Stars:
** 1/2
Rating: PG-13 for adult
themes and some violence
Run
Time: 1
hour, 50 minutes
Sue Monk
Kidd’s heart-wrenching novel gets the big screen treatment along with a
flawless performance courtesy eternal wunderkind Dakota Fanning.
It’s a
tetchy time in the south; the Civil Rights Act has been signed into law and the
climate between blacks and whites is an anxious one. For careworn adolescent
Lily Owens (Fanning) the new regime has implications as she is forced to run
from an abusive dad (Paul Bettany) and take to the road with black housekeeper
Rosaleen (Jennifer Hudson).
The
mismatched pair don’t get too far before landing themselves on the doorstep of
the convivial South Carolina home of the sisters Boatwright; honey entrepreneur
August (Queen Latifah), militant middle child June (Alicia Keyes) and “touched”
sibling May (Sophie Okenedo).
While
Lily’s dad makes tracks to locate his missing girl she and Rosaleen seek refuge
at the Boatwrights – learning the fine art of speaking to bees and coaxing the
tastiest honey from their combs.
But all is
not sweetness and light. While August – the essence of empowerment -- patiently
nurtures Lily into budding womanhood June resents her color and her presence
and makes her displeasure known. May is simply delighted with the company,
forging a tender bond with Rosaleen.
It’s all
about the sisterhood but the gentlemen get their day in the sun too – June’s
suffering-in-silence beau (Nate Parker) and a poignant potential love interest
for fourteen year-old Lily (Tristan Wilds). Performances are first-rate across
the boards, the kind of endearing ensemble turns that typically have Oscar
knocking.
The
book-film comparison is a ticklish one; a film needs to stand on its own merits
and should not have to suffer the inevitable comparisons. Unfortunately Kidd’s
affecting tome is an embarrassment of riches so no matter how you cut it the
screen version of “Bees” can’t measure up, leaning too left of cloying for my
savory tastes.
Yes there
are sweet-as-honey moments and some effectively weepy ones as well, but show me
the nuance and scratch the false sincerity. “Bees” is packed with enough scripted
chestnuts and patronizing platitudes to usher in awards season with a murmur not
a shout.