If Cord Jefferson had not ‘made it’ in his profession as a writer for television, it would perhaps make sense seeing him try something different. But with accolades for his writing for very noteworthy shows such as The Good Place, Succession and Watchmen, it is a wonder why he would attempt to do just that.
Jefferson has written, directed and co-produced his first feature film, American Fiction, based on Percival Everett’s novel Erasure. The film follows novelist and professor Thelonious “Monk” Ellison (played by Jeffrey Wright), who is suffering writer’s block and struggling to deliver work to his agent worthy of the attention of publishers willing to pay top dollar.
While meeting his agent Arthur (John Ortiz) to discuss when he might deliver his next manuscript, Monk complains about his lack of attention from publishers. Particularly in the face of so much attention directed towards authors he considers far less capable than he. To this, Arthur suggests Monk’s writing may not be ‘black enough’ for the audience publishers know will attract sales.
Visibly offended, Monk leaves the meeting defeated and disdained, and returns home to ponder his stagnated and frustrated mindset. In contemplating Arthur’s observation of his writing, and the success his fellow African American writers in writing with the vernacular reserved for racial stereotypes, he begins to pen his own attempt at the stylised version seemingly preferred by publishers. Monk adopts a fake persona in writing an ‘autobiography’ of his time currently in prison with reflections on his marginalised upbringing surrounded by drugs and violence. It is just the sort of racially stereotyped narrative Monk detests – scorning the literary world for its blind adoration of the genre.
Once completed, he jokingly delivers his manuscript to Arthur, seeking to prove anyone could write such drivel and why his usual material is far superior to what he pulled together purely out of spite. Unbeknownst to Monk though, Arthur forwards it to publishers using the pseudonym Monk adopted. The manuscript is a hit and Monk is offered a publishing deal larger than anything he has been offered before. While initially scoffing at the absurdity of it all, Monk realises the offer is too good to refuse and accepts the deal which comes with the requisite publicity and media attention. He must deal with the fallout by embracing the persona he created and so begins a series of hilarious, yet thought-provoking, events which takes over Monk’s life in every respect.
This broader narrative is supported by various subplots, involving Monk’s romantic life, the dynamics of his family relationships and his own journey of self-awareness. The result is a rich tapestry of interwoven scenes delivering moments of both levity and depth. Of particular note is Monk’s relationship with his estranged brother, Cliff (played by Sterling K. Brown).
Reunited following a family tragedy, Monk and Cliff are shown to be poles apart in ideology and societal expectations. Cliff embracing a libertine and hedonistic lifestyle compared to Monk’s more conventional, and seemingly respectable outlook. Jefferson creates powerfully emotional scenes between the two, deliberately causing the audience to face hard truths about their own as well as society’s approach to, and perceptions of race, family relationships, and morality.
These themes are consistently played out in scenes with Monk’s interactions with those around him. Such as his love interest Coraline (played by Erika Alexander), his family’s housekeeper Lorraine (Myra Lucretia Taylor), and Sintara Golden (Issa Rae), the author Monk referred to as an example of pandering to the white audiences.
As the protagonist in this film, Wright is given a particularly heavy load to bear – he appears in almost every scene and takes on the lion’s share of the script. Yet he takes on the task with poise and gravitas – as a seasoned actor would. It is unsurprising he garners the attention of the awards circuit for his notable performance.
Of course, Wright and his compatriots are nothing without a solid screenplay and Jefferson’s skill as a writer shines in his adaptation of Everett’s novel for the big screen. The script is engaging and contributes to the performances of every actor – permitting them to develop their respective characters with seemingly little effort. It is a rare feat to take on the multiple roles of director, writer and producer and deliver a debut feature demonstrating such class in every one of them. Yet somehow Jefferson manages to do just that.
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