Somewhere between the sacred and profane, comedy, drama and satire comes BԪַThe Book of Clarence,BԪַ a retelling of The Greatest Story Ever Told that arrives in theaters appropriately between Christmas and Easter.
ItBԪַs a remarkably idiosyncratic approach by , who for this Biblical-era tale is director, producer, writer and composer for only his second feature. You have to kind of hand it to him: Who else would have the audacity to tackle Jesus in your second outing?
BԪַ BԪַ with a stunning cast that includes LaKeith Stanfield, James McAvoy, Anna Diop, Benedict Cumberbatch, Alfre Woodard and David Oyelowo BԪַ careens through tones and sentiment, silly in one and then horrific in another. Samuel says he wants viewers to have a BԪַwicked good timeBԪַ but really itBԪַs a bit of a muddled, unholy mess.
It is 33 AD in Jerusalem and Stanfield plays Clarence, a street hustler in robes who likes getting high BԪַ in one cool, surreal scene he floats into the air like a balloon BԪַ and dreams up schemes to get rich quick. HeBԪַs got the hots for a local beauty but owes a ton of coins to that beautyBԪַs loansharking brother.
Clarence is called the BԪַvillageBԪַs mischief makerBԪַ and even his mother thinks he needs to get his act together. BԪַIBԪַm not a nobody,BԪַ he tells his twin brother, Thomas (also Stanfield, naturally). BԪַA man who lacks honor is a nobody,BԪַ his brother replies. We know things are going to end painfully for Clarence because one of the first images in the movie is of him on a cross.
Clarence doesnBԪַt believe in God and certainly doesnBԪַt believe that the local guy named Jesus is capable of miracles. ItBԪַs a scam to him. He tries to become a 13th apostle to pay off his debts. When that fails he decides to pretend to be a messiah, too, and get paid for so-called tricks.
Samuel, whose previous movie was the all-Black Western has some creative ideas, like using a chariot race to honor both BԪַBen HurBԪַ and BԪַFast & Furious,BԪַ as well as wonderfully capturing the Last Supper like a painting come alive. He apes biblical epics in his title fonts and the opening and closing of the cameraBԪַs iris. He mixes stilted language BԪַ BԪַI must make hasteBԪַ BԪַ with modern turns (BԪַIBԪַve got the cobblestones on lock.BԪַ) This is the first Biblical epic to uses the term BԪַdumbass.BԪַ
But Samuel never stays with any idea for long and BԪַThe Book of ClarenceBԪַ lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield. Is Samuel honoring sword-and-sandal epics? Updating them? Mocking them? Looking at the Jesus story through a Black lens is immensely rewarding but the pay-off is poor.
There are plenty of messiahs here BԪַ like Spider-Mans in the multiverse BԪַ but it is not clear what the filmmaker wants to say with them. A critique of celebrity? A message about entertainment? That faith comes even to those who have none? That we kill all our saviors? ItBԪַs not even clear if this is a pro- or anti-religious movie.
Samuel comments powerfully on us today when white Roman police stop-and-frisk Black Jerusalem residents, but then wastes such a great potential vein to mine with a swanky dance party and cool choreographed moves. He makes us shudder as nails are pounded into ClarenceBԪַs flesh, yet also includes humor at the crucifixion BԪַ from the actual guys doing the dying. He has a scene with brutal rock throwing and yet also a recurring goofy bit about light bulbs appearing over ClarenceBԪַs head.
ItBԪַs a mind-melting piece of filmmaking, having elements of both Monty PythonBԪַs BԪַLife of BrianBԪַ and BԪַThe Ten Commandments.BԪַ (Fun fact, the Italian city of Matera stands in for Jerusalem here and was also where BԪַThe Passion of the ChristBԪַ was filmed.) Add to that an exciting soundtrack of more than a dozen songs by Samuel (even on the movie) and BԪַThe Book of ClarenceBԪַ is worth a look simply for its sheer daring. But we wouldnBԪַt go so far as to say its creator walks on water.
BԪַThe Book of Clarence,BԪַ a Columbia Pictures/Legendary Entertainment release that hits theaters Jan. 12, is rated PG-13 for BԪַstrong violence, drug use, strong language, some suggestive material and smoking.BԪַ Running time: 136 minutes. Two stars out of four.