Poetic Justice (1993)
All films attempt to tap into the pathos of the audience. Some do it better than others. 1993’s Poetic Justice has an emotional center rarely encountered.
Justice & Lucky
Justice & Lucky are both searching for calm in the storm of life — internal & external. Intertwined throughout, Justice’s poems remind us this is her story, her perspective (or Maya Angelou’s…depending on who you ask…). They provide necessary context for the character. Intelligence. Isolation. Humble confidence. Insightful & affecting.
Throughout, we see Justice experience the full gamut of emotions. The despondency that comes with seeing your boyfriend shot dead. The isolation she’s experienced throughout her life, exemplified with Stevie Wonder, popcorn & tears. The puzzlement & empathy she has for those who compose her life, notably with Iesha. The initial anger & ensuing love she has for Lucky.
Her initial skepticism towards the mailman is understandable. When all you can do for a woman is, “mail [her] bills for free” & all you’ve been doing is, “tryna mack”, why should she give you the time of day? Right? Nope — she quickly learns this presumption leaves out a great deal of this man's depth.
Lucky’s aura, especially in juxtaposition to Chicago’s, is both authentic & infectious. Regardless of the complications his home life may bring, he’s never deterred. His warm soul radiates throughout, epitomized by his introduction to Cousin Pete. He’s seeking fulfillment in something, a dilemma that faces all of us. He doesn’t understand that he’ll find that fulfillment in someone. Until he does.
When Justice begins on the road trip, the lingering negative perception of Lucky is expressed through silence. Lucky pries politely, fails. Pries politely, fails. Pries not that politely, here we go! Making assumptions about Justice & expressing them through blunt, straight up discussion is…a choice. Some express such assumptions this way. Some through poetry. To each their own.
Rarely do you find out alongside one another that your perceptions are inaccurate, but this comes naturally in the context of this “road trip”. Nothing bonds two people like other people’s problems.
This Films ‘Core Four’
From the jump, it’s immediately apparent Iesha & Chicago’s relationship is headed for a steep descent. Chicago is entirely concerned with how others perceive him, obvious through the contrast in his actions &, yes, his clothing. He doesn’t do much right besides identifying Iesha as a drunk. Accurate, but not insightful — the summary of Chicago.
The only person present who truly has Iesha’s back is Justice. Dramatic actions, such as smashing their bottle, can get through to a drunk. Justice delivers a searing indictment, saying, “that’s why I never go any place with you because you always acting crazy. Just like my damn mama.” Iesha though is genuinely unsettled to how she’s made Justice feel, leading to her naming aloud Justice as her best friend. We are unsure if this is a mutually held sentiment, but we know the scene wouldn’t have begun without Justice’s authentic care for Iesha. Caring for others is who she is.
In the background, Lucky & Chicago’s relationship quickly moves in the opposite direction. Their camaraderie early was surface level at best, depicting their unaligned priorities & perspectives. When Lucky first has enough of Chicago, it’s blunt but hard to argue with. “Fuck you bitch. I mean why you always got something negative to say man? At least the n— being creative.”...”That’s just like a n— to down talk another mother fucker because he trying & you aint. You aint shit. Post office worker motherfucker. No union ass n—.”
Chicago eventually left on the side of the road, providing a visual call back to Justice’s prior abandonment. This device demands the audience notice how Lucky’s priorities & loyalties have shifted throughout.
When Justice gets out of the truck & is tackled by Chicago, Lucky has a choice. Or does he? Not if he authentically cares about Justice. When coming to her aid, Chicago can’t help but make another smart ass comment to Lucky. “You just want some pussy, that's all.” Accurate? Every word but ‘just’. Insightful? No. Chicago solely sees Iesha, & seemingly all women, as sexual beings. Why would he be able to see another man's interest in a woman as anything deeper? Physical attraction is inherent in the beginning of a romantic relationship, but never the sole motivation for those who seek a deeper reward. Chicago is crucial in comprehending Lucky’s heart, growth mindset, & outlook on women. A shared occupation does not correlate to a shared mentality.
Singleton’s Mastery
People tend to overlook a few things when falling in love, one of which apparently is their partner's nails. One thing to never overlook however is whether your partner listens or not. To your needs. To your desires. To your fears. To your traumas.
The inevitable collision course of love comes as no surprise. Justice & Lucky’s mutual empathy creates an emotionally resonant core. With the assistance of a brilliant score & soundtrack, Singleton creates a love story accessible & relatable to all who engage. His mastery lies in the ability to tell uniquely human stories within an environment that, throughout film history, has been often dehumanized. Singleton concludes with Justice fixing up Lucky’s daughter's hair allowing one major takeaway to be discerned.
Simple acts define love.
Sam