Monster's Ball

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Monster's Ball

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Plot

Director Marc Forster, winner of Best Feature at Slamdance for his debut film Loungers (1996) and the "Someone to Watch" Independent Spirit Award for his indie drama Everything Put Together (2000), follows up those acclaimed projects with this intense, racially charged romance. Billy Bob Thornton stars as Georgia prison guard Hank Grotowski, a hard-drinking racist ex-cop whose father, Buck (Peter Boyle), is dying of emphysema and whose son, Sonny (Heath Ledger), works the execution detail at the prison's death row. When Sonny commits suicide, Hank is devastated and quits his job, spiraling into a deep depression until, one night, he comes to the aid of Leticia (Halle Berry), a beautiful African-American woman whose son, Tyrell (Coronji Calhoun), has been hit by a car. When Tyrell dies, Leticia and Hank find themselves to be unexpected soul mates linked together by tragic grief. It's not long before Hank discovers that Leticia is the widow of Lawrence Musgrove (Sean Combs), the man whose execution by electric chair he and his late son helped to orchestrate. Monster's Ball (2001) is based on a screenplay by actors Milo Addica and Will Rokos, who spent five years developing their script into a feature. Their title refers to the name of an English tradition requiring jailers to throw a party for a condemned man on the night before his death. ~ Karl Williams, Rovi

Review

For the first time since Losing Isaiah in 1995, Halle Berry steps into a role she's shown reluctance to play: a working-class woman of limited intelligence and refinement, who speaks with a dialect and vocabulary that invokes cruel stereotypes. In the dreadful comedy B.A.P.S. and the wicked satire Bulworth, she offered spoofing variations on that character type, but only here does she stare it down. The result is not only the performance of her career, but one of the best onscreen in 2001. The stratospheric praise given her work led some critics to honor the rest of Monster's Ball with equal vigor, but the film is more a collection of great parts than a complete whole. It's certainly full of incendiary moments; surprising deaths blend into lurid and uncomfortable sex scenes, then into vitriolic bursts of racism, all with a disaffected resignation that's bracing. But one wishes director Marc Forster and screenwriters Milo Addica and Will Rokos would have extracted more of a discernible message from these isolated pockets of pain and rage. The minimalism of their approach leaves many questions. The viewer never learns, for example, why Billy Bob Thornton's corrections officer despises his son (Heath Ledger), which might have explained more of both characters' actions. As an actor-driven work, however, Monster's Ball crackles. Sean Combs shows unexpected depth and dignity as the doomed inmate, and Thornton offers another portrayal of wordless hurt that nicely complements his work in The Man Who Wasn't There. Peter Boyle, returning to the big screen after a three-year absence, personifies the bull-headedness endemic to racism in the South. ~ Derek Armstrong, Rovi

Cast

Mos Def - Ryrus Cooper; Will Rokos - Warden Velasco; Milo Addica - Tommy Roulaine; Coronji Calhoun - Tyrell Musgrove; Charles Cowan Jr. - Willie Cooper; Taylor LaGrange - Darryl Cooper; Bernard "Bunchy" Johnson

Credit

Leonard Spears - Art Director, Kerry Barden - Casting, Billy Hopkins - Casting, Suzanne Smith - Casting, Mark Bennett - Casting, Will Rokos - Co-producer, Milo Addica - Co-producer, Eric Kopeloff - Co-producer, Frank Fleming - Costume Designer, Michael Lerman - First Assistant Director, Marc Forster - Director, Matt Chessé - Editor, Michael Burns - Executive Producer, Michael Paseornek - Executive Producer, Mark Urman - Executive Producer, Asche & Spencer - Composer (Music Score), Monroe Kelly - Production Designer, Roberto Schaefer - Cinematographer, Lee Daniels - Producer, Jeff Pullman - Sound/Sound Designer, Michael Kamper - Sound/Sound Designer, Will Rokos - Screenwriter, Milo Addica - Screenwriter, Francis James - Additional Cinematography

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  • Artist: Asche & Spencer
  • Rating: StarStarStarHalf Star
  • Release Date: January 22, 2002
  • Type: Soundtrack
  • Genre: Soundtrack

