Jungle Fever (1991)

R | 132 mins | Drama, Romance | 7 June 1991

Director:

Spike Lee

Writer:

Spike Lee

Producer:

Spike Lee

Editor:

Sam Pollard

Production Designer:

Wynn Thomas

Production Company:

40 Acres and a Mule Filmworks
Full page view
HISTORY

The film begins with the following statement: “In memory of Yusuf K. Hawkins March 19, 1973 – August 23, 1989.” Hawkins, an African American teenager, was shot and killed in Bensonhurst, an Italian-American neighborhood in Brooklyn, NY. Various contemporary sources suggested that the white gang members who attacked him were aggravated about a neighborhood girl’s involvement with a non-white boy. A few months after the incident, writer-director Spike Lee began making notes for Jungle Fever, according to a 2 Jun 1991 NYT article. After transferring his ideas to index cards which could easily be arranged into scenes, he started writing dialogue, thinking specifically of actors Wesley Snipes, Ossie Davis, and John Turturro for the roles of “Flipper Purify,” “The Good Reverend Doctor Purify,” and “Paulie Carbone.” Lee reportedly modeled Paulie’s tough friend, “Vinny,” on Joseph Fama, the teenager who shot Yusuf Hawkins. A 15 Nov 1990 NYT news brief suggested that certain aspects of architect Flipper Purify were inspired by Lee’s longtime friend and collaborator, cinematographer Ernest Dickerson, who studied architecture at Howard University.
       Principal photography began 20 Aug 1990 in New York City. Production notes in AMPAS library files indicate that a majority of the movie was filmed in the districts of Harlem and Bensonhurst, with additional scenes shot in Brooklyn’s Flatlands neighborhood, as well as in Greenwich Village and at the San Gennaro street festival in “Little Italy.” The NYT noted that the Manhattan offices of the Walker Group doubled for the fictional architecture firm “Mast & Covington.” Expanding on the basic script, much of the film’s dialogue was developed during production. In the scene in which “Drew” ...

More Less

The film begins with the following statement: “In memory of Yusuf K. Hawkins March 19, 1973 – August 23, 1989.” Hawkins, an African American teenager, was shot and killed in Bensonhurst, an Italian-American neighborhood in Brooklyn, NY. Various contemporary sources suggested that the white gang members who attacked him were aggravated about a neighborhood girl’s involvement with a non-white boy. A few months after the incident, writer-director Spike Lee began making notes for Jungle Fever, according to a 2 Jun 1991 NYT article. After transferring his ideas to index cards which could easily be arranged into scenes, he started writing dialogue, thinking specifically of actors Wesley Snipes, Ossie Davis, and John Turturro for the roles of “Flipper Purify,” “The Good Reverend Doctor Purify,” and “Paulie Carbone.” Lee reportedly modeled Paulie’s tough friend, “Vinny,” on Joseph Fama, the teenager who shot Yusuf Hawkins. A 15 Nov 1990 NYT news brief suggested that certain aspects of architect Flipper Purify were inspired by Lee’s longtime friend and collaborator, cinematographer Ernest Dickerson, who studied architecture at Howard University.
       Principal photography began 20 Aug 1990 in New York City. Production notes in AMPAS library files indicate that a majority of the movie was filmed in the districts of Harlem and Bensonhurst, with additional scenes shot in Brooklyn’s Flatlands neighborhood, as well as in Greenwich Village and at the San Gennaro street festival in “Little Italy.” The NYT noted that the Manhattan offices of the Walker Group doubled for the fictional architecture firm “Mast & Covington.” Expanding on the basic script, much of the film’s dialogue was developed during production. In the scene in which “Drew” and her girl friends discuss Flipper’s infidelity, the five actresses’ performances are almost entirely improvised, according to a 2 Jun 1991 NYT article. The emotionally charged conversation, which required three days of rehearsal and took an entire day to film, made a strong impression on critics, as noted in 7 Jun 1991 NYT and LAT reviews.
       Although a 22 Jan 1991 DV news item reported that the film would include cameo performances by Catherine and Charles Scorsese (parents of director Martin Scorsese), as well as by actor Franc D’Ambrosio, their appearances as "disapproving bystanders" were neither credited nor able to be verified visually.
       A 5 Apr 1991 LAWeekly news item indicated that Spike Lee filmed a “prologue” for the film in which he addressed the camera and spoke about racial issues. However, at the encouragement of distributor Universal Pictures, the director agreed to remove the “offending” scene from the $12.5 million picture.
       After receiving its world premiere on 16 May 1991 at the Cannes International Film Festival, Jungle Fever opened theatrically on 7 Jun 1991. Various contemporary sources reported that the film made $5.3 million in the three days following its release, although it stirred controversy among viewers. On 7 Jul 1991, the LAT published a full-page of letters responding both to the film and to a 23 Jun 1991 LAT article by African American writer Itabari Njeri, who derided Jungle Fever for perpetuating myths about interracial relationships. Film critics offered more measured assessments, acknowledging Lee as something of a provocateur, but commending the picture’s strong performances.
       End credits include the following acknowledgements: “Special thanks: New York City Mayor’s Office for Film, Theater and Broadcasting; Terence Blanchard; Garrett Brown; Bellini Juvenile Furniture; Charlton House Of Dolls; Children’s Gallery; Cicena; Louis J. Delsarte; Editions du Desastre; Evian; Glamour; Graphique de France; Jason Hunt; Johnson Publications; Keds Kids Clothes; Spencer Lawrence; Mademoiselle; Marvel Comics; Miller Beer; NIKE, Inc.; Naomi Sims, Ltd.; Charlie Newton; New York Daily News; New York Newsday; New York Post; New York State Lottery; New York Times; Pepsi; Precore, Inc; Sassy Magazine; Michael J. Singletary; Tangiers Kid Clothes; Vogue; Wm Wrigley, Jr. Company; and Stevland Morris.
       Like many of Spike Lee’s films, end credits conclude with the tag: “Ya-Dig, Sho-Nuff, By Any Means Necessary.”

