I suppose we've had enough of the 60's Civil Rights Movement. We've seen it over and over. Hasn't it been worn threadbare? Hasn't it all been said and done and shown two fold, if not more? Perhaps. Yet "Crazy in Alabama," a film which focuses on the racial aspects and the women's rights aspects of 60's Southern life still enthralled me. It moved me. It made me weep with it's beauty, simplicity and emotion. Perhaps I'm just an old softie. But perhaps I'm lucky to be such. Because I saw the overwhelming beauty here. The promise of tomorrow. Seen from the realm of yesterday and foreshadowing the hopefulness of tomorrow.

For some reason it's surprising this film is directed by Antonio Banderas. Maybe a white, middle aged, upper class, American director couldn't have looked at the subject matter with such unusual eyes. Banderas' film begins with some kitsch graphics as backdrop for a credit sequence and underscores it's with Nancy Sinatra's "These Boots Were Made for Walking." Not only does this pop missive become a feminist anthem in Banderas' hands, it acts as impetus for all people demanding their rights. Silly in a way. But so damn effective. Again, this is Banderas' "outsider" finding light in an old hat. He gives all that happens here a sort-of fresh kick. It's deliriously wonderful.

But while Banderas can be kinda goofy and colorful in his film here (Almodovar's presence being shown), he can also be moving and poignant. A powerful moment in the film, where a young black child floats quietly in a white-only swimming pool while a race riot ensues in the background is so emotional, so perfect. It makes the beauty and the dignity of the Civil Rights movement come to life. And, while it fits perfectly in the story being delivered here, it has a life all it's own. It's beautiful, passionate and potent. And it seems brand new.

Banderas makes all his stars seem perfectly cast. Sure, he's got his wife in the supposed lead. And while I usually cannot stand Melanie Griffith, she is awesome here. Perhaps it's because the role of a dingy actress suits her well. Regardless. She moves us here. David Morse, Meat Loaf, Kathy Moriarty, Rod Steiger, Fannie Flagg, Robert Wagner, Elizabeth Perkins... they are all perfect and perfectly cast. But it is the young Lucas Black, who helped mold "Sling Blade" into the masterpiece it became, who is the true star here. I suppose it's only fair to detractors to say he is typecast. Hell, everyone here is typecast. But Black gives the film the emotion and wonder and beauty and ideal that it deserves. He makes the film work in every single damn frame, even the ones he is not in. Given his physical limitations, his young hick looks and his Southern drawl, he is still the finest young actor working in films today. Even his narration here works because we can't help but love to hear the sound of his voice. This is the kind of kid that says "Dadgumit" and it doesn't sound phony. This is just the kind of phrase we would expect to Black use in real life. He's fucking awesome. Anyone who doesn't see it is a blind fool. He infuses every line of dialogue, every phrase, every word, with sincerity and reality and charm and love and hope and pain and wonder. Jesus, I hope he never loses that.

Juxtaposing the rights of women to become whole, to leave the oppression of demeaning and abusive husbands with the rights of Blacks to become whole citizens and participants in the American fabric may be a pretty easy choice, but this film makes it work. Banderas shows more understanding for American history and the dawning of the Civil Rights Movements than most native born Americans do. But he throws in the kinks of a outlander looking in. The colors of the early 60's, the kitsch, the cars, the landscape... All that made the mid-60's exciting. "Crazy in Alabama" brings us that world on the brink. Right before it breaks loose. Right before the crux... And we are breathless teetering on the edge with it, filled with the hope and joy and wonder of what happens next. It's all right there in Lucas Black's face. That's the hope and the promise of a world evolving, becoming whole. That's the hope in a young boys' face. "Crazy in Alabama" captures that. Has it been done before. Perhaps. But this film makes it all seem new. The cliches, the stereotypes, the history, the moment. Banderas and his marvellous cast breathe life into them. And, like America in the 60's, we are renewed. This is the promise of mainstream film fulfilled.

Note: Also with Paul Mazursky and David Speck.

Script by Mark Childress based on his novel. Score by Mark Snow.

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