Review

In developing a musical concept for his first feature film, director Marc Forster opted for an approach that could be described (after its most visible practitioner) as the Thomas Newman aesthetic. This school of thought maintains that film music can enhance drama, add texture, and underline meaning, but it should never, ever tell the audience how to feel. The score for Monster's Ball, composed by the ambient band Asche and Spencer, adheres to that philosophy by making extremely sparing use of melody. Through much of the movie, music slides by mysteriously without drawing much attention to itself. The instrumentation is sparse -- primarily electric guitar, keyboard, bass, and marimba -- and geographically ambiguous. The score's three composers (Thad Spencer, Chris Beatty, and Richard Werbowenko) could have attempted to establish the film's Southern small-town setting by loading up on pedal steel. (That task is left to country & western pop songs by the Jayhawks, Red Meat, and Jimmie Dale Gilmore.) Or they could have emphasized the film's tragic events with dramatic, swelling strings. Instead, Asche and Spencer focus strictly on the muddier emotional journey of the narrative. When Billy Bob Thornton's character mourns the suicide of his son, the score is just as withdrawn and distant as the actor's performance. The music doesn't grieve, it doesn't tug at heartstrings. The guitar strokes are soft and reflective, but impassive -- the piece could legitimately be seen as either bleak or hopeful. Only in the final scene, as the story reaches resolution, does the ethereal noodling expand gradually and gracefully into melody. The game is over and the storytellers finally tip their emotional hand. But gently and thoughtfully; not so much manipulating as reflecting the emotions of the audience. ~ Evan Cater, Rovi

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Monster's Ball

Theatrical release poster
Directed by Marc Forster
Produced by Lee Daniels
Written by Milo Addica
Will Rokos
Starring Billy Bob Thornton
Halle Berry
Heath Ledger
Peter Boyle
Sean Combs
Music by Asche and Spencer
Cinematography Roberto Schaefer
Editing by Matt Chesse
Studio Lee Daniels Entertainment
Distributed by Lionsgate
Release date(s)
  • November 11, 2001 (2001-11-11) (AFI Fest)
  • February 8, 2002 (2002-02-08)
Running time 111 minutes
112 minutes (Unrated)
Country United States
Language English
Budget $4 million
Box office $44,909,486

Monster's Ball is a 2001 American romantic drama film directed by Marc Forster and written by Milo Addica and Will Rokos. The film stars Billy Bob Thornton as a racist prison-guard, Halle Berry as a woman whose husband is on death row, and Heath Ledger as Thornton's son. Berry won the Academy Award for Best Actress for her performance.

Contents

Plot

Hank Grotowski (Billy Bob Thornton), a widower, and his son, Sonny (Heath Ledger), are corrections officers in the local prison. They reside in Louisiana with Hank's ailing father, Buck (Peter Boyle), an unwavering racist whose wife committed suicide. Hank's hateful attitude toward others, strongly influenced by his father, extends to his son, and members of the neighboring community.

As Hank and Sonny assist in the execution of convicted murderer Lawrence Musgrove (Sean Combs), the proceedings prove too intense for Sonny, who collapses and then begins to vomit as he is leading Lawrence to the electric chair. Hank beats up Sonny in the jail's bathroom afterwards. Some time later, Hank drags Sonny out of bed and tells him to get out of the house. Unable to cope with the estrangement, Sonny grabs a gun. The confrontation ends in their living room with Hank at gunpoint, lying on the carpet, and Sonny in Buck's customary chair. Sonny asks his father, "You hate me, don't you?" After his father calmly confirms that he does and always has, Sonny responds, "Well, I always loved you," and then shoots himself in the heart. Hank subsequently buries Sonny in the back garden, quits his job at the prison, burns his uniform in the backyard, and locks the door of Sonny's room up tightly. Buck calls him a quitter.

