Once again, Spike Lee has created a film of the times. In his latest venture, "Get on the Bus," the emotional and complicated aspects of modern society are reflected in the tension and enthusiasm of African American men on their way to support their race.
The plot focuses on 20 men whose lives have converged on a bus to Washington for the Million Man March. They come from all walks of life, but are all bound by a common goal. The clash in their personalities make the story far from the standard cross-country tale. They have had no prior knowledge of each other, and the way their lives change through the course of a six-day trip from Southern California to the nation's capital is amazing.
When the men initially "get on the bus," they bring extra baggage from their home lives. They first encounter the driver George (Charles Dutton) whose stability keeps the riders under control. He hesitantly welcomes Evan and his son Junior (Thomas Jefferson Byrd and DeAundre Bonds) who are joined by handcuffs; a court order has linked the two together because of Junior's delinquent habits. They undergo much criticism when their fellow riders attempt to judge the morality of the situation.
The leader of the criticism is an older man whose only motivation is to arrive in Washington to support his people. Jeremiah (Ossie Davis) is the elder of the group whose wisdom and experience proves to be the bonding link among the battered souls. His battle to reach the capital is the most endearing.
In the midst of one of Jeremiah's prayers, Flip, an arrogant actor (Andre Braugher), interrupts with a speech on how the bus could hardly have left without him. His egotistical attitude is indicative of the diversity on the bus, and his persona stimulates the tension that makes the film worthwhile.
Although the bus is comprised of all men of the same ethnic origin, there is also much diversity. A fight between the homosexual couple initiates much antagonism from fellow travelers, especially the self-absorbed Flip. The couple's open communication raises many eyebrows, but their overall relationship is extraneous and only deters from the point.
Flip also questions Gary's (Roger Smith) motives for making the excursion; he is the only man of mixed background, and the fact that he classifies himself as black despite his white mother receives even more skepticism. His need to conform to rules brings many of the underlying issues to light.
The other riders contribute additional character to the lifeline of the Spotted Owl. The Muslim, Jamal (Gabriel Casseus), brings his values to the group, who do not understand his lifestyle and priorities.
The characters are defined through the lens of a UCLA student's video camera; Xavier's (Hill Harper) role is the hope for the future. He only observes, but it's obvious that he absorbs the different opinions. He asks everyone why they are on the bus, and his questions reveal aspects that might have been left misunderstood.
The diversity among the men alleviates the boredom that might have developed from watching the trip. The major flaw, however, is that the excursion tends to be a drawn-out tale of human relations. The character conflicts do keep the plot stimulating for the most part, but after an hour and a half of watching the interactions, "Are we there yet?" begins to cross our mind.
Despite the various conflicts, "Get on the Bus" has an overall mood of compassion and understanding. It reveals a less extreme version of a rather complicated event. Lee manipulates the camera perspectives to alter the mood, and as a result, avoids the harsh tones that might limit audience appreciation. He also does a remarkable job of avoiding the one-sided perspectives of his previous films.
"Get on the Bus" deals with 20 men with one objective. It is a story of struggle, but not of whining. Overall, the film successfully highlights all sides of an important racial issue.
Men pose in fronty of a road sign on the way to the Million Man March in Spike Lee's latest film, "Get on the Bus."