AMERICAN SON: A Film That’s All About The Thespians

Creating feature film adaptations of stage plays has become one of cinema’s oldest traditions. From the eloquent words of artistic geniuses like William Shakespeare, Arthur Miller and Tennessee Williams, the world of cinema has never shied away from attempting to reinvent something that has already been perfected in another medium. With American Son, veteran theatre director Kenny Leon is tasked with reinventing his own Broadway production onto the silver screen. The results are not perfect, but certainly worthy of praise.

Featuring the exact same cast as its original Broadway play, we’re introduced to Kendra (Kerry Washington) and Scott (Steven Pasquale), a biracial couple in the midst of figuring out the whereabouts of their 18 year-old son Jamal. As details begin to surface through their interactions with both a rookie (Jeremy Jordan) and veteran law enforcer (legendary theatre actor Eugene Lee), we get an emotionally charged examination of racial indifference in modern America.

Transcending claustrophobia with strong performances

The entirety of American Son essentially takes place within the confines of a police station waiting area, which presumably reflects how the original Broadway play was presented as well. As a narrative device, the claustrophobic setting does help create a strong sense of pocketed tension. There’s a lot of hate and cynicism in the air, and having all these dark emotions trapped within a tight space – both figuratively and literally – puts the audience into the same shoes as the film’s characters. It’s hard not to be on edge while watching both Washington and Pasquale pace around the room while having heated verbal exchanges.

But given that this is a cinematic adaptation, and not a theatrical play, the choice to confine the film within a single setting can also feel limiting at time. American Son does incorporate a few important, yet brief, flashback scenes to help push the story forward, and one must wonder why this wasn’t utilized more. There are a few examples of expository dialogue that may have been better served with flashbacks, which would naturally be one of the benefits afforded by the cinematic medium.

By choosing to stay within the limitations of a confined space, Leon instead creates narrative space through the film’s incredibly competent cast. In a sense, each performance helps create a shifting mise en scène that guides audiences from one emotional territory to another. The stagnant physical boundary is subverted by these transcending performances, which are highlighted by the film’s abundance of medium close-up shots. The heightened exposure to every facial expression and verbal intonation afforded by cinema surely distinguishes this adaptation from its original Broadway play.

Social criticism without beating around the bush

The film also takes a stand against renewed racism on the Black community in modern America. Being the product of a biracial couple living in a supposedly affluent neighbourhood, the social adversities faced by Jamal are complex and multi-faceted. As the story unfolds, there’s a lot to unravel, and American Son doesn’t waste any time in tackling these issues head on. Early in the film, there’s a verbal exchange between Jordan and Washington where his character (the unwilling rookie officer) says “Wow, we are really gonna go there?” To which she responds, “Oh, we’ve been there for a while.” This certainly becomes the underlying mantra of the film, as there is absolutely no flinching at the various elephants in the room, of which there are many.

American Son has a lot to say about racism and class differentiation, and never shies away from speaking its mind. Despite being constructed on a number of long verbal exchanges between the same four characters (with Washington being in every single scene), the film never feels laboured or repetitive. This certainly has to do with the fact that there’s more than enough material to unpack here, and the film’s source material is surely to thank for that. And despite the criticism that it seemingly inflicts on both law enforcement and upper class Caucasians, there’s a level of calamity and objectivity in the film’s commentary. Somehow, the narrative tends to stay in the middle ground, rather than steering completely towards one extreme.

All about the thespians

While much can be said of the film’s interesting use of cinematic space and intricate social commentary, the most striking thing about American Son is its strong performances. In particular, the commanding tour de force performance of Kerry Washington – who is literally in every single scene of the film – creates a viewing experience that is beyond memorable. Seeing Washington work her way around a character that is equal parts fearless and vulnerable should be enough of a reason for anyone to watch this film.

The emphasis on strong performances perhaps speaks to the spirit of the theatre itself, which is well served for providing exposure to the rest of the film’s cast. While Pasquale, Lee and Jordan are probably better known for their theatrical (and musical, in the case of Jordan) work, having a high-profile film on Netflix is sure to gain these talents more mainstream recognition.

American Son may not be a groundbreaking piece of filmmaking, but that’s not what it was meant to be either. The film is a transformative adaptation that attempts to elevate elements of its original source material through the cinematic medium. And perhaps most importantly of all, it also manages to pack in some of the best performances of the year.

What are some of your favorite theater to screen adaptations? Let us know in the comments below!

American Son is now streaming on Netflix.