During the years of Lawrence's imprisonment, his wife, Leticia (Halle Berry), has been struggling while raising their son, Tyrell (Coronji Calhoun), who has inherited his father's artistic talent, but is also morbidly obese. Along with her domestic problems, Leticia struggles financially, leading to the loss of the family car and, worse, an eviction notice on her house. In desperate need of money, Leticia takes a job at a diner frequented by Hank. One rainy night, Leticia and Tyrell are walking down a soaked highway when Tyrell is struck by a car. Leticia is left helpless on the side of the road, grasping her son and calling out to passing motorists, all of whom drive past. Hank happens to be driving along and sees Leticia cradling her mortally injured son. He initially drives past, like the cars before him, but then turns around, picks Leticia and Tyrell up, and takes them to a hospital, but Tyrell dies upon arrival and Hank lends his shoulder for Leticia to cry on. At the suggestion of the authorities at the hospital, he drives her home. A few days later, Hank gives Leticia a ride home from the diner and after they begin talking in the car and discover the common loss of their sons, she invites him in and they drown their grief with alcohol. They begin a relationship initially based on sex and relief from loneliness but which later becomes emotionally supportive. Hank finds out that Leticia is Lawrence's widow, but he does not tell her that he participated in her husband's execution.

Leticia stops by Hank's home with a present for him. Hank is not home, but Buck is. Buck insults Leticia using raw racist language and implying that Hank is only involved with her because he wants to have sex with a black woman; she responds by rejecting Hank. This incident proves to be the last straw for Hank and he decides to send his father to a nursing home; it is implied that Hank will cut him out of his life as well. Leticia is evicted from her home for non-payment of rent and Hank invites her to move in with him. She agrees and later discovers Hank's involvement in her husband's death while he is gone but is there waiting for him when he returns from town with ice cream. The film ends with them eating ice cream together on the front porch.

Cast

Development

The film was produced by Lionsgate and Lee Daniels Entertainment. The title comes from a custom in medieval England of referring to prisoners awaiting execution as "monsters". The night before their execution, their jailers would hold a farewell feast known as a "monster's ball."

Louisiana State Penitentiary served as a filming location.

The prison scenes in Monster's Ball were filmed in Louisiana State Penitentiary in West Feliciana Parish, Louisiana.

Angela Bassett was originally scripted to play Leticia but later turned down the lead role because of the script's sexual content.

Reception

The film received mostly positive reviews. Review website Rotten Tomatoes reported that 120 of the 141 reviews they tallied were positive. This resulted in a score of 85% and a certification of "Fresh".[1]

Roger Ebert gave the film four stars and stated that, "The movie has the complexity of great fiction"[2] listing it as the best film of 2001.

Reviewers also lauded the performance of Coronji Calhoun, who was chosen from an open casting call for the role of Tyrell Musgrove, the ill-fated son of Lawrence and Leticia. "Perhaps one of the most affecting performances of the year was given by a 10-year-old Louisiana fourth-grader who has never acted before or studied the craft," commented Variety reporter Christopher Grove.

Despite the critical acclaim, some activists urged a boycott because of extreme racist ideologies that portray African-American males as criminal or inept and black women as needing a white savior. This was highlighted by the fact that other actresses refused the role based on its plot and sexually explicit scenes.[citation needed] Halle Berry's Oscar win, the first for a black actress in a leading role, angered many African Americans who thought she should have received the prestigious award instead for her performance in "Losing Isaiah". Film critic Esther Iverem of SeeingBlack.com wrote, "Ultimately, Monster's Ball uses the legacy of racism in an unconvincing manner to belittle its impact, and its historical and present-day consequences." [3]

Accolades

  • Academy Awards
    • Best Actress: Halle Berry (Winner)
    • Best Original Screenplay: Milo Addica & Will Rokos (Nominated)

References

  1. ^ "Monster's Ball Movie Reviews, Pictures". Rotten Tomatoes. Retrieved March 27, 2011.
  2. ^ "Monster's Ball :: rogerebert.com :: Reviews". Chicago Sun-Times (February 1, 2002). Retrieved March 27, 2011
  3. ^ "Esther Iverem, 'Not All of Us Are Oscar Happy'". SeeingBlack.com (March 28, 2002). Retrieved March 27, 2011.

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