Medicine for Melancholy – Review
While Medicine for Melancholy clearly wears its influences on its sleeve, I found it to be an engaging film about two accidental lovers spending a day together after a booze-filled one-night stand. First time director Barry Jenkins did one thing that despite anything else, makes us care about these two characters enough to follow them for 90 minutes: he made them real.
I have a problem with studio produced romantic comedies. I am not against romance or love, it’s that the characters are so fake, so one-dimensional, to the point where they not relatable. Those films the studios annually produce to tap into the female demographic feature a cornball romance with characters that are usually rich, good job (that nobody in real life has), and they always end with love blossoming. I know they’re not made for any artistic reasons, purely for commercial gain, but do we have to accept them?
Jenkins effortlessly glides these characters through the day-after the one-night stand as they get to know each other by doing random activities. There’s really no plot, and for a film like this, it’s okay. These characters talk about issues and stereotypes, right and wrongs, as any two reasonably educated people would. There inquires are natural. Micah (Wyatt Cenac) is asked after venting on San Francisco by Jo (Tracey Heggins) why he just doesn’t get up and leave the city. He answers, “I love this city. I hate this city, but I love this city.” It’s a perfect answer.
Micah has some interesting takes on what’s going on within the community. It might be a strict observation on San Fran, but it’s relatable to anyone in any city. I felt this way too. I think young adults under 30 are focused on current events more, and are eager to talk, challenge and have there voice heard. Even if Micah pushed it too far, Jo is equally aware of the things that affect her and challenges him. Nobody is right or wrong, even if Micah seems biased in his views on art, gender, and race. Jo acts as a devil’s advocate to Micah’s propositions. Race is pretty important to the film, as Micah brings up time and time again. Stereotypes are a damned thing. We accept them, yet fight them. Outside of a few films, I was fully relieved to see two young African-Americans that are defying typical movie versions of blacks. They’re engaging, smart, as any 20-somethings are. I thank Jenkins again for writing two great characters. There are not stereotypes of black people; no hip-hop clothes, no slang, no nothing that would make this as an “urban film”.
Tyler Perry take note: this film centers on two young African-Americans facing real love and real issues within their community that is relatable to anyone. Maybe they’re written as too shy; a minor quibble on the film, but Barry Jenkins could be a very exciting new voice in American independent cinema. Medicine for Melancholy is a breathe of fresh air, even if it wears its influences like Manhattan, Do the Right Thing, and Before Sunrise on its sleeve. In fact, that maybe is part of its charm.
Rating: 
