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TÍTULO ORIGINAL To Sleep with Anger
AÑO 1990
DURACIÓN 102 min.
PAÍS [Estados Unidos]
DIRECTOR Charles Burnett
GUIÓN Charles Burnett
MÚSICA Stephen James Taylor
FOTOGRAFÍA Walt Lloyd
REPARTO Danny Glover, Paul Butler, DeVaughn Nixon, Mary Alice, Reina King, Cory Curtis, Sheryl Lee Ralph, Carl Lumbly, Vonetta McGee, Paula Bellamy, Ethel Ayler, Sy Richardson, Richard Brooks, Lorrie Marlow
PRODUCTORA SVS Films
PREMIOS 1990: Sundance: Premio Especial del Jurado
GÉNERO Drama | Cine independiente USA
SINOPSIS Cuando Harry llega a la ciudad, trae buenos tiempos, malos tiempos... Y un montón de problemas! (FILMAFFINITY)
.I think a strong case can be made that Charles Burnett is the most gifted and important black filmmaker this country has ever had. But there's a fair chance you've never heard of him…
—Jonathan Rosenbaum
To Sleep with Anger
As the film gets underway Burnett plants references to the Southern hoodoo and voodoo that Gideon and Susie grew up with, and that linger on in the deep-rooted memories of their sons. (Gideon is distraught over the recent loss of his toby, a good-luck charm.) The lovely blues song played over the opening credits and used as a refrain throughout begins, “Precious memories, how they linger, how they ever flood my soul”, and the past—personal, cultural, historical—is palpable in nearly every moment of the film. The early scenes bring the family tensions to a slow boil, which bubble over with the sudden arrival of an old acquaintance of Gideon and Susie's from down South—a ramblin' man with a roving eye and a shady past, and the name of Harry Mention (Glover). Soon, Baby Brother is in outright rebellion against Gideon and Junior, and Gideon falls ill, and more old folks crawl out of the woodwork and invite themselves into the family's lives.
Burnett's Renoiresque/Chekhovian humanist genius reaches a peak with To Sleep with Anger: Every character is a protagonist, each with their own reasons. (If Sheep is a poem, Anger is like a great social novel.) Gideon is a caring and decent man but it's easy to see why Baby Brother considers him an old fool, pigheaded and dictatorial. Linda is justified in regarding her in-laws as dull hicks, but what kind of daughter-in-law sits in the car reading magazines instead of joining the family for a Sunday meal and risking boredom? Baby Brother's desire to be his own man is persuasively sketched, yet seen through Junior's eyes he's still a lazy adolescent ingrate. And Harry Mention? Talk about humanism—Burnett gives even the devil his due.
Harry, embodied by Glover in a performance of surpassing wit and zest, may stand for many things. A living symbol of the Southern past, returned to show the family what they're really made of? A bogeyman, or trickster, threatening—what? To steal Gideon's soul? Or Baby Brother's? It's never made explicit. The film is loaded with supernatural rituals and black magic, yet just as Buñuel's dream sequences abjure camera tricks and special effects for a far more haunting surface naturalism, Burnett never shows any puffs of smoke or mumbo-jumbo B-movie visions of evil. We remain grounded in the real.
Harry Mention is a trickster figure? Is he based on any particular versions of any particular tale?
CB:There is a character called Hairyman who comes along when you are in trouble and he offers to give you what you desire if you trade it for your soul. Almost after accepting the deal, you regret it and you learn that in order to get your soul back you have to outsmart him when he comes for you.
To Sleep with Anger is a family tale as emotionally resonant and as richly imagined (and as well cast) as Welles' Magnificent Ambersons [1942] and Coppola's first two Godfather films. Unlike those earlier classics, Burnett's may not amaze you upon first viewing; the film is not splashy or melodramatic—it works its sly comic magic in more mysterious ways. Its crisscrossing ironies and dense layers of reference and meaning make To Sleep with Anger as rewarding a re-viewing experience as any of Robert Altman's great ensemble pieces. Unfortunately, the film's distributor failed to market it effectively, and despite some critical acclaim it quickly disappeared from theaters. (It remains, however, one of the easiest of Burnett's films to find on home video.)
CB: Hollywood has this psychology—there's this whole plantation mentality where it's all about power and someone trying to impose their values on you. It's nuts, they'll tell you how to tell stories about people they never really came into contact with. Executives, story readers, development executives don't interact with people other than their kind so how would they know what's acceptable to people of color? It is not about and never has been about supplying a diverse look at life. It is all from and for a white audience. And because of that fact this group of people who determines what the world sees have no idea, not a clue as to reality. It is a product of arrogance and power. Input from you is viewed as a personal attack. If you try to go beyond stereotypes and reflect real people who share the same concerns as everyone else, you're told that your characters aren't “black” enough, or to use more curse words because the language isn't “real” enough. You have to have drugs and gangsters. Some person who saw To Sleep With Anger said, “I didn't know that black people had washing machines!” Where did they get that notion? Well, it was an honest observation in a way because Hollywood shows us poor and grimy without any means of support except if you are a rapper or prostitute or selling drugs. They have this notion of what films should be, and what the realities of your environment are, and if you come up with what is real, that becomes unreal to them, in a sense. It's important to tell your own story, and when you see other people telling your story, and [when] someone denies you your reality, and is telling you what your family and your grandmother are like—how outrageous can it get? You have to be able to tell your stories and share them with the rest of the world. How else are things supposed to change?
Despite the lukewarm reception of To Sleep with Anger, Burnett has been more prolific than ever in the years since its release. He directed a television documentary about the new generation of immigrants in the U.S., America Becoming (1991); an Oprah Winfrey-produced miniseries for ABC, The Wedding (1998); and a quirky but insubstantial feature starring James Earl Jones and Lynn Redgrave, The Annihilation of Fish (still unreleased), among many other projects
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