnavi’s unpredictable raps to Nina’s lamenting ballads, each song sounds totally different from the other and yet it flows effortlessly. What is great about this film adaptation is that the songs have been rearranged and altered slightly to naturally fit in with the context of the film. A lot of musical film adaptations forget that film is an entirely different medium and it may not look static and unnatural. Due to the amount of rap and dialogue during the songs, alterations have been made to fit in properly with the medium and it makes it a more exciting watch as you don’t know what to expect. Some of the storylines had been changed as well to take away some negative events such as the looting of the store in order to give the film an overall positive vibe which allows it to work well as a feel-good summer film.

Anthony Ramos leads the film as Usnavi and has big shoes to fill (Miranda originated the role on Broadway) but does so with ease. Although we are getting a broad glimpse of life in Washington Heights, it is Usnavi’s storyline that chugs the film along so it was important to get the casting right. Ramos has more than proven himself capable having previously performed as Sonny on a previous regional tour as well as originating the role as John Laurens/Philip Hamilton in Hamilton. Ramos has a natural presence that makes his Usanvi instantly likeable. Even those who aren’t familiar with the musical will want to root for him and find out more.

In support, there is a great cast who help bring the beloved characters to life. Corey Hawkins and Olga Merediz as Benny and Abuela Claudia, respectively. Benny is Usnavi’s best friend who works in the local dispatch and is highly energetic with big dreams to become a successful businessman and someday run the dispatch himself. Hawkins brings that enthusiasm and charm needed as well as nailing the song “Benny’s Dispatch” which has a really difficult rap but he does this with ease. The friendship between Benny and Usnavi feels completely authentic and it’s clear that the actors had a great experience performing together. One of the original cast members on stage was Merediz who reprises her role as Abuela Claudia for the film. Claudia is the glue that holds the community together and her motto “Paciencia y Fe” is something that the community lives by, as well as being the name of her big number. The song follows Claudia’s life as a young girl from Cuba moving to New York with her mother and how they learned to adapt and survive in a completely different world. The sequence itself is beautifully directed and is one of the best numbers in the whole film. It is then followed by my personal favourite song, “Alabanza” which I think is one of the most beautiful songs in any musical and for the emotions of the song to come through, it relies on the influence of Claudia among the community and you’ll surely be in a lot of tears.

In the Heights is a phenomenal achievement that deserves to be shown on the big screen. Chu manages to replicate that vibrancy and spirit of the Washington Heights community and inject it with bold direction and stunning use of camerawork and colour. With a couple of Miranda related Easter eggs hidden in the film, it’s sure to be fun for theatre and film fans alike. A particular highlight is seeing Miranda play the role of Piragüero known fondly as the Piragua guy and his rivalry with the Mr. Softee Truck Driver who is played by Christopher Jackson (who originated the role of George Washington in Hamilton). Whether you are a fan of musicals or not, the story and its message are sure to resonate with you and leave an impact long after the credits have finished rolling.

What did you think about In the Heights? Let me know in the comments below!

In the Heights is available to view in cinemas now!

The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments