Mahershala Ali

0:00This message comes from Capella University. That spark you feel? That's your drive for more. Capella University's Flex Path Learning Format lets you earn your degree at your pace without putting life on pause. Learn more at capella.edu. This is Fresh Air. I'm Tonya Mosley. A hitman drives across Houston with his new born in the backseat, searching for breast milk. His wife has just died, and nothing in his line of work has prepared him to keep their three children safe without her. That's Latif, the man at the center of Mahershal Ali's new film, Your Mother, Your Mother. The character he plays is a devout Muslim, a devoted father, and a contract killer. And this film is hard to categorize. It's an action thriller, a family drama, and a meditation on faith set in a world movies rarely show. Black Muslim life in America. And the title comes from an Islamic teaching about the singular place of mothers.

1:01It's the kind of role Ali is especially good at. Men who look composed while something much more complicated is happening underneath. In True Detective, he played a man whose life in memory unfold across decades. In the 2021 film Swansong, he played a dying man who arranges to be secretly replaced by a clone of himself. And in Moonlight and Green Book, that same restraint helped him win two Oscars. And Mahershal Ali, welcome back to Fresh Air. Thank you for having me. It's good to be here. Well, you know, I have never seen a character quite like this one, the one that you play in this movie. Because Latif, I mean, he knows how to kill people. He's an assassin. What he does not know is how to take care of his own kids. And we have not seen that play out in the same movie. What interested you about that contradiction? I think exactly that, the contradiction, or the breadth of that character's responsibilities.

2:03You know, as an actor, you are searching for your new mountain to climb and someone to climb it with you, Bissam Tark in this case. And the director. Yes. Yeah, the director. And N writer, yes. And so just upon reading it, I was just blown away by just all that came along with trying to fill the shoes of this character and bring him to life, which was, yes, being a contract killer, which was inherently already interesting. Him being a Muslim, which is rare for me to see, and to meet on the page, and especially with such dimensionality. And then also a father of three, and specifically the infant that we're really dealing with in this case. And so all these elements sort of stitched together

3:03just jumped out to me on the page. And so it was kind of like I couldn't say no to it. And you know the thing about Latif, his faith doesn't make him righteous. If anything, it kind of gives him this standard that he keeps failing to meet throughout the film. And I want to play a scene where we learn that Latif had promised to stop working as a hitman. And it's a promise that he has not kept. And he's talking to his mom, played by Giancarlo Esposito, who has just found all of this out. Let's listen. I didn't see you at prayers today. I lost track of time. I taught you better than this. He sat right here with Kadeezer, promising that you would done better than that man. The man murdered your mom, sheer, and cold blood. The feds did nothing. There are so many enemies with mercy.

4:04Violence was the last result. He killed a whole new man. Gia would have been a mercy. He's been, they got no cold. They're flawless. Sometimes you got to take things into your own hands. That money had nothing to do with it. That is my guess today. In his latest film, Your Mother, Your Mother, Your Mother, you know what struck me listening to that is that he's trying to make sense of something his faith tells him not to do. And you've said one of the first things you ask about a character is where he stands with God. Where do you land, particularly with Latif? I believe that Latif is a man that I think discovers that he is struggling with his belief, his faith, and his relationship with God. I think he's in shock by his new responsibilities. He's in shock from the loss of his wife and partner

5:06and mother of his children. And I don't think he has the larger understanding of how to mourn and being sort of gracious with himself. And I don't think he has the capacity to be patient, especially with this ticking clock of a child needing to be fed immediately and not having the source of that food, essentially not having his partner to love this child and to feed and take care of this child. And so suddenly that responsibility, all that falls onto him and he actually feels truly overwhelmed. And so in the moment, he's just angry. I think he's angry about it all. And it opens up, I don't want to say opportunity per se, but it leaves him really questioning and challenging God and wanting God to make sense of all this, or to even take it back, correct this mistake.

