Brother John (1971)

To me, this movie is perfection.

That was an excellent one.

Absolutely the worst movie.

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

I stumbled over this film quite by accident. I've always been fascinated by Sidney Poitier for his stony dignified demeanor and Will Geer for his irrepressible amiability (even if playing the villain). When I saw that they'd both appeared together in this production, I was curious."Brother John" is an extremely eclectic film. The genre of drama/sci-fi just about says it all, all while saying next to nothing. Sure, that's basically what it is... a strange combination of small-town drama, mixed with a dark and murky undertone. The writing is completely honest to both ends of the spectrum, all while explaining less than it suggests. The screenwriter, Ernest Kinoy, tells a tale that is murky yet surprising straightforward. The qualities of racial tension (a common theme of Poitier films) and the aspect of striking workers (a recurring plot point of Will Geer's life) might explain what drew the two stars to the script, and that's the corporeal backbone of the story."Brother John" does not play at being a big film, and in spite of its incredible deftness in acting and direction, I'm not terribly surprised by its obscurity. There is no way whatsoever to pigeonhole the plot, and at times, even particularly understand what's going on. In a strange twist, I realized about halfway through that all of the vaguely fantastic elements could have been excised (even as late as in the editing room) and it still would have been a highly serviceable drama about life in the American south.But, instead, "Brother John" takes a sharp left turn. The title character (played by Poitier) is painted as a strange harbinger of death, like a raven on a fencepost. His identity is never fully explained. Is he the grim reaper, the angel of death, some sort of globe-trotting serial killer? These questions were answered to my satisfaction by the conclusion, but other viewers may not be so pleased, and some will leave feeling completely unfulfilled.What moved me most was, unexpectedly, the direction and cinematography. James Goldstone, the director, has a surprisingly comfortable relationship with his surroundings. There is little attempt to force framing, to relocate interfering objects, or to stage shots in an unnatural way. His actors move in-behind lamps, tree branches, and the camera makes little attempt to circumvent them, unconcerned at being anything but an observer. Just the same, Goldstone has a brilliant sense of composition in the way he slips into deep, almost uncomfortable close-ups, then back to wide, languidly casual views of the whole room or outdoor space. He seems to be letting his actors do what they please, whatever gets the feeling across most honestly. A lot of this hinges on the dim, comforting cinematography of Gerald Perry Finnerman, who underlights almost everything, getting across a strong sense of warmth.You might call "Brother John" a mystery, and as I leave my thoughts on a film that few remember, I'm struck by the final questions in the dialogue. What about hope, what about love? Is it enough in the face of everything evil? Do we deserve what we've got? Well, we've got it, so it's up to us to live up to it... and maybe that's the real theme of this.

In a Southern town, kindly old Doc Thomas is giving an elderly woman what appears at first to be a routine examination. But then he must tell her, in his caring way, that she is too far gone and while they can try, she needs to prepare for the worst.The woman's brother John cannot be found. And yet somehow he has always managed to show up when someone he cared about died. This time is no exception; while the family wonders how to contact him, John is already in his sister's hospital room.After the funeral, John stays around for a while, which is unusual for him. He entertains a group of school kids by telling about his adventures in Africa and showing them the culture of the people he met. The kids' teacher seems to be an old girlfriend, and the possibility exists of the romance rekindling.Doc Thomas should probably give up his practice, and the townspeople know this. He may not be senile yet, but he is showing a decline.Meanwhile, the union at an area factory appears ready to strike. The black workers aren't treated well, and some of the cops in town are racist. There may be trouble. Will John's presence help or hurt the situation?Sidney Poitier gives his usual masterful performance. And Will Geer does an outstanding job overall, even holding his own with the great Poitier in a powerful scene near the end.We never really learn what John does or why he seems to have supernatural abilities. All we know is that he is very intelligent and has lived many places and done many things.There are plenty of other good performances and good writing.It's worth seeing.

I too agree with DuzeByte and have setup a discussion group right here at IMDb. Look for it.Sydney portrays a fascinating creature of Kinoy's mind. The dialog he wrote for Sydney and Will in the jail-house scene was engaging as well as enigmatically intriguing. American stereotypes in 1971 would have us believe that a black man can not play an angel nor an alien. Denzel's portrayal of an angel in The Preacher's Wife was equally as engaging as this movie was simply by the stereotype-bashing of the screenwriters.Brother John was a little too "dark" in his approach to be a obedient modern-day Ben Elohim (angel) on a mission. Too materially substantial ('human form') to be a disobedient version too. IMHO a visiting advance scout 'alien' actually only exists in the human mind of a Hollywood sci-fi screenwriter. Therefore Brother John fits that bill quite well. However, I can't understand how an alien would know when his folks were dying nor why he would have any dealings with them after realizing his Earth mission. I also don't know why his passport would be so revealing since BJ was so stealthy and so well trained in the espionage trade-craft of a 007 type shadow-warrior of the 70's - karaté chops and all.I found this movie to be so well thought out despite the predictable love scenes. I would think that Kinoy was trying to deliver a profound message to Americans as he is to the entire world in his new 2005 film about the Papalcy (Pope and Catholic church) called "Magnificat".Spooky

Sidney Poitier gives an exemplary performance in a film in which the viewer is kept in suspense as to why and who. Right to the very end, the viewer never knows for sure what the visitor to a small town really is. The supporting cast is excellent and Will Geer and Sidney Poitier are outstanding.