Precious: Based on the Novel ‘Push’ by Sapphire

Directed By: Lee Daniels

Written by: Geoffrey Fletcher

Starring: Gabourey Sibby, Mo’Nique, Paula Patton, Mariah Carey, and Lenny Kravitz

Director of Photography: Andrew Dunn, Editor: Joe Klotz, Production Designer: Roshelle Berliner, Original Music: Mario Grigorov

Rated: R for child abuse including sexual assault, and pervasive language.

    What is it about the new film Precious that appeals to so many? While some films seem to appeal to only certain niches, whether high culture or low culture, Precious has crossed all boundaries. The film has not only won awards at Cannes and Sundance, but been lauded to standing ovations at more “culturally esteemed” festivals such as Cannes and New York. Even Slumdog could not pull that off.

    There is, of course, much to appreciate, even to love, in the film Precious: Based on the Novel ‘Push’ by Sapphire. It is an exploration of a world that few people have experienced—a black girl, growing up in Harlem in the 1980s, who lives in truly the most desperate if situations. And while not a neorealist film in any sense—neither in content nor style—Precious asks its viewers to endure much. But why the film has been so lauded and so universally embraced, is not that the film presents such a devastating manner, but that it gives it in a narrative so contrived, and so packaged, that Precious, is surprisingly easy to endure.

    That is not to write off Precious. The film has a great story to tell. Claireece ‘Precious’ Jones, played by newcomer Gabourey Sibby, lives in a world without joy. She has two children, both from her father, who has disappeared. She can barely read, much less write. She weighs over 300 pounds. Her mother, played by comedian Mo’Nique, is an abusive and monstrous woman who knows no sort of love in her life. She is violent to Precious, and refuses to listen, especially when she is offered a chance at an alternative school.

    Which is where Precious begins to falter—the film turns from a harrowing picture to one of hope. Director Lee Daniels, known for producing Monster’s Ball, flashes the film with imaginative creativity as Precious escapes into her fantasies in quick-edited flashes of hope and bright lighting. Precious enter a school where her stereotypical, comedic relief friends give hope, despite their poor background. Paula Patton plays Precious’s teacher, and Mariah Carey, sans make-up, plays a social worker that helps her learn.

    Precious has very small hopes, but Daniels is able to make them hit hard through his direction. Despite the bleak narrative, the Daniels simply overdoes it. The tragedy is so heightened, and the hopes so blatant, that Precious seems to be more of a film of “white guilt” than anything else. It feels overdone, though the film is elevated by the performances. Ms. Sibby, despite hiding behind her large shell and angry face, offers a true pain as well as hope. Her performance seems so buried and almost blank, but Ms. Sibby elevates the material with her unique performance.

    And although it has been lauded over and over, Mo’Nique has truly changed her populist perception. She has not only gone from comedian to a creature more frightening than any horror film, but in a few scenes, made us truly care and understand her plight. Mo’Nique sits brutally throughout the film like a shadow, using mostly her presence to add a fear throughout Precious. But when it comes time for understanding, she gives one of the more emotionally complex scenes in cinema this year.

    Yet when it comes down to it, Precious feels melodramatic, and often cliché. It offers horrors and hope rarely shown in film, but those who have truly seen or experienced before, will find little new to the table. With backing by Oprah though, Precious will take off and elevate to a truly moving picture. Whether it deserves it, is the problem.