6:07Why do you need to know where a character stands with God before you can understand? Well, I think it's more of being aware that it's my responsibility to sort of breathe life into these characters. And I feel strongly that we are spirits having a physical experience. And I think it's just helpful for me to sort of locate how much I think a character is in conversation with his creator. So it's just a place in which I can begin to ask questions that I think have real resonance for me as an actor, as you begin to stitch together choices over the course of a journey or story. One thing you talked about wanting to do for a long time is action films. And you had a chance to step into that water,

7:09including in this latest project. I mean, you came to this film with an unusual amount of physical preparation. I think when people see you, they will see that in you. And you have the sword work, the martial arts. And it's violent. How did you approach Latif, understanding you've got this new physicality that you were working towards, blade that never happened? And so now you are in this step of trying to transfer that physicality to this guy who's doing it, though, the violence is for protection for his family. So there's kind of like a softness, and there's a real hardness and brashness, like that combination is just so interesting to me. But it also brings up the fact that I think for Latif, it's attached to his passion for justice. I don't think the Jean-Carlo Esposito character necessarily agrees with him on that. But I almost feel like Latif almost believes

8:09like he has a calling towards justice. And that is in the same way that if you look at a character like Batman, who goes off and he's a vigilante, and he's doing certain things that are clearly violent, but it's in part because he's doing something that the police force can't do or won't do, so to speak. Latif is doing this act essentially because he feels like justice was essentially overlooked in this instance, and he feels tasked to handle that. And then there's also him, yes, having to protect his family, and so therefore fortunately for him and them, he is equipped to do that. But it definitely comes out of cost, as daughter in particular is impacted, I think, emotionally,

9:10by having to witness some of the things that her father has to do to protect them at this point. This relationship between the children that your character, Latif, is trying to protect, there's kind of this interesting reversal in the film. So Latif is trying to figure out how to take care of his kids. But over time, we begin to see the ways that they're taking care of him too. And it's an interesting dynamic to be in as a parent, because I don't think we think about that. And even in the soft ways that we probably can articulate the ways that our children are doing that for us, did making this film change anything about the way you understood that relationship between parent and child? You know, I think perhaps it's made me aware that kids

10:11are also protectors, that they do it in their own ways. Like for instance, like my child, who's nine years old, sometimes experiences things. And you have to find out the hard way that she's experienced something. And I think in large part is because she's trying to protect you from knowing that she's experienced something difficult. So you would almost imagine that in the way in which when your kids are younger, and they fall down at the park, and then they just look at you and see how you react, and depending on how you react, they just run to you, like, I hurt myself, right? Well, that begins to shift at a certain point, where when they're not in front of you, if they experience something like that could be terrible, they may not tell you because they're processing it. And I've recently experienced that with my daughter this summer,

11:14and I got so upset, like, sort of at her, because she didn't let me know that she was going through something, that something had happened to her, like I had to hear it from the camp counselor, you know, kind of thing. Oh, yeah. It's the worst feeling in the world to kind of when your children are older, and they start to tell you all the things they didn't tell you about. Yeah, you didn't know about that. Did you, and the director, talk about these things? Because what's so interesting about this script, too, in particular, or this story is a lot of this kind of happened. For Asam, he was searching for breast milk, in the same way as this character when his wife needed it. She had an affection, yeah. Yeah, and she could not provide. She could not provide for their child. I'm always so fascinated by the conversation's fathers might have about these types of things. Did you guys? Yeah, we talked so much, but then there became a point where we were just,

12:19we were kind of thrust into it, and we were like living it together. And from moment to moment, seen to seeing, you start discovering things that are like written and also just, and not written that end up revealing things about character. You start dialing in little moments. There's a moment in which towards the end of the film and the third act, there's a moment where Latif fixes Fatiya's hair. And I think Bassam just came up with this idea and wanted me to, in this moment, where I'm going to take off, and you're not sure if we're ever going to see each other again. But just sort of as like a gentle, fathering act to see him, like yeah, to stop and take a moment and just fix his daughter's hair,

