#fgarygray

F. Gary Gray was far from the first music video director to transition to films.  His first film, Friday, while an instant classic, was easily pegged as a hip-hop film, which potentially could undermine the ability of a director to escape being pigeon-holed.  It appears that F. Gary Gray had this in mind, however, and so his calculated next step was a dramatic, forceful atomic bomb that the world knows as Set It Off. 

Frankie (Vivica A. Fox) works at a Los Angeles bank as a teller, and one day during a shift change, she finds herself at the business end of a gun held by Darnell (W.C.), a local knucklehead from Frankie’s hood.  Darnell and his group attempt to rob the bank, and the attempt ends in the death of several customers, tellers and Darnell himself.  After being questioned by L.A.P.D. detectives Strode (John C. McGinley) and Waller (Ella Joyce), Frankie is shocked to learn that she’s lost her job simply due to the fact that she had a thin connection to Darnell.  Devastated, Franke turns to her friends for support : Stony (Jada Pinkett), Cleo (Queen Latifah) and T.T. (Kimberly Elise).  Frankie joins her friends working for Luther’s Janitorial Service to make ends meet, but when Stony loses her younger brother to a random act of violence, and T.T. loses custody of her child due to a work accident, the group of friends finds themselves with their collective backs against the wall.  In a moment of dark inspiration, the ladies turn to bank robbery, leading them down a dangerous and destructive path.

Normally, it’s not a good practice to hold up a director’s work in a manner of comparison, as each film should be taken as its own statement unless otherwise noted.  That being said, it’s nearly impossible to ignore the MASSIVE jump in quality between Friday and Set It Off, released just one year apart from one another.  Friday was a small passion project made on a small scale, but Set It Off carries itself with the gravitas and visual flare of a major blockbuster, complete with dynamic camera moves, a distinct and unique use of color-timing for moods, and a cast full of seasoned acting veterans and standout faces.  The story presented is one that most anybody can relate to, despite the situations that the women find themselves in being larger than life, which leads to an incredibly riveting and dramatic conclusion.  The film overall served as a warning shot to Hollywood, as F. Gary Gray continued his rise in quality work with films like The Negotiator, Law Abiding Citizen, The Italian Job and Straight Outta Compton. 

When taken on its own merit, as mentioned before, this film will make even the most coldhearted individual feel the pain of how events culminate in the film.  The drama in the film is palatable, the romance is engaging, and the action is heart-pounding as it grows from beat to beat.  While the film does have a distinct bit of an L.A. feel to it, it ultimately manages to expand outside of that supposed limit and resonate as a universal tale of how desperate times call for desperate measures, irreverent or otherwise.  Classic narrative and film techniques are used efficiently, and they are counterbalanced by sweeping crane shots and tension-filled handheld camera moments, giving the film an incredible sense of energy and direction.  The film is almost worth watching solely for Cleo’s iconic closing moments.

In terms of production quality, everything about this film is top notch.  The score is moving and grand, and the soundtrack is full of incredibly strong hip-hop and R&B tracks that set a proper mood for the world of Set It Off.  The presentation of cop and citizen relations was timely and meaningful then, and time has only made the presentation more relevant.  The locations are full of character, and the vehicles used in the film have equal amounts of character.  The presentation of gunplay mirrors that of films like Die Hard, but the energy brought to the table by the four main actresses flips these traditional action images on their head.

Jada Pinkett brings a motherly spirit to the group, expressing a deep sense of caring about those she loves that sometimes inspires her to act out of dedication, even when common sense screams otherwise.  Vivica A. Fox is a force to be reckoned with, literally popping off the screen with her energy and intensity.  Queen Latifah created a unique balance of intimidation and tenderness, committing one of the most dynamic portrayals of a lesbian character to the screen.  Kimberly Elise brings an air of fear and a timid nature to her character, caring fiercely for her son, and lashing out when the one thing she honestly cares for is taken from her.  Blair Underwood does what he does, serving as a foil for Pinkett’s romantic and bank-robbing pursuits, all the while looking top notch.  John C. McGinley brings his comedic, off the handle energy to his role as a detective, and furthering his legend as one of the best character actors around, with Ella Joyce serving as a visual parallel to the four lead women.  Appearances by Charlie Robinson, Thomas Jefferson Byrd, Dr. Dre and W.C. round things out.