Look, most films (or works of art on any platform for that matter) have something to say. A thesis if you will, that its creator(s) hope to express to their audience. I know, I know, you’re screaming, “But I’m not watching this to be taught a lesson, I’m just trying to turn my brain off and be entertained!” That’s fine, you can turn your brain off all you want, but the message will still be there in the DNA, silently shaping it. And then some films are downright inescapable in hammering that message home.
Chris Rock is no stranger to writing and directing films that make a statement, and his latest feature Misty Green continues this streak. Set deep in the entertainment industry in Hollywood, the titular character Misty Green (Rosalind Eleazar) is presented with seven days before she’s to be evicted from her Beverly Hills suite she’s been crashing in, and needs to find a new gig fast to move to a new place. While she has a lot going for her – notoriety from a popular television role, immense acting and singing talent, and a slamming pilates body – she has even more challenges – aging out of her preferred roles, heavy substance abuse, and a hair trigger temper that has burned most of the bridges she’s had. On top of that, she now has to worry about her brother Jay (Daniel Kaluuya), who has recently been released from institutionalization for schizophrenia.
Eleazer’s performance immediately drew me in, as she herself is every bit as good of an actress as Misty. This script gave her the herculean task of embodying a character who is prickly, flaky, and is seemingly allergic to accountability – and yet still convincing us to care about her. And admittedly, I don’t often enjoy characters like her as they can veer into the Nomi Malone from Showgirls territory. But Eleazer won me over as she conveys wounded pride, suppressed pain, and fear of displacement in equal measures with her louder bravado. Rock also got some great performances from the supporting cast including Kaluuya, Anna Kendrick as Misty’s friend Naomi, and Adam Driver as Zach — Misty’s occasional bang buddy and overall enabler for her addictions.
Now, as I’ve said, I was immediately interested in this story as a character study focusing on Misty and how, despite the harsh realities Hollywood can offer, she continued to be her own worst antagonist throughout most of the film. The editing certainly laid it on thick – counting down the days that she has to find a new gig and place to live. The film felt like a pressure cooker situation, and by the last half, I was stressing for Misty.
Yet, Rock couldn’t help but to add more ingredients to the cooker. I completely understand and respect why, of course. Casual racism is an inescapable element that black artists unfortunately face in the industry, and Misty is no exception, such as being casually dismissed as “the black one” when someone was recalling her popular television role. But then, yet again, Rock asks us to give attention to another heavy issue: the almost complete lack of infrastructure in this country for rehabilitating people suffering from mental illness, such as Jay. And again yes, absolutely agreed that this topic should be addressed. All of these topics can make fine ingredients to a film centered on a main character struggling with addiction and self-sabotage while being set in one of the most cutthroat cities in the world.
Unfortunately, this is where the film falls apart in the third act. Rock was ambitious – earnest even – in what he was trying to tell us. But said ambition threw off the focus of what captivated me to begin with – Misty. Without spoiling it, the messaging was great, but when it comes at the cost of the overall momentum of the story, everything falls flat, and I’m left mourning an adequate film that could have been great.
I wanted to love Misty Green as much as the first part promised me I should. As a nuanced character focus with brilliant performances, pleasing shots, and insightful dialogue – it had everything going for it. The takeaway from all of this is, an author’s voice is fine to have, but never let it overpower the story it’s riding on.