13:21as they're saying goodbye. You're just sort of open to part of what filmmakers need to do is create a sacred space. And there's so many things that can come up in that space where the film can finish being written in the moments that you're shooting it, that they're never finished in that way. This title, it comes from an Islamic teaching in which a man asks the Prophet Muhammad, who deserves the best of him, and three times the answer is your mother. Only after that comes your father. What did that teaching mean to you before this film? I'm someone who grew up really adoring my father. He died when I was 20. And I think in some ways, my father lived in New York,

14:21and I was growing up in California. And I think my mother was so present in a way that I think I got to take her for granted on a certain level. And we also had our own moment in time where we weren't as close as I think either of us would have liked to have been. And I think once I had converted to Islam and I started delving more into the teachings and learning more about the faith and how it impacts all aspects of your life, two of the teachings that really stood out to me was that heaven was at the feet of your mother. And the Islamic teaching that our film opens with in terms of your mother being that you should hold your mother dearest to you. And so it was just really just emphasized how much, at least for a believer or Muslim

15:22or whatnot, it emphasizes how much God values the mother and values women in our faith. And it challenges you to really reflect on why and what it is that women must sacrifice and how much of themselves must they give in order to raise you or in order just to even just bring you into the world. And so you're supposed to hold your mother dear in your heart and have a lot of respect for women in general. And of course that doesn't always play out culturally or whatnot. But the teaching is that you are to like who you value most in this world are the beings, the people, the women that brought you into this world. That's really interesting now being a man being able to reflect and see that maybe I took my mother for granted because she was there. This relationship with your dad, kind of this absence makes the heart grow fonder because

16:24he was a dancer. He lived in New York. I can imagine just your childhood brain imagining his life across the country. Yeah. Well, you know, and also like one of my earliest memories is my father won a dance contest on Soul Train of All Things when I was a little kid. So anyone a car on TV. So to be on TV back then, it's like one of my earliest memories and him coming home with a brand new car and $2,500 that he wins in 70s and he ends up moving to New York. And you know, I'm growing up and visiting him in the summer and I'm backstage or on tour with him for Dream Girls and meeting all these wonderful people, some of which are still working in the business to this day. And you know, I've just exposed to certain things that I didn't know how to go back to Hayward, California where I was growing up and tell anybody about those things.

17:27And a lot of times there's kids who didn't even like believe me when I was sharing certain things. Or I'm watching a music video or watching a commercial and my dad or a really close friend of his is on the commercial or on TV or doing an episode or something or on a show. So there's this compartmentalized thing that I was experiencing that no one else around me like totally got. So I think all that sort of added to and when he was with me, he was like really present, he was awesome. We had a great time. But then I would go back and experience the day-to-day mundane of just growing up and having a new homework and getting in trouble if I acted up in class or all the things that you do with like growing up as a kid. Like those are the things that you know, my mom is like dealing more so with on a day-to-day basis. And so all that contributed to, I think my childhood and my experiences with my mom being

18:29like colored a certain way. And my parents were also really young when I was born. Like they were teenagers. They were teenagers. Yeah. You watch them grow up essentially. Yeah. They raised you. And I'm curious the kind of dancing your dad did. So soul-trained dancing, dream girl dancing. What was his specialty? Well, you went to dance theater Harlem. He also studied ballet and tap and jazz and all of you know. And then by the early 80s he was like understudying and dream girls and then eventually playing the James Thunder early role on the road for the national tour. And by the time he passed away, really trying to transition into legitimate acting, you know, out of trying to get out of the musical theater dance kind of world and always really considering himself an actor, which when he started to like say that, like, oh, I'm an actor, I was like, huh, I didn't. And I don't know anything about acting at this time because it's not as much as I was

