“Romance Is About The Possibility Of A Thing”: A Look Back At ‘Love Jones’
For as long as stories could be written, love and relationships have often featured as pivotal pillars of drama. When films could be made, sweeping romances with a dramatic score and big, bold action have often been central to the general depiction of love in cinema. And then of course, there are romcoms; stories of romance where characters get up to comedic hijinks, all the while in the pursuit of or attempting to maintain a relationship. Very few films that have achieved massive success or cultural significance truly deliver a more realistic and humanistic depiction of romance, especially when it comes to young love. Love Jones was not a film that achieved massive success on its release, but that may very well be due to its incredibly unique qualities. Qualities that have resulted in it becoming a timeless cult classic to many.
Love Jones debuted at the Sundance Film Festival on Friday, January 17, 1997, then released in the United States on Friday, March 14, 1997. It was written and directed by Theodore Witcher in his feature film directorial debut. In fact, it remains his only directorial work to date. The film follows young Black poet Darius Lovehall, played by Larenz Tate, and gifted photographer Nina Mosley, played by Nia Long. The two meet in The Sanctuary, a nightclub that showcases jazz and poetry, and upon meeting, develop a romantic relationship, one that evolves and goes through some rough patches. The pair’s changing feelings, their friends’ own relationships, and careers all play a part in their romance, one which goes in unexpected directions. The film also stars Isaiah Washington, Lisa Nicole Carson, and Leonard Roberts in supporting roles.
The film currently holds a 76% on Rotten Tomatoes based on 29 critic reviews. Against a budget of $7 million, it grossed $12.7 million, barely enough to break even. Judging from the synopsis, box office numbers, and critic scores, one would assume that this film is a well-made romcom that follows the same beats and cliches of any other romcom. With an all-Black cast, one would also expect a Western romcom, with each character falling into specific archetypes. But Love Jones is so much more than all of that. It is unique among romcoms, with strong, complex characters that showcase the range of its cast. Looking back on it now, it’s hard not to appreciate all the things it does well. It not only stands out as a contemporary film about the love lives of African Americans, but it also remains unique among romances, which is its biggest achievement. It may not have influenced future romances in the traditional sense, but it does showcase many of the trends that can be seen in modern romances. So, where does it succeed? Where does it fall short? What has aged well and what hasn’t? Let’s take a look.
What Makes Love Jones Unique?
The producers of the film made their intentions known in that they did not want to make a film that featured a Black cast that also had violence or drugs as key elements of the plot. Writer and director Theodore Witcher certainly succeeds on that front with flying colors. There are no outbursts, no violent scuffles, and no drug use or death of any kind. The audience, instead, is offered the perspective of two artists: one a poet, the other a photographer. Both are, of course, Black, but that is one of many aspects to their characters. Neither Darius nor Nina falls into any Black stereotypes. Larenz Tate had previously played a violent killer in The Hughes Brothers’ Menace II Society, so to see him as a complex figure with an artistic mind not only breaks from established Black archetypes, but it also showcases his range as an actor, and expands the possibilities when it comes to roles that Black actors can play. What defines both Darius and Nina is their art, their work, and their unique personalities that fulfill one another. Furthermore, Witcher depicts their love as young and new, something that both excites and terrifies, which leads to irrational thinking. He thus derives drama from realistic places rather than having drama for the sake of it due to convenience or contrivance.
Perhaps a reason for this film’s lack of success is its unique and realistic approach to romance. Typical romcoms and romantic dramas often carry an element of spectacle and size with them. That very same year, James Cameron’s Titanic became a massive success. It is a sweeping romance with a disaster backdrop, one that makes the central relationship feel as big and impactful as the collapse of the ship itself. In Love Jones, character interactions and conversations feel realistic and thus less dramatic. The dialogue at times feels like a general conversation between friends rather than a scene from a dramatic romance. This works in the film’s favor due to the excellent chemistry of the cast. The plot itself follows this realistic trend. It is paced perfectly; there is excellent build-up, and at no point is there any filler or meaningless scenes. The film’s focus is centrally on the idea of love, and the film is not afraid to debate the philosophy of it all. What it then lacks as a result is any explosive climax or drama. There are no massive comedic disasters or scenes where characters break down into tears. It is simply human, for lack of a better term. Beautiful in its simplicity and boldness to take such a risk in storytelling.
