Every once in a while a film comes along that feels like a true breath of fresh, cinematic air. Jeymes Samuel’s latest is a rare film that falls squarely into that category. That originality, combined with some truly inspired casting, makes The Book of Clarence something truly worth seeing. If not everything completely works, you can’t help but give it points for effort.
The historical epic follows the poor but resourceful Clarence (LaKeith Stanfield), a man determined to find a way to better his family’s situation in Jerusalem. But bad luck dogs every get-rich-quick scheme he attempts until he finds himself in debt to the wrong person. Fascinated by the fervour surrounding Jesus and His apostles, Clarence decides to carve out a piece of the rising religious market for himself and styles himself as a competing Messiah to reap the financial rewards. But his cynicism gradually gives way to a kind of belief in the redemptive power of belief and community.
Samuel’s superb script treads a fine line between comedy and drama, resolutely refraining from tipping too far into either genre. At times, it seems to take the all-out hilarity of Monty Python’s Life of Brian, while at others, it settles comfortably into a framework of intimate, biting wit. But there are effective moments of drama too. From heartfelt speeches about oppression that are just as relevant in 2024 as they were in A.D. 33 to watching the heartbreak of Clarence’s mother (played magnificently by Marianne Jean-Baptiste) as her son suffers at the unrestrained hands of Rome and its colonizers, there are scenes to both cheer for and cry over. It may not be surprising then that the tone of the film shifts wildly at times, but if you hang in through all the many changes in colour, it becomes clear pretty quickly just how well carved out the entirety of the story is here.
What it doesn’t do is take sides in this entertaining exploration of faith. From the devoted believer to the unrepentant cynic, there are many different viewpoints represented and its wisely left up to the viewer as to who they most identify or side with. When the film does take more of a stand, it’s in very deliberate ways: in speaking truth to power and in uplifting the experiences of marginalized in the face of their oppressors. Occasionally the film could benefit from a bit more show and less tell, but you cannot fault the points being made, even if they do, on occasion, give up on subtlety.
The assembled cast is perfectly game for every twist and turn Samuel has in store for them, and Omar Sy, Anna Diop, RJ Cyler, David Oyelowo, Michael Ward, Teyana Taylor, Eric Kofi-Abrefa and James McAvoy all shine in roles large and small. Some of the biggest guffaws (and most quotable lines) came courtesy of Benedict Cumberbatch, who appears in a small but pivotal role that greatly plays up on the Oscar nominee’s sorely neglected comedy chops. But it’s Stanfield’s movie from beginning to end. Through the slapstick, the action, and the more fantastical set pieces (some of which required the ever-dreaded wire work), he never lets you forget the man and the humanity at the centre of the story. His talent and on-screen charisma has rarely been better used and–from a fractious sibling relationship where Stanfield is both brothers to a burgeoning romance with the girl next door to Clarence’s journey from cynicism to belief–there’s no doubt the audience is along for the whole ride.
No look at The Book of Clarence would be complete without a mention of the film’s score (also composed by Samuel, who’s really bringing new meaning to multitasking) and its soundtrack. Like referencing New York as an additional character in a film, it has perhaps lost all meaning to say how essential music is to any particular film, but in the case of Clarence, it couldn’t be more true. It underscores every moment perfectly, upping the emotional ante when necessary or even motivating the characters to a mid-movie choreographed dance routine that feels perfectly appropriate, despite its randomness. It seems unlikely anyone will exit the theatre after the credits have rolled without immediately favouriting the soundtrack on Spotify.
Much like with his directorial debut, The Harder They Fall, Samuel forgoes any constraints of genre with his latest effort and in doing, manages to deliver a wholly entertaining film that defies categorization. He brings equal passion to the myriad of roles he takes on behind the camera and the movie benefits from his singular vision across the board. With that extremely solid foundation, the film’s original and fresh take on a well-known story, and its truly stellar cast, The Book of Clarence has set an early high bar for film in 2024.
The Book of Clarence opens in theatres today, January 12.
