Overly Grim 'Precious:' Underdog Story Borders on Ridiculousness

'Precious: Based on the novel PUSH by Sapphire'

Review: 2.5/5

The opening credit sequence in Lee Daniels' 'Precious' is presented over a black screen, scribbled illiterately in what seems to be orange crayon. This brief, maudlin preface whimpers piteously across the screen, blatantly reflecting Claireece 'Precious' Jones' ignorant, subjective view of a lower-class U.S. society, populated by stereotypical caricatures that parade across the screen, gratuitously pleading for spectators' empathy. I recognize that we're in a time of recession, and underdog narratives should be quite the apt societal appeal, but the unnecessary, borderline obscene histrionics that dominate Precious' world reminds the audience that things sure could be worse. Daniels doesn't once ask the audience to admire Precious' dogged persistence, but instead asserts vehemently that you pity the girl and the ludicrous plausibility of nearly every obstacle she encounters.

Consider an early scene during which Precious' evil mother, played by Mo'Nique, rifles a glass bottle at her daughter in the den of their less-than-modest apartment, and screams cruel platitudes in a rant that is overly scripted and probably more articulate than it should be, given the distinctly bleak world that Daniels wholeheartedly invites the spectator into. This early scene firmly establishes the 'evil mother' caricature who's so relentlessly overbearing that her actions and dialogue become progressively absurd and unmotivated. It's seemingly a one-note performance, and Mo'Nique ups the ante with a complete embrace of all things malicious. Her own spectrum of human emotion remains absent throughout the film (until the film's climax, which itself renders a narcissistic, evil Mo'Nique who finally offers some insight into her evil-doing. And how does she do this? By screaming, ranting, and crying, with the malevolence meter cranked to 11). And all the spectator can do is feel sorry for Precious, as she is the target of her mother's misplaced anger (and let's not forget Precious' dreams, which are visited in a flashback-like aesthetic, and boast aggressively poor construction and execution). 

In all likelihood this film will be nominated for an abundance of Oscars given its subject matter and the overtly topical goings-on. Is it the best film of the year? In my opinion: absolutely not.