The actual filmmaking on display follows suit. The colors are natural, the cinematography simple, and the score is discreet but appropriate. There is a commitment in every aspect of production to make this film feel real. Every frame and scene of dialogue is dripping with authenticity, contributing to a film that may certainly lack the blistering entertainment a general audience looks for, but nonetheless stands as a unique film for its time.
That being said, there are, of course, flaws and certain cliches in the plot, but it is how Witcher treats them that is key. Around halfway through the film, Nina’s ex returns, which of course brings along the classic dilemma of “does she still have feelings for him?” In another romcom, this would definitely lead to wacky and even spicy hijinks, but because Witcher’s characters are meant to be more authentic, they handle the situation in a way that feels both mature and realistic. The relationship certainly becomes strained, but never does the situation escalate to a point of a full-on shouting match. By contrast, even a later romcom like Malcolm D. Lee’s The Best Man contains a violent altercation between characters and moments where someone must cry at the film’s dramatic height. As a result, Love Jones stands as a unique film for its genre, expanding the possibilities when it comes to depictions of Black people and when it comes to writing romance.
Audience, Representation, and Resonation
Representation matters, but too often do filmmakers, even today, fall into writing certain groups of people into certain archetypes. This is not necessarily a bad thing, since if the archetypes are a mere framework, the character can be better defined by their other characteristics and complexity. Even in works as recent as Ryan Coogler’s Sinners, many of the Black cast fit into typical Black archetypes, like a blues musician, violent gangster, or Hoodoo practitioner. But of course, the film would not be the roaring success it is if the characters were not more than their stereotypes. The same is most certainly true for Love Jones. In fact, the film arguably takes a stand against stereotypes, depicting a pair of young Black lovers living out their lives and careers with little interest in rehashing what has come before.
A part of the reason why the film seems so beloved today is because of Witcher’s decision to write both Darius and Nina as fully three-dimensional people, who treat their responsibilities as both prospective artists and maturing adults seriously. They come across as incredibly relatable to not just POC, but to any aspiring artists who must balance their careers with their personal lives. Rather than being defined by the color of their skin, the couple is defined by their personalities, ambitions, and love for one another. This is incredibly important to depict, as filmmakers, in an attempt to represent POC, often overcorrect themselves, leading to stale, one-dimensional characters who feel more like mouthpieces rather than people. In other words, they are often too perfect. Witcher has his characters be messy and complex, and thus, more relatable to his audience.
Yet, this film was not a roaring success upon its release. As mentioned before, perhaps the reason for this is the film’s unconventional approach to love. Many general audience members are looking for a tale full of drama, laughs, and tears, but will find naught here. The goal in Love Jones is clearly realism over spectacle, and that is perhaps the reason the film has gained a following. It’s a story about Black love, where the characters are complex and nuanced, but also mature and logical. It resonates with POC today because it depicts unique characters free from stereotypes, and it also can resonate universally because of its realistic depiction of young love, something that many can relate to.
Where Does It Stand Now?
It’s difficult to say if Love Jones has had a profound impact on Western cinema as a whole. But while it may not have the conventional influence that led to it being hailed as a landmark film that has gone on to inspire countless filmmakers, its style and writing choices have resulted in it becoming somewhat timeless as romances become more interested in complex characters and intimate drama rather than loud, sweeping motions of grandeur.
Perhaps the best example of this is a film that has often been considered one of the defining romances of the 2010s: Damien Chazelle’s romance musical La La Land. Much like Love Jones, the film follows two aspiring artists, Mia and Sebastian, who wish to become successful in acting and jazz, respectively. While the film does indulge in classic Hollywood spectacle, with bright colors, massive musical numbers, and a sweeping score, it still portrays a realistic central romance that is hindered by both characters’ career aspirations and personalities. It’s hard not to see the film’s ending as a mirror to Love Jones’ final scene. Both take place in nightclubs where the central couple cross paths after a long time apart. Both endings showcase the artistry that each individual has worked towards, reflecting on what might have been and looking forward to the future. Whether or not there is direct inspiration, the parallel is clear and indicates that Love Jones’ approach to romance is one that many other successful films have coincidentally adopted.
In this regard, Love Jones certainly feels like a film that could be made today, with its more intimate and nuanced approach to romance. It breaks new ground by not adhering to archetypes and cliches of both the genre and representations of Black people. There’s a lot to be learned from it, and as the years tick on, there will be more films about romance that unintentionally replicate Love Jones’ timeless formula.