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
1 Aug 1990
---
Daily Variety
22 Jan 1991
---
Hollywood Reporter
21 Aug 1990
---
Hollywood Reporter
17 May 1991
p. 14, 17
Hollywood Reporter
2 Jul 1991
p. 3, 8
Los Angeles Times
17 May 1991
Section F, p. 1, 8
Los Angeles Times
7 Jun 1991
Calendar, p. 1
Los Angeles Times
23 Jun 1991
p. 9, 34, 36, 90
Los Angeles Times
7 Jul 1991
Calendar, p. 87
LA Weekly
5 Apr 1991
---
New York
17 Jun 1991
pp. 76-78
New York Times
15 Nov 1990
---
New York Times
2 Jun 1991
p. 15, 22
New York Times
7 Jun 1991
Section C, p. 1
Screen International
9 Aug 1991
---
Variety
20 May 1991
p. 39
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Universal Pictures Presents
A Forty Acres and a Mule Filmworks Production
A Spike Lee Joint
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
1st asst dir
2d asst dir
2d asst dir
PRODUCERS
Prod
Co-prod
Line prod
WRITER
Wrt
PHOTOGRAPHY
Photographed by
Cam op
1st asst cam
1st asst cam
2d asst cam
Still photog
Addl cam op
Addl cam op
Addl 1st asst cam
Addl 1st asst cam
Addl 1st asst cam
Steadicam op
Steadicam op
Steadicam op
Louma crane op
Steadicam asst
Steadicam asst
Cablecam
Cablecam asst
Video op
Video op
Video eng
Best boy
Generator op
Key grip
Best boy grip
Dolly/Crane grip
3d grip
4th grip
4th grip
Company grip
Company grip
Key rigging grip
Rigging grip
Rigging grip
Projectionist
Projectionist's asst
Grip equip
Louma crane and dollies
Projection equip
Projection facility
Prints by
ART DIRECTORS
Prod des
Asst art dir
Asst to the prod des
Asst to the prod des
Storyboard artist
FILM EDITORS
Addl ed
Asst ed
Apprentice ed
Apprentice ed
Apprentice ed
Negative matching
SET DECORATORS
Set dec
2d dresser
Dresser
Dresser
Dresser
Dresser
Dresser
Asst to the set dec
Prop master
1st asst prop
2d asst prop
Inside prop asst
Const coord
Key const grip
Key set builder
Key set builder
Set builder
Set builder
Set builder
Const grip
Const grip
Chargeman scenic
Standby scenic
Scenic
Scenic
Scenic
Scenic
Scenic shopwoman
Scenic artist sculptor
Main title sign props
COSTUMES
Cost des
Asst to the cost des
Asst to the cost des
Ward supv
Asst ward supv
Ward asst
Ward asst
Ward asst
MUSIC
Orig mus comp written, arranged, performed and pro
Orig mus score
featuring
Orig mus score
Asst mus ed
Mus score rec and mixed at
Eng and mixed by
Addl eng/Programming
Addl eng
Assoc prod and computer sd des
Exec assoc prod/Vocal arrangements
Vocal arrangements
Vocal arrangements
Soundtrack project coord
Score rec by
and
Score rec by
Score mixed by
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Violin, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Viola, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Cello, The orchestra
Bass, The orchestra
Bass, The orchestra
Bass, The orchestra
Bass, The orchestra
Flute, The orchestra
Oboe, The orchestra
Bassoon, The orchestra
French horn, The orchestra
French horn, The orchestra
Trombone, The orchestra
Tuba, The orchestra
Piano, The orchestra
Percussion, The orchestra
Latin percussion, The orchestra
Drums, The orchestra
Founder/Director, The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
The Boys Choir of Harlem
SOUND
Sd des
Boom man
Cable person
Rerecording mixer
Dial ed
Dial ed
Sd F/X ed
Foley ed
Foley ed
Foley ed
ADR ed
ADR ed
Asst sd ed
Asst sd ed
Asst sd ed
Asst ADR ed
Apprentice sd ed
Foley artist
ADR rec
Dolby Stereo consultant
Dolby Stereo consultant
Sd equip
Sd equip
Post-prod sd
Post-prod sd/Mixed at
VISUAL EFFECTS
Main and end titles des and prod by
MAKEUP
Men's hairdresser
Women's hairdresser
Makeup
PRODUCTION MISC
Casting
Prod supv
Unit/Loc mgr
Prod office coord
40 Acres prod coord
Asst prod office coord
Unit pub
Prod secy
Post prod office coord
Prod comptroller
Auditor
Asst auditor
Casting assoc
Extras casting
Extras casting
Asst loc mgr
Asst loc mgr
Loc scout
Our man in Fort-de-France
Transportation capt
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Helper
Helper
Asst to Mr. Lee
Prod asst - office
Prod asst - 40 Acres
Prod asst - 40 Acres
Prod asst - set
Lee Davis
Prod asst - set
Prod asst - set
Prod asst - set
Prod asst - set
Prod asst - set
Prod asst - set
Craft service
Craft service
Craft service
Craft service
Prod asst - Casting
