http://madeagoestojailmovie.com/theatrical.html
This post will most likely require a SPOILER ALERT…
Last night, when I learned that we were going to watch this movie, I slunk back into my comfortable assumption about Tyler Perry's work. I've seen a few films that have had their moments, but overall I found his style a bit shallow and overbearing. This assumption was a FAIL. Perhaps I'd been missing the forest for the trees by channel surfing through his romantic comedies and the silliness of House of Payne.
The IMDB synopsis is as follows:
At long last, Madea returns to the big screen in TYLER PERRY'S MADEA GOES TO JAIL. This time America's favorite irreverent, pistol-packin' grandmomma is raising hell behind bars and lobbying for her freedom...Hallelujer!
After a high-speed freeway chase puts Madea (TYLER PERRY) in front of the judge, her reprieve is short- lived as anger management issues get the best of her and land her in jail. A gleeful Joe (TYLER PERRY) couldn't be happier at Madea's misfortune. But Madea's eccentric family members the Browns (DAVID and TAMALA MANN) rally behind her, lending their special "country" brand of support.
Meanwhile, Assistant District Attorney Joshua Hardaway (DEREK LUKE) is on the fast track to career success. But Hardaway lands a case too personal to handle - defending young prostitute and former drug addict Candace Washington (KEISHA KNIGHT PULLIAM) - and asks his fiancée and fellow ADA Linda Holmes (ION OVERMAN) to fill in on his behalf. When Candace ends up in jail, Madea befriends the young woman, protecting her in a "motherly" way as only Madea can.
I don't really feel this synopsis captures what I got from the film. Of course the comic relief provided by Madea and her familial minions is absolutely ridiculous. Perry /flexed his creativity in creating these characters and orhcestrating their interactions. Superb. The real value, however, lies in the "meanwhile"…
Perry touches on some truly profound issues in exploring ambiguities in morality, class-based assumptions, and justice itself. In this way, Madea seeks to explore a wide gamut of what vague eggheads deem "the human experience."
Josh, an ADA in Atlanta, takes himself off prosecuting a woman for prosecution because he knew her previously. We later find out that, while in college, this girl "Candy/Candace" was invited BY JOSH to a football party. He left her there because he had a date and the team raped her while he was gone. Apparently she was a straight-A student before then, and she has since been turning tricks, brutalized by a "manager" as too many women are today. However, one of the lessons this film teaches is to refrain from victimizing yourself and taking control of your life. Candy's character fits that all-too-common "victim" yet seeks redemption in this carpe diem sort of way.
Josh's fiancée Linda, also an ADA in the same office, finds his taking care of objectionable out of sheer insecurity and jealousy. She lectures Josh on why he shouldn't associate with her given his social position. A group of ADA's from that office discuss the causality of choices people they encounter have made and deserving their lot in life. "She had the same opportunities as you, Josh, and she chose not to make something of her life. You chose differently." Surely, moments as poignant as these are few and far between in contemporary cinema.
What's more, Josh handed off Candy's prosecution to his fiancée, Linda, and so this jealous "hell-hath-no-fury" type is charged with sending her fiancée's acquaintance to prison. She does this fraudulently by padding Candy's file with rap-sheets from closed cases. When discovered by Josh's best friend in the office, she swears him to secrecy by threatening to reveal the fact that he cheated on his bar exam. I was thinking, "NHOMBRE, what kind of justice-serving office is this?!?!" Nevertheless, It was this method, CHOSEN by ADA Linda, that made her legendary 87% conviction rate possible. It turns out the "choices" of which she earlier spoke were not necessarily the "right" ones.
The comedy provided by Madea's shenanigans served as a comforting backdrop to the truly difficult work Perry executed with the second plotline. I'm interested to see other works of his in their entirety and refrain from sweeping assumptions. Your task is to see this movie, then tell me what you thought. K Tanks.
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