Get on the Bus (1996)

I like the storyline of this show,it attract me so much

Sick Product of a Sick System

Exactly the movie you think it is, but not the movie you want it to be.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Get on the Bus is one of those rare cases for Spike Lee where the screenplay for the film, and most of the performances, supersedes the vision leading it. Lee shot the film quickly, on a combination of 16mm (the kind that makes it look kinda HBO series of the period, not a bad thing) and camcorder video, and he works through what is kind of like a play on a bus: small space, not much room to go like the usual flamboyant touches of style Lee is great at. Instead it's some grainy yellow-brown tinting- the kind that was also done in the likes of Tony Scott's Domino- and an opening sequence meant to emphasize the chains of the teen 'Smooth' put to a less than agreeable Michael Jackson song. For the most part, his function here is to get the cast together and only get so much in the way as to not have them stumble.So it's sad to say that despite Spike Lee, despite his flawed choices in style (or, at best, a relatively typical low-budget hand-held feel in the bus), despite the mostly wretched R&B songs used that don't fit in with scenes and play over moments that are without reason, Get on the Bus is a good movie. Again, this is a credit to the screenwriter, Blythewood, who takes a big event in modern African-American history and uses it to make a portrait of several types (i.e. a cop, actor, thug-turned-Muslim, old man, gay couple, torn father and son Smooth, among a couple others). What's most commendable is how the material goes past the possible pitfalls of didacticism and heavy-handedness, with the exception possibly of the final couple of speeches. The dialog is honest and tough and even very funny; a scene where they pick up a black republican is as good as anything in a classic Lee film.And, as well, the actors are a big help. Which may be to say that Lee did do a good job on that front, one that is crucial for a screenplay so dependent on it being so tight knit and, dare I say it, intimate. Charles S. Dutton, Ossie Davis, Andre Braugher, Isaiah Washington, Hill Harper, Richard Belzer in a bit part, they're all spot-on choices, and they help elevate material that needs some 'umph' here and there, something to help out through one or two scenes that feel slightly stuck in the 90s (the kid doing the documentary-for-his-class thing wears off its welcome quick, and this was one of the only visual gimmicks that wasn't too bad). It's a very interesting movie hampered only by a director with nowhere to take the material past where it simply is, and its at its best when we get sucked into a conversation, or a moment, that is either riveting as theater or strikes a chord at the black experience.

The more Spike Lee movies I see, the more I realize what a purely distinct style he has. Like him, love him or hate him, he's among the ranks of Tim Burton, John Woo, Martin Scorecesse, Oliver Stone, the Coen brothers. Quality aside, each director has an indelibly specific style.With Get on the Bus, Spike brings life to what could've been a monotonous journey. It's complete with vivid characters, near perfect acting, and a terrific pace. It's only downfall is occasional peachiness. Sometimes the dialog doesn't ring true and ends up sounding more like a lecture than the spoken word. (But I believe Spike even admitted to that) Not to mention a certain supporting character (the Republican) seemed too over the top to be convincing. But those are fairly minor quibbles. All in all, a very engaging, unique film. Special mention to Blanchard's effective score and Roger Smith's stellar performance. Recommended. 7/10

NO SPOILERS A real stunner from Spike Lee using his characteristic mental conundrums to mix a wide spectrum of all black male "individual" characters on the way to a march/event in Washington; a Gay couple, a truculent/homophobic guy/LAPD Cop/an Elder/a young Gang Member chained to his Father on a Judge's release understanding and many other interesting guys you would pass on the street - maybe without a second glance - until you see this film.For me, a single white guy, I felt the film successfully served to strip away more than the fair share of stereotypical notions maintained in the collective consciousness of both black and white - "GET ON THE BUS" hits the spot over and over, and held my attention from start to finish.The 'journey' travels along with the interaction of the characters, split into scenes by a great and meaningful soundtrack - the road is but a short journey but a longer way through the soul to give understanding.Whilst the conclusion/end of the film was probably one of the most powerful messages, I did feel a little disappointment - but as I write, instead of me whining for a better ending, my mind has traversed across millions of attitudes and set free many images that had been lodged in my simple mind.This may not sound like a riveting review - but you'll need to watch it - you'll be nourished.

This was really one of those films which turned out to be a gem. I didn't care about the fact it was black-funded and had a virtually all black cast. The way I look at it, regardless of the racial signifying, it was a very strong film filled with symbols and depictions of black men that haven't been seen in other films. To me, Spike Lee should focus on the aspects of black life instead of showing the lines that separate. Instead of making everything about racism, he should focus on the relationships which can exist and develop between people and diversity of the said individuals. The men all had different backgrounds; gay republicans, used car salesman, a UCLA film student, an older gentleman who actually experienced deep racism, an young Islamic man with a past, a father and son in the middle of a personal conflict and even the arrogant actor. Full of great performances, especially Ossie Davis, this film should have been the type of film Spike Lee would strive to make.