Review : The Last Black Man in San Francisco (2019)
The Last Black Man in San Francisco snuck in and out of theaters on me earlier this year, and though I knew little to nothing about it, I had a burning desire to see the film. This desire was only strengthened by a birthday-based visit to San Francisco, which was my first time in the Bay Area (though it will certainly not be the last). With the year winding down, I stumbled across the movie on Amazon Prime, and it didn’t feel right finalizing a top list for 2019 without taking this one into consideration.
Jimmie (Jimmie Fails) and his best friend Mont (Jonathan Majors) spend their days wandering through the streets of San Francisco, and their nights squatting in the home of Mont’s grandfather, Grandpa Allen (Danny Glover). On occasion, the duo deals with the presence and taunts of local troublemakers Nitty (Antoine Redus), Gunna (Isiain Lalime), Kofi (Jamal Trulove) and Jordan (Jordan Gomes), but mostly, Mont accompanies Jimmie on his journeys to his family’s former home, where he does upkeep that irritates the current owners while he patiently waits for an opportunity to squat in the home, all in hopes of eventually recovering the location and restoring his family’s legacy. Jimmie’s father, James Sr. (Rob Morgan), objects to his son’s actions, but Jimmie persists with his plans until an opportunity arises. Acting quickly, Jimmie and Mont move in, beginning a journey of personal discovery for both men as they attempt to protect Jimmie’s home.
The Last Man in San Francisco does an amazing job of presenting the many shades of the black experience on film, with every character having an identity made up of several complex traits, intentions and viewpoints on the world... you know, like real people. The cycle of economic, environmental and social elements that create a divide between the haves and have nots are present, be they presented outright like the opening moments, or via the many microagressions that occur in the wake of Jimmie’s interactions in the FIlmore-adjacent neighborhood of his family home. The inherent fear caused by this gap fuel the previously mentioned microagressions, with prejudice and misguided fears informing actions and choices on both sides. Interestingly, Mont becomes a bold representation of how those bettering themselves find it hard to disconnect from a past of have nots... they are either weighed down by those they are connected to, be it socially or emotionally, or they become slaves to the inspiration found in a world that many consider less than.
One of the initial and strongest running themes in the film is that of the responsibility that comes with opportunity, specifically how those capable of gentrifying an area often don’t care enough to maintain the possessions taken from those tied to them by legacy. This, in turn, creates conflict born out of the historical misinformation present, as those uneducated to their past feel obligated to defend that past against those who may not have legacy or tenure. While there is a burden of opportunity for the younger generations to protect and take back that lost due to gentrification, there is just as much of a responsibility to make sure that the history of the areas is preserved in order to keep future generations aware of the spiritual foundations. Having Jimmie’s desires mislead Mont (due to his blind faith) is a good button reminding us not to take things for granted, or to mistake a strong desire for a righteous stance.
San Francisco is captured in all of its unique, romantic glory via the lens of Joe Talbot. The camera observes with a sense of awe, curiosity and respect as it tracks, pushes, pulls and sits in stark compositions from scene to scene. The use of traditional symphonic, jazz-ilke score intertwined with deep soundtrack cuts and diegetic sound connected to the film’s various locations is at times whimsical, and at times stirring, but always compelling. The appreciation for both local Bay Area culture and the elements of style culture incorporated, especially those of skateboarding, explode off of the screen. The narrative journey presented by the screenplay is vast, giving us incredible swings that shift the perspective just as we think we have a handle on what’s going on. The way that Mont’s play wraps the entire story back into itself is some of the most captivating cinema I’ve seen to date.
Jimmie Fails and his iron resolve make for a compelling protagonist, as his reality-based downfall mirrors ours as the truth unfolds about Jimmie’s seemingly single driving force. Jonathan Majors gives a powerful performance with his observant nature, wide range of performance abilities, and the way that he ties it all together in his shining moments during the climax. Rob Morgan mirrors elements of Jimmie, but with more of a bitter edge than a youthful optimism, largely due to the experience implied in his character’s history. Finn Wittrock comes on as a supporter, but shows himself to be an opportunist, but one that we cannot unburden our feelings upon due to him largely being in the right. Jamal Trulove also gives a dynamic performance, with his sole show of letting his guard down largely butting up against the remainder of his performance. Trulove connects well with Antoine Redus, Isiain Lalime and Jordan Gomes as their asides both ground the film and provide the lightest comedy (though masking what would end up the film’s darkest tragedy). Appearances by Mike Epps, Danny Glover, Tichina Arnold, Willie Hen, Miximilienne Ewalt, Michael O’Brien, and brief cameos by Daewon Song and Jello Biafra round out the compelling cast.
I am happy that I did not overlook this film, as it certainly was one of many that forced last minute adjustments. I really and truly cannot wait to own this movie and share it with others, as I feel that time will only improve the overall experience this one provides.