19:29coming in and out. It wasn't my world. I was if anything. I was more on the athletic sort of pathway. Because at that time you were in college playing basketball still? He passed away going into my junior year. So it was kind of like halfway through that college basketball journey that he passed away. But I did just start getting into like theater sort of like accidentally, like right before he passed away, I did a play. And I remember him saying, you know, that I had the bug or whatever. Oh, he saw you. Did he see you in that play? No, he didn't see me in it. But it was just more me like just talking about what I was doing. What he did see me do was I was writing a lot of poetry back then. And those poems started to essentially act as like monologues because it was like early in that slam poetry sort of era. So I would share those with him and friends of his and whatnot, which they all kind of loved. And so that was a bit of a transition into acting because I was basically performing my own

20:30writing. And I got a lot of encouragement around that. Our guest today is award-winning actor, Mahershala Ali. We'll be right back after short break. I'm Tonya Mozli and this is Fresh Air. Stay tuned for the following announcements and messages from our sponsors. This message comes from Amazon Business. Streamlining workflows is key to keeping any organization running smoothly. That's why smart leaders turn to AI-powered procurement. With smart business buying, you can simplify workflows, automate repetitive tasks, and keep your team aligned. Equip your organization with intelligent tools, unmatched selection, and fast, reliable delivery. So you can focus on what matters most. Learn how to transform purchasing at Amazon Business.com. This message comes from progressive insurance. Everyone talks about how challenging it is to raise kids. But what about protecting them? Outlet covers, kitchen cabinet locks, baby gates? Where do you even start? Well, protecting your home in auto is a great place to start.

21:32Progressive offers customized cover options so you can be sure you have the right coverage. For basically the baby gates of insurance, get a quote at progressive.com. Progressive casualty insurance company affiliates and other insurers, not available in all states. This message comes from AT&T. Right now at AT&T, you can get the new iPhone 18 Pro for $0 with eligible trade-in. It has the ultimate pro-camera system and a big leap in battery life so you can turn this deal into a long-lasting connection. Connecting changes everything. Progress trade-in of $230 or more in eligible plan. Terms and restrictions apply, subject to change. Visit an AT&T store for details. Hi, this is Molly C. V. Nusper, digital producer at Fresh Air. And this is Terry Gross, host of the show. One of the things I do is write the weekly newsletter. And I'm a newsletter fan. I read it every Saturday after breakfast. The newsletter includes all the week shows, staff recommendations, and Molly picks timely highlights from the archive. It's a fun read. It's also the only place where we tell you what's coming up next week.

22:35And exclusive. So subscribe at why.org slash Fresh Air and look for an email from Molly every Saturday morning. This is Fresh Air. I'm Tony Mosley and my guest today is Mahershala Ali. His new film is Your Mother, Your Mother, Your Mother. And which he plays Latif, a devout Muslim father of three who is also a professional killer. He suddenly left to care for his children after his wife dies. His other work includes House of Cards, Luke Cage, True Detective, Rami, Swan Song, and the Spider-Verse films. He won Academy Awards for the Film's Moonlight in Green Book, becoming the first Muslim to win an acting Oscar. Ali grew up between Oakland with his mother and the East Coast with his father who worked as a dancer. Ali went to St. Mary's College on a basketball scholarship and later earned a graduate degree in acting from NYU before acting fully took hold. He also recorded music as the rapper Prince Ali.

23:36I just have a few things I'm curious about about this time period in your life. You're getting up on stage, you're performing poetry, and eventually you become Prince Ali. Who was Prince Ali and what did that persona give you? I think there was several iterations. I think I eventually landed on Prince Ali. But honestly, the first time I was ever rapping and on stage, I was 12 years old. I was in Toronto, Canada. And my father was doing Dream Girls there in 86. And myself and a friend named Sean. And our fathers were in the show. I remember we both got like $5 a day because they were like in tech week. And so they were like putting the show together about to open. And so we would go, why are dads were rehearsing? We were kind of like latch key kids on the road.