Prod asst - loc
Prod asst - elec
Prod asst - const
Prod asst - const
Prod asst - const
Prod asst - const
Prod asst - const
Prod asst - const
Prod asst - const
Prod asst - const
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Intern
Consulting architect
Caterers
Security
Security
Product placement
Animals trained and provided by
STAND INS
Stunt coord
COLOR PERSONNEL
Col timer
SOURCES
SONGS
"Bless This House," music by May H. Brahe, words by Helen Taylor, used by permission of Boosey & Hawkes Inc., ASCAP, performed by Mahalia Jackson, courtesy of Columbia Records by arrangement with Sony Music Licensing; "Can't Do Nuthin' For Ya Man," written by William Drayton, Keith Shocklee and Eric Sadler, courtesy of Def American Songs, Inc. and Your Mother's Music, BMI, performed by Public Enemy, courtesy of Def Jam/Columbia Records by arrangement with Sony Music Licensing; "Once Upon A Time," lyrics by Lee Adams, music by Charles Strouse, courtesy of Strada Music, ASCAP, all rights administered by The Songwriters Guild of America, performed by Frank Sinatra, courtesy of Reprise Records by arrangement with Warner Special Products; "The Seductress," written and performed by Wynton Marsalis, courtesy of Skayne's Music, ASCAP and Columbia Records by arrangement with Sony Music Licensing; "It Was A Very Good Year," words and music by Ervin Drake, courtesy of Lindabet Music Corp., ASCAP, all rights administered by The Songwriters Guild of America, performed by Frank Sinatra, courtesy of Reprise Records by arrangement with Warner Special Products; "Behold The Star," traditional, arrangement by Terence Blanchard, performed by the Boys Choir of Harlem; "The Upper Room," written by Bobby Smith and Mahalia Jackson, courtesy of Bess Music Co., BMI, performed by Mahalia Jackson, courtesy of Columbia Records by arrangement with Sony Music Licensing; "Livin' For The City," written and performed by Stevie Wonder, courtesy of Jobete Music Co. Inc. & Black Bull Music Inc., ASCAP and Motown Record Company, L.P.; "Hello Young Lovers," written by Richard Rodgers and Oscar Hammerstein II, courtesy of Williamson Music, ASCAP, performed by Frank Sinatra, courtesy of Reprise Records by arrangement with Warner Special Products; "Let The Church Roll On," written by James Cleveland, used by permission of Screen Gems-EMI Music, Inc., BMI, performed by Mahalia Jackson, courtesy of Columbia Records by arrangement with Sony Music Licensing; "He Calmed The Ocean," arranged and performed by Mahalia Jackson, courtesy of Columbia Records by arrangement with Sony Music Licensing; "Jungle Fever," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Fun Day," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Gotta Have You," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Chemical Love," music by Stevie Wonder, lyrics by Stephanie Andrews, courtesy of Mor-Lovabull Music, BMI by arrangement with Stevland Morris Music, ASCAP; "I Go Sailing," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Each Other's Throats," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Make Sure You're Sure," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Lighting Up The Candles," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "These Three Words," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "If She Breaks Your Heart," music and lyrics by Stevie Wonder, performed by Kimberly Brewer by arrangement with Stevland Morris Music, ASCAP; "Queen In The Black," music and lyrics by Stevie Wonder, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP; "Feeding Off The Love Of The Land," music and lyrics by Stevie Wonder, string arrangement by Bill Lee, performed by Stevie Wonder by arrangement with Stevland Morris Music, ASCAP.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
7 June 1991
Premiere Information:
Cannes Film Festival screening: 16 May 1991; Los Angeles and New York openings: 7 Jun 1991
Production Date:
began 20 Aug 1990
Copyright Info
Claimant
Date
Copyright Number
Universal City Studios, Inc.
11 December 1991
PA547613
Physical Properties:
Sound
Spectral Recording Dolby Stereo SR® in selected theatres
Color
Duration(in mins):
132
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
31168
SYNOPSIS

