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Review: A master director’s empathy shines in the belatedly released ‘The Annihilation of Fish’

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Charles Burnett’s 1999 romantic drama, “The Annihilation of Fish,” initially faced a disappointing reception and struggled to find a distributor after its premiere at the Toronto Film Festival. Despite negative reviews from Variety and other events, it seemed destined for obscurity. However, viewing it now, 26 years later, one cannot help but feel a sense of poignancy not just from the film itself, but also from its unfortunate history. The movie tells the story of two troubled individuals who find solace in each other and serves as an even more powerful testament to the people and the art we often overlook.

After a detailed restoration by organizations like UCLA Film & Television Archive, “The Annihilation of Fish” is eagerly anticipated here in Los Angeles, where it was filmed and the city that calls its director home. His films have historically faced delayed or uninterested theatrical releases. A significant player in the L.A. Rebellion, a group of SoCal filmmakers in the 1970s who focused on telling stories about Black life, Burnett directed the defining work of this movement, “Killer of Sheep” from 1977. Due to music rights issues, it took three decades for this masterpiece to receive its proper release. Currently, it ranks at No. 43 in Sight and Sound’s critics poll of the greatest films ever made. Similarly, Burnett’s 1983 drama “My Brother’s Wedding” was initially shown in an unfinished form at the New York Film Festival. However, a lukewarm critical response led to its downfall until Burnett managed to re-edit and complete it effectively in 2007.

Burnett’s films frequently portray ordinary individuals living in a Los Angeles that is distinct from the glamorous side of Hollywood, and this is no exception in “The Annihilation of Fish.” The film’s characters, such as James Earl Jones’ character Fish, who hails from Jamaica and has come to L.A. by bus from New York after spending time in a mental institution, and Lynn Redgrave’s Poinsettia, who has left San Francisco following the death of her loved one and claims to have had a romantic relationship with the renowned Italian composer Giacomo Puccini, are clearly dear to Burnett. However, not many other filmmakers seem to know how to handle these unique characters.

In a curious twist of destiny, Fish and Poinsettia find themselves sharing a residence in Echo Park, managed by Mrs. Muldroone – an unconventional widow with a captivating backstory regarding her name and deceased spouse. If you’re interested, she’ll share it with you. She’s quirky enough that she doesn’t bat an eye at the peculiarities of her new tenants, Fish and Poinsettia. The play invites us to accept these characters in the same open-minded way that Mrs. Muldroone does.

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Last time Charles Burnett appeared promoting a film was back in 2007, during the premiere of “Namibia: The Struggle for Liberation” at the Los Angeles Film Festival.

The story “The Annihilation of Fish” avoids romanticizing mental health struggles by presenting its characters’ conditions matter-of-factly without implying they are sane or infantilized. Instead of sugarcoating, the narrative portrays their distorted reality straightforwardly. At times, Fish experiences intense adrenaline rushes before confronting his inner demons, causing him to wildly move around his apartment while the music shifts from a soothing melody to a chaotic blend of drums and horns. On other occasions, Poinsettia’s emotional instability manifests as anger or despair. “The Annihilation of Fish” remains impartial and patient as we adjust to these peculiar circumstances, eventually leading us to empathize with the characters and develop feelings for them.

In his film career, Jones is primarily recognized for his iconic roles as Darth Vader and Mufasa, with limited opportunities to portray a romantic interest beyond the 1974 movie “Claudine.” It’s delightful then, to witness him playing Fish, a gentle yet shy character, opposite Redgrave who portrays Poinsettia, a more volatile but also affectionate and open woman. Their friendship develops through their shared love for gin rummy, yet Jones gradually unveils Fish’s tender side as the potential for romance unfolds. However, he harbors apprehensions: Interracial relationships were considered taboo in his native Jamaica.

A significant portion of “The Annihilation of Fish” transpires near the boarding house, yet director Burnett and cinematographer John Njaga Demps occasionally lead the protagonists out into Echo Park for walks or paddleboat rides, with the soft murmur of a bustling city in the distance. Despite Burnett’s career being characterized by minimalist realism, his 1990 drama “To Sleep With Anger,” which won an Indie Spirit award, subtly suggested the supernatural. Similar enigmatic elements are present in “The Annihilation of Fish”: Whenever Fish ejects that fictional demon from his second-story apartment window, the tree below mysteriously quivers. Are we seeing things? Or are we being ensnared by the same charm as the characters?

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The actors’ depiction of mental illness in this film is dramatically intense, which could potentially conflict with its minimalist style. However, Jones and Redgrave portray their skittish characters so convincingly that it underscores the reality that their harsh, wild condition does not conform to conventional storytelling norms. The problems faced by Fish and Poinsettia are never random but always difficult to manage, and Burnett acknowledges their complexities without resorting to simplistic resolutions like a fairy-tale ending that might suggest their mental health issues can be solved. Instead, the characters remain true to who they are, with all their flaws and challenges.

Watching this movie stirs up a deep sense of sadness, as the delicate love story and the absence of familiar faces who are now gone, make such feelings unavoidable. Redgrave passed away in 2010, Jones recently, Kidder in 2018, her battles with mental illness adding poignancy to her tale. “The Annihilation of Fish” delves into mental health and race issues, but it’s essentially a story about mortality. Two older characters, each questioning if love will return, find hope that their final chapter may not be over yet. This film, which once risked being overlooked, now finds its time in the spotlight once more, much like its own revival.

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2025-02-21 03:01

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