![]() The creative team - which includes executive producer Kasi Lemmons ( Harriet), who directs the first two episodes - might also presume too much knowledge of black hair politics on the part of the audience. (You almost expect Lelia to start telling her dates about the time she went on a swamp tour with Will and Jada Pinkett Smith.) Sounding exactly like she does on the stand-up stage, leading with her hard-earned, late-thirtysomething DGAF brio, Haddish sticks out like a neon green vape pen getting tangled in the spokes of a penny farthing. Blair Underwood, as Sarah’s increasingly resentful husband C.J., lacks any semblance of depth.īut the weakest performance belongs to Tiffany Haddish as Walker’s daughter Lelia, a sexually experimental party animal and the only target of her mother’s remaining conservative instincts (“Go to college or find yourself a husband,” admonishes Sarah). In contrast, Carmen Ejogo, as Sarah’s light-skinned (and highly fictionalized) rival Addie Munroe, is a soap-opera villainess. It’s pretty much Spencer alone who’s able to make this mish-mash between the past and the present work by lending her character a sense of groundedness and vulnerability. (Divided into four parts, it’s also more miniseries than feature.) Later, Sarah Breedlove, as Madam Walker is known to her friends and family, imagines a chorus line of tap-dancing stylists as part of her charm offensive to woo investors. ![]() Walker isn’t a standard - or subtle - biopic. Suffice to say, Netflix’s Self-Made: Inspired by the Life of Madam C.J. “No matter what, I refuse to give up the fight,” she says, encased in a navy satin robe with even shinier red trim, holding up her boxing gloves to knock out whoever stands in her way. Walker - the legendary turn-of-the-century hair entrepreneur and America’s first self-made millionairess of any race - as a boxer in the ring. ![]() Octavia Spencer initially appears as Madam C.J. ![]()
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