American Fiction offers lots to talk about after the credits roll

Occasionally a film is produced which is not only a great example of film art and entertainment, but which also challenges the viewer to reflect on the issues raised long after the final credits have rolled. Such a film is American Fiction.

Ostensibly the film is a comedy about a university lecturer, Thelonius “Monk” Elisa, a professor of Afro-American literature who finds himself charged with racism in the classroom because he has quoted the “n” word in referring to a book title. 

Furthermore, he has also failed as an author of serious books since they have largely gone unnoticed and have resulted in minimal sales. At the same time, he is enraged that several books have sold well – books which, in his view, are simply trash exploiting the situation of many blacks and which were written in the street dialect of uneducated blacks to give them an aura of authenticity.

Frustrated with this literary concern, he angrily tosses off a novel, intended as a joke, imitating the black vernacular, and dealing with stories of repression, violence, and injustice – all of which, in his opinion, mark the trash literature of which he disapproves. To his surprise and dismay, the “joke” misfires when his agent sends the manuscript to a publishing company, which, convinced that it will be a best-seller, offers a huge royalty for the rights.

While attempting to deal with this unexpected development, his work suspension and the financial limits it imposes, he returns to his family home. There he is faced with the realities of a dysfunctional family – a mother suffering from dementia, a brother who is attempting to find himself as he deals with having declared himself gay, and the memories of a father who was unfaithful to his wife. 

While dealing with all of this, Monk also starts a romantic relationship with a woman who lives across the street from the family home. If all of this sounds decidedly complicated, it is clearly meant to be so – and it becomes even more complicated as the film continues.

Monk attempts to confront the many issues with which he is faced. It is also apparent that much of that family’s turmoil is the sort of turmoil faced by many families, regardless of the colour of their skin. And that is clearly one of the main points of the film. However, much more than that, the film also raises questions about how one views so much media which purports to be about the black experience– not only books, but also films. Are they merely exploitive? Do they really present the lives of black people? Are they merely a deliberate attempt to make commercial profit through sensationalizing the tragedies of black people while ignoring the millions who simply go about their lives dealing with the challenges of normal life – challenges faced by all people, regardless of the colour of their skin?

American Fiction raises all these issues and many more in a creative and frequently comical fashion, including discussions of literature by successful (fictional) authors, a series of hilarious developments – and even a choice of endings! And, in one proposed ending, the film provides an implied conclusion that finally all principles are generally sacrificed to commercialism. Here again, it remains open-ended as it finally asks the viewers to assess the truth and worthiness of this stance. Or should there be another ending?

Superbly acted, written, and directed, American Fiction, although nominated for several Oscars, is likely to be ignored as Hollywood once again tries to show how serious it is by giving recognition to the safely praiseworthy Oppenheimer. Of course, it raises concerns regarding nuclear weapons and the threat they pose to the world, but American Fiction is likely to lead to even more lively discussion of the issues it raises. Thoughtful viewers are certainly going to welcome it enthusiastically.

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