24:37And so we would go off to the arcade and play games for half the day. Like I could go for a while back then. He and I were both like, had an open love for hip hop at that time. We both loved Run DMC and LL Cool J. And one day Sean was like, well, you know, I beat boxing. He started like, you know, beat boxing and making the beat with his mouth. And I was like, well, I rap and I had written my little rhyme and I had it memorized. And so we're in the elevator with our fathers one day. And we're going up to our rooms and Sean just breaks out beat boxing. And then I start rapping. And then their jaws like drop. So you know, a week later for open and night of the show, we're on stage. There's like 2000 people in this club that they were able to get us in. But we had to sit in some section where there weren't serving alcohol or whatever. But we ended up performing. We got shirts made. They said, DT on them, double threat. And like, he's beat boxing on stage.

25:37And I'm rapping and we like, we tore it down. Like it was, it was an experience I would never forget. But that around that time, like that's when I started writing like pretty young. I wrote my first poem when I was nine years old. I was writing my rhymes at like 12. Do you remember what it was about that first poem? My first poem, I remember it vividly. My kid, you not? Yeah, it was about God. It was about God. And it was, it was when I was young, I was blind, sat in lonely all the time. I felt like I was trapped in a show visiting Satan in his hell until a person shared with me that God's the glory of being free. So then I turned to Jesus, my friend, and he'll stay with me till the end. So it was like at this Bible study retreat type thing. And so that was nine. And then I kind of like always sort of wrote a little bit on the side, just again, like just processing things, you know? Oh, Mahershala, that's kind of remarkable. I'm thinking about you as a nine-year-old. You know, you come from a home where your mother, she's a minister, right?

26:40So faith is deeply ingrained in the place where you are. But it sounds like you've always been in a way, a seeker, a seeker of understanding a higher power. Yeah, I think so. I feel like on some level, I've always been at a place where I've seen just prayers be answered. And I think that that ends up sort of feeding one's relationship to God or faith. And, you know, I'm really grateful for that relationship. You've talked a lot about your parents, your mom, and your dad. But recently, I have also been hearing you talk a lot about your grandmother in particular. You said that there is no way that you'd be really basically sitting here without her. Not at all. Who was she to you? Oh, she just had her 92nd birthday yesterday. Oh my gosh, happy birthday, you know, mom? Yeah, yeah, yeah. Oh, man, let me just tell you that this is my grandmother.

27:43I remember I was 22 years old and I had just completed California Shakes Professables. So I did that summer program and I got to work on the main stage with the professional actors in the company. And then I was also part of the apprentice program as well. But I had a pretty wonderful summer. And this is like I'm literally just graduated from undergrad from St. Mary's College and I was able to step right into this California Shakespeare Festival program with real audience and real actors and just such a pretty remarkable experience. And going through that program, by that time I had a couple of people say to me, one gentleman who was in, who was one of the professional actors, I think his name was Martin Kildare. And then I had a professor as well from St. Mary's College named Victoria Trussel who had both

28:49of them were like, you need to go to grad school. And I was like, okay. And so I had decided that I was going to audition for NYU. I knew that it was like they only accepted like 16 to 18 people and that they were going to audition potential students nationwide. So my grandmother one day, I was living with them, you know, in the summers. They're aware of like what the chances are of me even getting in, so to speak. But I'm walking into my room and she kind of like cuts in front of me to go and put some stuff in my room. Like December, I don't even audition until like February's like December of 96. And my grandmother walks in my room and she's got like these sweats that she got from K-Mart. They're just generic like gray thick warm sweats and she just, I was like, what are those for?

29:49And she was like, were you going to need these when you moved to New York? And she just kind of like set them on the dresser for me. And it was such a reflection of how she believed in me and supported me. And I got in, you know, and I ended up going to NYU for three years. And yeah, I had those to keep me warm. And she was also like my grandfather didn't know, but I didn't get this loan in my third year of school. I didn't like apply for something right. So I was like short. I was so money like it was like a lot of money I was short on. And like she's like sneaking me like thousands of dollars like, you know, I feel like it was like $15,000 or something like that. She's like sneaking me money. And she's like, yeah, but you got it. You got to pay me back when you get out. I was like grandma, I got you. I got you. So when I got my first gig, when I got crossing Jordan, like part of my check is like going

