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There is an intriguing Instagram page that uncovers paparazzi photographs from the 1990s of celebrities at movie premieres and events. The main focus is on the eccentric fashion choices, as well as the unexpected mix of guests and thought-provoking questions raised by the images. For example, why were Angela Lansbury and John Oates in attendance at the 1987 premiere of The Untouchables? Did Sidney Poitier genuinely enjoy watching Predator 2? And what was the reason behind Richard Harris bringing his dog to the 1993 Independent Film awards?
Recently, my attention was drawn to the New York debut of Danny Boyle’s Trainspotting. In attendance were Metallica, appearing wild and intoxicated, along with a brooding Ray Liotta. A youthful trio consisting of Jonny Lee Miller, Boyle, and Ewen Bremner also made an appearance, trying to blend in.
In the midst of the 1990s culture, we see Jeffrey Wright with a goatee, buzz cut, and a bold polka dot shirt. This was in 1996, when Wright was still establishing himself as a talented individual. The previous year, he had just finished his role as a gay, HIV-positive nurse in the Broadway production of Angels in America, for which he received a Tony award. He also starred as the main character in Julian Schnabel’s biopic about the Haitian-American artist, Basquiat. At the time, there was talk of a potential Oscar nomination for Basquiat. Now, thirty years later, Wright is once again in the running for an award – this time as a nominee for his portrayal of writer Thelonious “Monk” Ellison in the critically acclaimed dramedy American Fiction, written by Cord Jefferson and up for five awards.
According to Wright, American Fiction can be seen as a representation of the 90s and the beginning of his career. He compares the journeys of Basquiat and Monk, who both strived to be true to themselves and express their creativity and intellect, despite facing challenges of being undervalued and underappreciated. Wright believes that there is a connection between his current work and a significant piece he created during that time period. He imagines that the person in the photo would look back at his career and understand how it all falls into place.
Wright is talking to me from his home in Brooklyn, but he’s not been on home turf for a while. The past few weeks has seen him crisscrossing the Atlantic and the US as part of a promotional push for American Fiction, a process he says is like being on “a hamster wheel inside a circus train”. But he’s not complaining. He knows the alternative – no buzz, zero studio backing, no hectic travel schedule – too well, despite a career that has seen him established as one of the most respected actors working in Hollywood.
“This is the first time I have received such strong support for a film in which I played a major role,” he stated. The day after our conversation, he received an Oscar nomination and revealed that he purposely avoided being near a TV so he wouldn’t break it if he didn’t get nominated.
According to New Yorker critic Hilton Als, actor Wright consistently brings complexity and depth to his roles, often going beyond what is written in the text. This has been evident throughout his career, as seen in his standout performances such as replacing John Leguizamo as a Dominican drug lord in Shaft and transforming a stock villain into a menacing antagonist opposite Samuel L Jackson. He also stood out in his role as Valentin Narcisse in Boardwalk Empire and as the emotional core of Westworld in his portrayal of the cyborg Bernard Lowe.
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He has also brought his talent to popular films: playing Beetee in The Hunger Games, Commissioner Gordon in The Batman, and Felix Leiter in the James Bond franchise helped him gain recognition, while his recent collaborations with Wes Anderson, first as a James Baldwinesque writer in The French Dispatch and then a talkative army officer in Asteroid City, have further elevated his career. In 2013, when the Guardian conducted a poll of the top actors in Hollywood, Wright was ranked ninth and praised as “Hollywood’s Mr. Dependable” for his strong performances in supporting roles.
The landscape of American fiction is unique in its own way. Wright is now taking on a new role, no longer just the praised side character. In this story, he portrays Monk, an exasperated academic and author of weighty, profound works – most of which do not revolve around the experiences of Black individuals. However, when he submits a book about inner-city violence and troubled family dynamics – purportedly written by a fugitive – as a joke, it gains widespread acclaim and becomes a top seller.
Wright is the driving force behind the film’s success, as evidenced by its audience award at the Toronto film festival. However, it begs the question – how much of Wright is reflected in the character of Monk? According to Wright, he relates to the challenges and misconceptions that Monk encounters. He believes he has overcome these obstacles in his own personal journey.
