Tyler Perry’s I Can Do Bad All By Myself
After briefly watching Tyler Perry’s newest trailer for his upcoming film, I Can Do Bad All By Myself , I know two things: 1) It’s going to be a box office hit 2) It’s going to be dogged by his critics.
I Can Do Bad All By Myself follows Perry’s winning formula (Madea + church scene + black cast + overcoming adversity = box office gold) and will again solidify Perry as a force to be reckoned with in Hollywood.
Yet, despite Perry’s commercial success, he is often racked over the coals by the black community, blog critics and industry contemporaries such as film veteran, Spike Lee. Perry has been compared to anything and everything — from Amos and Andy to Kool-aid and KFC to being the sole builder of the wall of suckiness.
Now, to be fair, Tyler Perry has released some bad movies into the world (See Meet the Browns, Madea Goes to Jail) and I’d say he’s still climbing that learning curve in regards to production quality, character development and directorial savvy.
But, I’d like to go out on a limb here and build a case in Tyler Perry’s defense. Sure, he may not be John Singleton or Spike Lee (although these two have made some bad movies too, see Lee’s Girl Six, He Got Game and Singleton’s Black Snake Moan) but he still is a savvy businessman, talented writer and modern-day populist.
So, Ladies and Gentleman of the Cinematic Jury. Today, I hope to prove beyond a reasonable doubt that Tyler Perry is in fact doing more to help the black community then to hinder it:
EXHIBIT A – Have you seen this brotha’s payroll?!
Tyler Perry has employed just as many black and brown actors/actresses, writers, creatives in the last 10 years as Sprike or Singleton have in the last 20. Between his plays, movies, and television shows, Perry has developed an impressive roster: Cicely Tyson, Idris Elba, Alfre Woodard, Keshia Knight Pulliam, Derek Luke, Kimberly Elise, Angela Basset, Gabrielle Union, Sanaa Latham….the list goes on. He has employed a multitude of actors due to the sheer volume of his work; this brotha cranks out films like car parts.
And note the keyword here: trained actors. That alone gives Perry some crucial “You Go Boy!” points, especially when actresses like Nia Long are complaining that singers are swiping all the roles from actors. (Author’s Note: Perry has employed singers-turned-actors too, although they’re usually the more talented ones.)
Imagine if Perry wasn’t in the game. All of these unemployed black actors could just go ahead and compete for compelling roles in movies like….what? Soul Plane? Or wait a couple of years between Spike Lee joints.
EXHIBIT B – That’s his name on the sign.
Say what you like but Tyler Perry is a shining example of entrepreneurship. The man defines “hustle.” As noted in CNN’s Black in America 2, he went from being homeless to being the first African-American to own his own major film and television studio. He has fought to maintain creative ownership of all of his work. Furthermore, he is marketing his products on multiple platforms: television, theater, film, and books.
Regardless of how you feel about the quality of his work, Tyler Perry Studios is another version of Oprah’s Harpo Studios. He is demonstrating to young people of color the value of ownership, diversifying your assets and establishing a personal brand.
That kind of success is pure, Grade A positivity that even his critics can’t deny.
EXHIBIT C – Let’s spread the hate then, shall we?
I’ve always wondered why Tyler Perry gets so much heat? Is it because of the size of his success? His critics just seem a little heavy-handed because I’m pretty sure, if my memory serves me correctly, that there are several other black writers/directors/producers that have created similar types of films about the black experience. Yet, I rarely see them grace the headlines as much as Mr. Perry.
For example, consider Ice Cube and the Wayans family. Ice Cube has several film franchises (Friday, Barbershop, Are We There Yet?) that offer black folks the same kind of comedic, feel-good relief as Madea. Likewise, The Wayan clan, led by Keenan Ivory Wayan, has offered a steady stream of slap-stick comedy/vulgar parody with movies like Don’t Be a Menace to South Central While Drinking Your Juice in the Hood, Scary Movie, White Chicks and Dance Flick.
Even though these writers/directors are doing pretty much the same thing (or worse), it’s still Perry this and Perry that. I think a lot of critics and the black community continue to hate on Perry just because its what’s currently in vogue. It’s what I like to call “bandwagon” hate.
EXHIBIT D – What’s wrong with feeling good?
Contrary to popular belief, Tyler Perry’s movies are not all about shuckin’ and jivin’. Most of his movies incorporate a strong message of morality, love and family values. Perry also lends a hand in helping produce quality films by other writers as well, like the upcoming film Precious. Movies produced for the black community by mainstream Hollywood producers, on the other hand, often glorify urban violence and street life in a failed attempt to “keep it real.” Whereas Perry is often depicting myth-busting images of good black men, successful black women and strong black communities.
Yes, his characters might be slightly two-dimensional. But why can’t we be happy to see a full-figured woman on Why Did I Get Married? get the man in the end, or a black man on Daddy’s Little Girls striving to take care of not one child but three on his own, or witness a wonderful friendship between a black woman and a white woman on The Family That Preys?
If we could just get passed “Madea” (which isn’t that different from Flip Wilson’s “Geraldine”), then we could see it for the comedic relief that it is. And finally admit that those church scenes at the end of Perry’s movies actually do make us feel a little warm and fuzzy inside.
Madea > Geraldine in my book.
I’m Sorry. This just makes me want to begin a rendition of “Lift Every Voice and Sing.”
“My premise in this case is very simple: Tyler Perry is needed. Just as Spike Lee is. Just as John Singleton, and Ice Cube and the Wayans are. The African Diaspora is too diversified, too complex and too multi-layered to silence any one voice.”
CLOSING ARGUMENT
My premise in this case is very simple: Tyler Perry is needed. Just as Spike Lee is. Just as John Singleton, and Ice Cube and the Wayans are. The African Diaspora is too diversified, too complex and too multi-layered to silence any one voice. And his depictions of black life, despite what his critics might think, are accurate, authentic and, more importantly, uplifting. Plus, I’d much rather devour a bucket of pop corn while watching I Can Do Bad All By Myself as opposed to some other cinematic gem like Who’s Your Caddy?.
Defense rests. What are your thoughts?
