Never before have I seen a story about the destructive and aspiration-shattering tendencies of gentrification told so simply yet so enthralling. Joe Talbot's The Last Black Man in San Francisco is an utterly stunning film throughout every aspect of its production, from its resonant script to its sharp, technical execution. Talbot's direction paired with the script from him and breakout star Jimmie Fails is an absolute match made in heaven, not only for telling these characters' stories but for creating and destroying the fragile love for a city that many hold close to their hearts. This movie will draw in your attention, devastate you, make you laugh, devastate you again, and never let you go: all the while drawing your emotions to their absolute forefront just like mine were. This is undoubtedly one of my favorite films of this year, as the personal and confident style that Talbot has utilized makes this story emotionally phenomenal and completely unforgettable.
Having somewhere that feels like home is of utmost importance to everyone and for Jimmie (Jimmie Fails), that home is the crisp city of San Francisco. After secretly taking care of it for years, Jimmie and his best friend Montgomery (Jonathan Majors) decide to move back into Jimmie's childhood home built by his grandfather. Doing so presents itself as a challenge to both of them, as they realize they must adapt to the completely different and ever-changing landscape of the city that they once adored. This tender and careful story is what brings so much heart to this film. Talbot and Fails' script is incredible, from the dialogue to the development of the characters. Every single line feels so authentic and the way that these two writers tell this story of two best friends and their former home can be often heartbreaking. The subject matter of this film is unfortunate but made for such a moving tale. One of this film's main themes is obviously the reversal of fortune as Jimmie's grandfather was quoted as being the first black man in San Francisco, building his own home and founding a base for generations of his family. When Jimmie sees that he is really the last one left, there surprisingly isn't any spite or hatred that he has towards the white people moving into his city. This characterization made Jimmie such a wonderful study, as he really had every right to fight and hold anger in his heart but found solitude through personal prosperity instead. Truly embodying his powerful quote, "you don't get to hate it unless you love it."
What I found most interesting about this film's script is how it really analyzes the dynamics between people of various races, classes, and even sexualities. Not just between black and white people, but in the black community as well. As Jimmie and Montgomery are moving their stuff into the house, they are ridiculed by another group of friends as being too feminine or "fruity." What was supposed to be a bond between them and the group instead turns into a division of where each person's beliefs really lie. All Jimmie really wanted was to fix up the house to be nice and welcoming and I am so glad that Talbot and Fails did not have to resort to any stereotypes or tropes about black men. This also has to do with the fact that Fails and Majors' performances were astounding. The sheer chemistry between the two as best friends was undeniable and helped bring this story up to the next level. What really made this film, however, was the masterful combination of Adam Newport-Berra's cinematography and David Marks' editing. The incredibly sharp camerawork transfixing on so many different structures throughout this movie was riveting and the cuts that Marks made were perfection. I also loved the mild over-saturation of everything in this film, bringing a warm (but not too comfortable) feel to it all.
With its beautiful, technical prowess, The Last Black Man in San Francisco could have easily been a period piece about a black family in California years ago. The fact that this film was still set in 2019 brought about such a nostalgic feeling and lovable atmosphere that I never wanted to leave. Talbot's direction was part of what brings this movie's aesthetics together so well; his direction made this movie feel like more of a theatrical production that was only even more enriched by its cinematic elements and the poignant, subdued performances. This is a bit meta and reflected in part in Montgomery's small play that he writes, directs, and acts in during the third act of this film, but the fact that Talbot was able to make the entire city of San Francisco fit onto a workable stage felt amazing. His style is so evident that I could have watched the two friends just decorate the house for an entire hour and not get bored. What did disinterest me, however, was how empty a lot of the second act felt. This film lulled a lot and had a bit too many shots that did not exactly fit into the overarching narrative. I felt like a lot of time went by in the middle of this movie that did not carry very much emotional weight or substance and that did not do much for the outcome of these friends' relationship.
Joe Talbot's masterpiece The Last Black Man in San Francisco is an amazing film accompanied by perfectly paired performances and technicalities to tell this heartfelt story. I was not expecting to be this moved by Talbot's storytelling as I did not know what this film was entirely about, but the complex storytelling that he displays here is unmatched. What a hell of a first feature for Jimmie Fails as well and I can not wait to see what pure art he develops next.
My Rating: ★★★★½
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