Has he been feeling impatient with the amount of time it has taken to get a project like American Fiction recognized? “There have been other projects that I believe should have received more thorough support. Basquiat is one example: the movie was taken out of theaters prematurely. There were moments where I felt frustrated, but I am not frustrated now.”
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Wright recently shared his experience of conflicting perceptions with studio executives. After completing his work on Ang Lee’s Ride With the Devil, he was asked to replace swear words in the audio for airplane audiences. However, there was one scene in which Wright’s character used the N-word that they took issue with. Wright believed that the word was essential to the scene and refused to change it. This incident influenced his approach to selecting future projects, as he aims to work with partners who share his perspective, thus avoiding such conflicts.
In American Literature, his viewpoints closely align with those of the filmmakers. He gives high praise to Jefferson, who successfully transitioned from screenwriting (having been a part of the Succession team and wrote an impressive episode of Watchmen) to directing. However, he also feels a connection to Monk. “What resonates most with me about Monk’s journey is his relationship with family, which I won’t delve into too deeply. I also identify with his tendency to self-sabotage in certain personal aspects of filmmaking,” Wright adds with a laugh. (He was married to British actor Carmen Ejogo in 2000 and they have two children. They have since separated.)
The performance has a deeply personal aspect. Wright grew up in Washington DC with his mother and aunt, as his father passed away when he was young. Both women were successful in their careers: his mother was a lawyer at a US customs agency and his aunt, who is now 94, was the head surgical nurse at DC general hospital. “My mother passed away from cancer just over a year before I received the script from Cord,” Wright shares. “It was a sudden and quick process… then my aunt immediately moved from Washington to live with us in New York. This all happened at the beginning of the pandemic and I also have children, so I was suddenly thrust into the chaos of managing the many challenges that came with it.”
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In the midst of the family conflict portrayed in the movie, there are numerous comedic moments. Those who have experience in the book publishing industry and have tried to purchase a book from a Black author may cringe at some of the scenes. There are cringeworthy attempts to appeal to Monk’s alter ego, during which the publishers are likely already counting the potential profits. According to Wright, the satire and social commentary are well-timed and thoughtfully crafted. It is both ironic and humorous, but also serves as a promotional tool for the more meaningful themes of family dynamics and personal growth.
In the world of American Fiction, a group of actors including Tracee Ellis Ross, Issa Rae, and Sterling K Brown come together to navigate through challenges such as grief, loss, family trauma, substance abuse, and disagreements over managing an estate. These are typically issues depicted in American cinema for middle-class, white characters. Wright describes the characters in his movie as “free individuals”, emphasizing that they are just as imperfect and remarkable as anyone else. He believes in celebrating their humanity.
According to Wright, the film is also satirizing the way Black life is portrayed in mainstream media in the US. He believes that there are misconceptions about those who do not fit into what is considered the norm. He criticizes contemporary pop culture for presenting overly simplistic and superficial portrayals of Black individuals and their music, especially for younger generations. He finds it absurd and comical.
Is it not simply a natural division between generations? In the 1970s, individuals complained about Chic and other Black disco performers presenting a commodified version of Black culture. However, Wright is not convinced. They believe that there is now a level of toxicity that did not exist before, evident in the tone of the music: violence, misogyny, self-centeredness, and intense materialism. Perhaps this is reflective of the current times, but there also seems to be a lack of originality. To Wright, it all seems very conformist. When Andre 3000 released his flute record, there was a strange backlash and commentary. People questioned what he was trying to do. But to Wright, it was a beautiful thing. Andre got to express himself and release what was within him. That is what truly matters.
Reworded: It is apparent that Wright has achieved a similar level of success with Monk and American Fiction, regardless of whether he can surpass Cillian Murphy for an Oscar. The crucial aspect is that he is once again being discussed. With everything coming full circle, Wright reflects on how his younger self with a goatee would feel about his career. According to Wright, “I believe he would be content with where he has ended up. It has been a long and unconventional journey in some ways, but it has been fulfilling.”
Source: theguardian.com
