Name: Beauty
Genre: Romance, Drama, Music
Released: 2022-06-29T00:00:00+00:00
Cast: Gracie Marie Bradley, Aleyse Shannon, Niecy Nash, Giancarlo Esposito, Kyle Bary

The opening scene of Andrew Dosunmu’s “Beauty” (2022) is a spellbinding performance by Gracie Marie Bradley, her voice soaring through an empty concert hall, the acoustics swallowing every note. It’s a moment that promises raw talent and emotional depth, but the film struggles to maintain this initial grip.

Dosunmu, known for his visually striking work in “Mother of George,” brings a similar aesthetic sensibility here, framing Bradley’s Beauty with a painterly eye. The cinematography is undeniably lush, using light and shadow to create a dreamlike atmosphere that mirrors the protagonist’s internal conflict. The sound design is equally impressive, amplifying the music scenes with a visceral intensity that makes the silence in quieter moments feel deafening. Dosunmu’s direction excels in these intimate, character-driven sequences, allowing the performances to breathe and the emotional stakes to build organically.

Bradley delivers a commendable performance, her portrayal of a young singer torn between family expectations, industry pressures, and her love for her girlfriend (Aleyse Shannon) is nuanced and authentic. Bradley’s vocal performances are particularly noteworthy, showcasing a powerful range that underscores the emotional turmoil of her character. The chemistry between Bradley and Shannon is palpable, their scenes together brimming with an honesty that elevates the material. Niecy Nash-Betts and Giancarlo Esposito also shine as Beauty’s parents, their performances adding gravitas to the family dynamics. Esposito, in particular, brings a layered complexity to his role, embodying both the stern authority of a traditional father and the underlying love for his daughter.

However, the story falters in its pacing and structure. The narrative juggles multiple themes—artistic integrity, LGBTQ+ identity, familial duty—and while these are all compelling topics, they’re not woven together seamlessly. The film’s runtime could be trimmed, as several subplots feel drawn out or underdeveloped. For instance, the dynamic between Beauty and her parents, while emotionally charged, sometimes feels repetitive, rehashing similar conflicts without significant progression.

The industry pressures depicted in the film can sometimes feel clichéd, with record label executives and managers portrayed as one-dimensional antagonists. The film’s attempt to balance multiple genres—romance, drama, and music—leads to tonal inconsistencies that disrupt the overall flow. This is particularly evident in the scenes involving Sharon Stone as the “Colonizer,” a character whose motives and actions feel underdeveloped and out of place within the otherwise grounded narrative.

The originality of “Beauty” lies in its exploration of a Black queer love story within the music industry, a narrative that’s refreshingly underrepresented in mainstream cinema. However, while the premise is innovative, the execution sometimes leans on familiar tropes. The film’s attempt to balance multiple genres—romance, drama, and music—leads to tonal inconsistencies that disrupt the overall flow.

“Beauty” is a film of moments rather than a cohesive whole. When it works, it soars—Bradley’s performances, both vocal and dramatic, are standout elements that leave a lasting impression. The intimate scenes between Bradley and Shannon are particularly powerful, capturing the raw emotion and vulnerability of their relationship. Dosunmu’s direction shines in these moments, using close-ups and natural lighting to create an immersive experience.

Yet, the film struggles to maintain this level of engagement throughout its runtime. The pacing issues and underdeveloped subplots detract from the overall impact, making it feel more like a collection of compelling scenes rather than a tightly woven narrative. The sound design, while impressive in the music scenes, sometimes feels overpowering in quieter moments, drawing attention away from the dialogue and performances.

In terms of its target audience, “Beauty” will resonate most with viewers who appreciate character-driven dramas and are interested in exploring underrepresented narratives. Fans of musical biopics and LGBTQ+ stories may find the film particularly appealing. However, those looking for a tightly plotted narrative or a more conventional romantic drama might be disappointed.

Ultimately, “Beauty” is a film that showcases tremendous potential but falls short of its ambitions. The performances are outstanding, and the cinematography is visually stunning, but the story’s pacing and structure prevent it from reaching its full potential. Dosunmu’s direction is impressive in moments, but the film’s tonal inconsistencies and underdeveloped subplots detract from the overall experience.