Whether or not Invictus—Clint Eastwood’s forthcoming film about South African rugby—manages to sentimentalize apartheid, the 2009 film season has already been defined by gritty, emotional realism. Kathryn Bigelow’s anti-epic, The Hurt Locker, was the first fictional film on the Iraq War to approximate the conflict psychologically. Save for David Simon’s HBO miniseries Generation Kill, only The Hurt Locker achieves verisimilitude; sitting through the picture in the theater must feel something like serving in country. More recently, Lars von Trier’s harrowing, and ultimately, despicable masterpiece Antichrist, was at least as unwatchable, to those who haven’t suffered such a loss, as losing a child is unimaginable.
Lee Daniels’ second feature, Precious: Based on the Novel Push by Sapphire, (the novel was adapted by Geoffrey Fletcher), does for life in the ghetto what Bigelow did for modern war, and von Trier for filicide. At the start of the film, Precious (Gabourey ‘Gabby’ Sidibe) is sixteen, illiterate, obese, and pregnant with her own father’s child—for the second time. She’s a quiet girl in the initial scenes, and when we first hear her speak it’s in voiceover. Though she may be piteous—in fact, there may never have been a character more deserving of sympathy—her tone isn’t pitiable. Precious lives in her imagination, and it is only in her fantasies that she finds sovereignty. At home with her mother, she is a slave in the truest sense: she’s an indentured servant and a source of income for her master. Welfare is the lone industry in the film, and the greater the recipient’s need appears, the larger the monthly check. For Precious’ mother, Mary (Mo’Nique), to survive without working, she must keep Precious—and whatever issues from Precious—under her ward. Before a visit from their social worker, Mary’s mother brings over Precious’ first child, whom Mary, on paper, claims as her own. The girl is a product of incest and afflicted with Down syndrome. She’s called Mongo, short for mongoloid. We’re never given her real name.
Precious is, throughout, a film about perverse subjugation. Mary profits from her control over Precious (the fuller the house, the greater the yield), but the gains themselves are dependent upon stasis. If Precious leaves the house, Mary can’t eat. Precious, therefore, is a resource and a crutch, and as any head of an empire, Mary fights violently to keep her progeny in the commonwealth. In an early scene, after a counselor from Precious’ school stops by the apartment building to conference with Mary, thinking she’ll be reported—for abuse and neglect, ostensibly—Mary attacks her daughter, throwing at her whatever she can find, in this case a shoe. Later, she throws a television.
The film is in many ways unbearable to watch, and because of that all the more necessary to see. But unlike Antichrist, for instance, which was relentlessly horrific to no purpose (and still astounding in spite of that), Precious strives to alleviate misery. Precious moves to an alternative school where she meets Ms. Rain (Paula Patton), who commits herself wholeheartedly to Precious’ resurrection. What keeps this plot point from turning saccharine, though, is the fact that Precious herself may be past saving. Even if she were to earn her GED and go to college, by the end of the film, one feels, as an observer, that her psychic wounds are too deep to close. How can she, for instance, tell her son about his father?
Precious is the preeminent victim of her circumstances. But at the same time, excepting a few intense moments of introspection (the grandest one being the final encounter she has with her mother at the welfare office, a scene that may be the most terrifyingly cathartic of the year—surpassing even Charlotte Gainsbourg’s self-mutilation scene in Antichrist) she doesn’t dwell very long on her plight. And that she remains optimistic in spite of everything is either this film’s greatest flaw, or its triumph. If it’s the latter—and I would argue it is—Precious is much more than an exposé of poverty or an argument against government aid. It earns its optimism, if only because the labors necessary to achieve that hope are so awful.
When Precious leaves the welfare office, carrying her son, and holding her daughter’s hand, I thought of the close of Kubrick’s Paths of Glory. After the execution of the innocent deserters in that film, the surviving soldiers sit in a mess hall. A beautiful young woman comes out onto the stage. The men jeer her as she begins to sing. But soon they stop. They’re unable to summon more insults. The beauty of her art, for that moment, eliminates their horrors. Similarly, Precious’ love for her children wipes away, temporarily, the mess of her circumstances.
Lee Daniels, by making this film, trained his eye—subjective as that eye may sometimes seem—on a family whose abhorrent situation, terrifyingly enough, isn’t unique. For many audiences (even those familiar with the fourth season of The Wire), Precious ought to come as a sickening shock. Despite its dream sequences and fantasies, it is overwhelmingly real.