That Man Smith

Will: Hey, you know what, you ain't got to do nothing, Uncle Phil. You know, ain't like I'm still five years old, you know? Ain't like I'm gonna be sitting every night asking my mom 'when's daddy coming home?' You know? Who needs him? Hey, he wasn't there to teach me how to shoot my first basket, but I learned it, didn't I? And I got pretty damn good at it too, didn't I, Uncle Phil?
Uncle Phil: Yeah, you did.
Will: Got to do my first date without him, right? I learned how to ride, I learned how to shave, I learned how to fight without him. I had *fourteen* great birthdays without him; he never even sent me a damn card. The hell with him! [pause]
Will: I didn't need him then, I won't need him now.
Uncle Phil: Will...
Will: No, you know what, Uncle Phil? I'm gonna get through college without him, I'm gonna get a great job without him, I'm gonna marry me a beautiful honey and I'm having a whole bunch of kids. I'm gonna be a better father than he ever was. And I sure as hell don't need him for that, 'cause there ain't a damn thing he can teach me about how to love my kids! [long pause; he's crying] How come he don't want me, man?

Most of the readers that frequent this website would be correct if they recognised this as a mere splinter of an excerpt from an episode of the fantastic show, The Fresh Prince of Bel-Air, (which everybody must have seen at some point or the other). More than just a little snippet from the world of Will, Carlton, Uncle Phil, Hilary, Geoffrey et al, this little segment encapsulated Willard Smith's pedigree as an actor (to that point at least). Sure, he could be the "funny guy" and cause people to have crippling chest problems (a theory that Luke and Garf will definitely corroborate) with the sheer hilarity of his antics and timing. But this little vignette had nothing to do with his comic timing or facial flexibility. To me, it had a lot more to do with his versatility, in that he could make you cry seconds after having you in fits of laughter.

Over the years he acted in some films and critics unkindly branded him as a one-trick pony, claiming at times that he would often project himself as far bigger than the movie itself. It is speculated that it is for this very reason that he didn't get to be Neo in The Matrix. In retrospect, it's probably best that Keanu Reeves got that role. Regardless, Smith took on a variety of films, playing different types of characters and yet, the criticism continued. It is only after The Pursuit of Happyness (arguably) that I believe he began to amass critical acclaim.

Shocking, non?

After all, this man was able to pull off roles with a plethora of co-actors, human and non-human and still generate some ridiculously top-notch chemistry with them all. The list is truly mind-boggling:

- With a DJ, a fat man and a short man
- With an accomplished actor like Gene Hackman
- With a skilled comedian like Jeff Goldblum
- With the computer generated robot, Sonny
- With a child
- And now most recently, with a dog

It is the latter that forms the basis for this particular piece, after a rather long-winded diatribe. Even by my lofty standards *chortle chortle*. I saw the film I am Legend today and to be honest, all I had heard about the film was that a number of people I know wanted to see it and it was about the last man on Earth, it was supposed to be quite good and that it had that man Smith in it. That's all. This morning I read a savagely cynical review and on a whim, perhaps even goaded by the review, I decided to go and watch it for myself.

Directed by Francis Lawrence of Constantine fame and screenplayed (if such a verb doesn't indeed exist and if it doesn't, then I'm MAKING it exist) by the brilliant Akiva Goldsman... Not too bad so far. The Richard Matheson-authored book by the same name has been adapted to film four times in the past, I'm told and the latest was supposed to be in 2002 with Micheal Bay directing it. Instead, he chose to make Bad Boys II. Prior to this, Ridley Scott was expected to direct the film starring Arnold, but it went over-budget.

Enter Mr Smith.

The film can be described as a slow-burner, if and only if you feel compelled to classify and pigeon-hole everything. The scale is nothing short of epic, with what seems like most of Manhattan at the director's mercy for filming purposes. What really shines isn't the special FX or the aforementioned grandeur of scale. While being competent, it isn't even the plot that shines. Consistent with the subject of this post, it's Will Smith who lays down a devastatingly touching portrayal of a scientist/army colonel, who battles the loss of human companionship, security and even sanity to find a cure for this cannibal/zombie virus hoo-ha. That's what really shines.

One of the best things about the film I found (surprising, considering my love for post-apocalyptic universes in sci-fi stories) was the fact that most of the film is set on beautiful sunny days in a completely empty city. I have never seen that aspect used in any film to this date.

NOTE: To all nitpickers and those with too much time on their hands and an innate urge to try and make a point (irrespective of whether or not it is accurate), I'm sure there've been films in the past that used this idea. However, I've never seen it in any film I've seen before. Ya dig?

Over the course of the one and half or so hours, I found my favourite scenes to be the ones that had the least to do with the actual story/plot. These are the scenes where he depicts his own character growth as the film progresses. From a dinner table scene with his dog to the "I like Shrek" scene later on in the film, these are the gems that really shine brightest in the gleaming box of jewels that is I am Legend.

I guess what I'm trying to say is that it is highly unlikely that one will ever see Will Smith in an overly arty or "intellectual" (note the sarcasm) flick. And maybe his films aren't everyone's cup of tea (enjoy your new-wave French cinema, by all means do). But in terms of satisfying films that leave you walking out of the cinema with a thought in your head, a smile on your face and perhaps even new catchphrases on your lips, you can't beat the man's work. Empathy with the character being portrayed and trying to relate to him has never been a problem with Smith's films. Now it's got to the point where it's nigh on impossible not to relate to his characters. You'd have to be really really really detached to do so. And where's the fun in that?