On an idyllic morning in New York City, in the African American neighborhood of Harlem, “Flipper” Purify and his wife, Drew, make love. Drew’s passionate outbursts awaken the couple’s young daughter, Ming, who giggles and pretends to fall back to sleep. After walking his daughter to school, Flipper goes to work at Mast & Covington, an architecture firm in mid-town Manhattan. There, senior partners Jerry and Leslie introduce the architect to his new secretary, Angie Tucci. After welcoming her, Flipper storms into Leslie’s office, where he reminds the partners that he wanted an African American assistant. Leslie and Jerry consider the request discriminatory, but Flipper argues that they should be trying harder to diversify the office staff. That night, Angie Tucci returns to her home in Bensonhurst, an Italian American neighborhood in Brooklyn, and cooks dinner for her father, Mike Tucci, and her brothers, Charlie and Jimmy. Meanwhile, Flipper and Drew cook dinner together. They discuss Flipper’s imminent promotion, which he intends to ask for at an upcoming meeting, but Drew cautions him to be prepared if they say no. Back at the Tucci residence, Angie’s boyfriend, Paulie Carbone, stops by and invites Angie out. Jimmy and Charlie harass the timid man, reminding him to treat their sister with respect. Afterward, Angie urges Paulie to stand up to her brothers. In Harlem, the Good Reverend Doctor Purify reads the Bible to his wife, Lucinda. The doorbell rings, and Lucinda ushers their son, “Gator” Purify, into the kitchen. She offers to make him some food, but he declines, asking instead for $100. Rev. Purify insists that Gator leave. Lucinda cajoles her husband into returning to the sitting room, before giving ...

