Starring: Wesley Snipes, Michael Wright, Theresa Randle, Abe Vigoda, Clarence Williams III, Ernie
Hudson
Director: Leon Ichaso
Producers: Rudy Langlais and Gregory Brown
Screenplay: Barry Michael Cooper
Music: Terence Blanchard
Released by Twentieth-Century Fox
Sugar Hill, a moody, atmospheric tale of violence and drugs on the streets of modern-day Harlem, ambles along too slowly for its own good. While the story doesn't score points for originality, the themes addressed are important and immediate, and ultimately it's a failure in execution that keeps this film from joining the ranks of a number of recent, memorable pictures chronicling life on the streets and in the ghettos.
Romillo Skuggs (Wesley Snipes) and his older brother, Ray (Michael Wright), grew up in Harlem with junkies for a mother and father. At an early age, the boys began working for one of the local bosses, Gus (Abe Vigoda). As the years went by, their influence and power expanded, until they have become the premier drug dealers in the neighborhood, wielding power to be reckoned with. But Romillo, experiencing disillusionment with his life of crime, is seeking a way out, even as Ray tries to keep the "team" together. Things get more complicated as another player (Ernie Hudson) enters the local drug game, and the subsequent killings threaten to ignite into a full-scale street war.
With a brooding jazz score and dark, gloomy cinematography that highlights shadows, Sugar Hill is a masterpiece of atmosphere. It has a stylish feel that lends a romanticized aura to its depiction of gangsters and violence. This film does not have the punch-in-the-guts realism of a Boyz 'N the Hood or a Menace II Society, nor does it have the quality or scope of The Godfather. The '40s aura allows us to keep all but the most brutal moments of Sugar Hill at arm's length.
The tale of a high-ranking criminal trying to go straight has been the central focus of numerous movies. If done right, it can be a fascinating topic. Sugar Hill, however, having decided on the premise, can't figure out how to execute it. The script meanders for nearly two hours, with numerous scenes dragging on for too long. There is rarely any tension or energy -- of either the dramatic or action-oriented variety.
Presumably, one of the reasons for the uneven, plodding tone is to allow for character development. In that, the filmmakers have underestimated their first half-hour. A quarter of the way into the film, Romillo and Ray are already fully fleshed out. The additional talky scenes add little to the relationship or the individuals, and Romillo's constant repetition of the refrain "I've got to get out of here" becomes tedious.
Wesley Snipes, who appears capable of playing almost any sort of character, from action hero to paraplegic, turns in another capable performance as Romillo. This is certainly not his best role, but the actor understands the character whose identity he has taken on, and manages to present a man capable of capturing the audience's sympathy without compromising the essence of his personality. The weak link may be Michael Wright, who plays Ray. Only occasionally convincing, Wright picks one of the most inopportune moments to act beyond the boundaries of believability: the all-important climactic scene.
The moral of Sugar Hill is "don't do drugs", and this message is hammered home relentlessly. The preachiness becomes irritating, whether in words (Mr. Snipes' opening voiceover) or in deeds (every act of drug use leads to unpleasant consequences, usually death). Still, this picture's most obvious flaw has nothing to do with its sermonizing. The problem lies instead with its somniferous pacing. Sugar Hill moves with all the speed of molasses.
© 1994 James Berardinelli