More Less

On an idyllic morning in New York City, in the African American neighborhood of Harlem, “Flipper” Purify and his wife, Drew, make love. Drew’s passionate outbursts awaken the couple’s young daughter, Ming, who giggles and pretends to fall back to sleep. After walking his daughter to school, Flipper goes to work at Mast & Covington, an architecture firm in mid-town Manhattan. There, senior partners Jerry and Leslie introduce the architect to his new secretary, Angie Tucci. After welcoming her, Flipper storms into Leslie’s office, where he reminds the partners that he wanted an African American assistant. Leslie and Jerry consider the request discriminatory, but Flipper argues that they should be trying harder to diversify the office staff. That night, Angie Tucci returns to her home in Bensonhurst, an Italian American neighborhood in Brooklyn, and cooks dinner for her father, Mike Tucci, and her brothers, Charlie and Jimmy. Meanwhile, Flipper and Drew cook dinner together. They discuss Flipper’s imminent promotion, which he intends to ask for at an upcoming meeting, but Drew cautions him to be prepared if they say no. Back at the Tucci residence, Angie’s boyfriend, Paulie Carbone, stops by and invites Angie out. Jimmy and Charlie harass the timid man, reminding him to treat their sister with respect. Afterward, Angie urges Paulie to stand up to her brothers. In Harlem, the Good Reverend Doctor Purify reads the Bible to his wife, Lucinda. The doorbell rings, and Lucinda ushers their son, “Gator” Purify, into the kitchen. She offers to make him some food, but he declines, asking instead for $100. Rev. Purify insists that Gator leave. Lucinda cajoles her husband into returning to the sitting room, before giving Gator the money. Sometime later, Angie and Flipper remain at the office after hours. When Flipper encourages her to go home, Angie jokes that her commitment to her job will force her father and brothers to learn to cook. In the weeks that follow, Flipper and Angie routinely work late, order takeout food, and share long conversations. One night, Angie tells Flipper about her childhood sweetheart, Paulie, but confesses she has outgrown the relationship. As she turns to go, Flipper pulls her toward him. They kiss passionately and have sex on top of the desk. The next morning at Carbone’s, a cafe and newsstand in Bensonhurst, Paulie reads a book while his Italian American customers drown their sorrows in egg creams. Vinny, a tough young man, looks askance when Orin Goode, a confident young African American woman, stops in to buy her daily newspapers. Orin encourages Paulie to apply to Brooklyn College, and Paulie shyly thanks her, unable to take his eyes off her as she leaves. Later, at Mast & Covington, Flipper meets with Leslie and Jerry and proposes they make him partner. The two senior architects claim they cannot accommodate his request, and Flipper hands them his resignation. That night, Flipper hangs out with his best friend, Cyrus, who admires his friend’s decision to leave the firm. However, Cyrus is shocked when Flipper reveals he is having an affair with Angie. Meanwhile, in Brooklyn, Angie shares the news of her relationship with Flipper with two girl friends. They are appalled to learn Flipper is African American, and warn Angie not to tell her father. Back in Harlem, Cyrus dismisses Flipper’s affair as nothing more than a black man’s curiosity about being with a white woman. Just then, Flipper’s brother, Gator, passes by and asks his brother for money to buy drugs, threatening to beat up an old person if he rejects. Flipper reluctantly gives the addict twenty dollars. In the days that follow, Flipper and Angie spend time together in public, receiving disapproving looks and comments from passersby. One night, Flipper returns home to find his wife throwing his belongings into the street. She curses him and tells him to find a new place to live. Flipper moves in with his parents, and endures his father’s moral pronouncements about the situation. The next day, Flipper brings flowers to Drew, but she refuses his apology. Later, in Bensonhurst, Angie ends her longstanding engagement to Paulie, breaking his heart. When she returns home, her father, having learned of her affair with Flipper, beats her with his belt. The next morning, customers at Carbone’s offer their condolences to Paulie, blaming African Americans for all their problems. A few days later, Angie and Flipper move into an apartment and look forward to starting a life together. The architect arranges for Angie to meet his parents, but Rev. Purify uses the dinner to recount historic tales of slavery and rape, offending her. On the sidewalk in front of their apartment building, Flipper and Angie get into a mock argument. Police arrive and hold Flipper at gunpoint, as Angie protests that their quarrel was merely a joke. After the incident, the couple retreat to their apartment, speechless. Paulie’s attraction to Orin intensifies, and he asks if she would ever date a white man. Although she is amenable to the idea, she indicates that she does not have romantic feelings for him. The exchange provokes an intense argument among Carbone’s regulars, but Paulie admonishes his friends to mind their own business. Meanwhile, Flipper’s mother informs her youngest son that Gator stole a television set from the Good Reverend’s house. Flipper locates his brother at a crack house in a rough part of Harlem, but he cannot convince Gator to reform. Later, Angie confronts Flipper about the status of their relationship, wondering if he would ever have children with her. He says no, and when he awakens the next morning, she is gone. On returning to Bensonhurst, Angie attempts to mend her friendship with Paulie, but he is not ready to forgive her. She knocks on her father’s door, and he welcomes her home. Back in Harlem, Gator waits for Rev. Purify to go out for his evening walk, before ringing the doorbell and demanding money from his mother. Lucinda protests, and Gator ransacks the house searching for cash. Rev. Purify returns and shoots his son with a handgun. Gator dies in his mother’s arms. Unaware of the tragedy, Flipper awakens in bed with Drew, and the two make love as morning breaks, much to their daughter’s delight. However, Drew does not consider the intimate encounter a reconciliation. Deep in reflection, Flipper leaves. At the end of the block, a prostitute solicits him. Embracing the girl, Flipper throws back his head and cries, “No!”

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

Casablanca

In the onscreen credits, actor S. Z. Sakall's name is incorrectly spelled "S. K. Sakall." HR news items add the following information about the production: ... >>

Citizen Kane

This film's end credits begin with the statement, “Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud ... >>

Gone with the Wind

[Note from the Editors : the following information is based on contemporary news items, feature articles, reviews, interviews, memoranda and corporate records. Information obtained from modern sources is ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.