30:51to like pay her back like immediately, you know, cause I was like, I can't. I can't have you like stressing about this money. So I got I paid her back. Let's take a short break. If you're just joining us, my guest is Academy Award winning actor Mahershala Ali. We'll be right back after a break. This is fresh air. Stay tuned for the following announcements and messages from our sponsors. This message comes from Amazon Business. Don't let complicated purchasing processes get in the way. Smart business buying tools from Amazon Business help you make better decisions faster. Other AI driven features surface insights to simplify procurement automate routine tasks and help you find what you need when you need it. Now organizations of any size can access unmatched selection, business relevant features, and fast reliable delivery. Learn more at amazonbusiness.com This message comes from Capital One. Capital One offers checking accounts with no fees or minimums. What's in your wallet? Please apply.

31:52See CapitalOne.com slash bank guy for details. Capital One in a member FDIC. What was the role where you first thought now we are talking? This is the kind of work that I have been trying to get to. Wow, curious case of Benjamin Button. I booked that. It was my technically my first feature film. And I booked it in 2006. And we were doing reshoots up until October 2008. And it came out at the end of 2008. So I think that kind of, I don't want to say chip on my shoulder, but that sort of attitude about wow, I'm going to David Fincher film. So thinking and feeling like things were just going to open up for me. That part was for where I was at at that time. And that's like 20 years ago. And it's six years into a professional career. And I was able to suddenly be transitioning out of television into film. And David Fincher film that met a lot.

32:55And so to get to be in a movie and to be with Brad Pitt and company until the Swinton and Kate Blanchett. You go on and on and on like the Taraji Piancin and the folks that are in that movie is unbelievable. So I felt like I got to dip my foot in that water for sure. And that I just want to stay in that space. And if I couldn't stay in that space, I want to get back to that type of work. And in a more full way as soon as I possibly could. You know, I've heard you talk about how you want to be this actor. Who just moves through time and isn't set on one particular character. You know, in one way, you know, a character where a Marvel character, for instance, a blade or something like that, you would be forever synonymous with that particular character. And you've said how that kind of scares you.

33:55And moonlight in particular is such a special singular magical film that feels like it only comes once every blue moon to have a script in front of you that allows you to articulate what you're able to do in that film. When you think back in particular about that experience, what do you hold on to? What is the thing that you also take with you in the same way that you did with Benjamin Button? There is a feeling from the moment I read that script and that feeling only grew. It was like you could, it was just this beautiful flower. And it just, the whole process, watering it, growing it, talking to it. It just continued to grow and just got more and more beautiful.

34:58Like the whole way through. Being on that set and we just did not have any money. Like they're more chairs. They were sitting on the ice box or what have you. We didn't really have a proper trailer to change. We had this bus that every department was in this bus. Like I kid you not. Every hair, makeup, everything, we were all in this bus. But to be with you and I'd been on enough sets that were fully funded by this point, nobody cared. It was so profoundly special. Barry Jenkins shooting moonlight. It was extraordinary at creating a sacred space. And it was one where other people's ideas or the moment itself had an opportunity to speak and to be additive and to deepen.

36:00Like the good directors are expecting you to deepen what is there on the page and to help really bring it alive in the same way they expect the director of photography to make their contribution and the production designer to make his or her contribution. There's something strange about reaching a level of success after spending years of doing the work. And then discovering that it doesn't necessarily make the work or getting the work easier. That's true. It doesn't. Yeah, to have a film like your mother to such a meaty role. But what do you think winning your second Oscar? What did you think it would change that it didn't? You know, I thought that the sort of leading man opportunities would just open up, you know, because I just felt like even the Don Shirley role was so close to a leading man part. Like, in Remind people about that. In Green Book.

37:01Because if you think about it, like Vigo's character, Vigo Mortensen's character, he had a certain runway, like you got to see him by himself. You got to see him with his family, you know, the Don Shirley character enters into the piece in a different way, 20 minutes into the film kind of thing, right? And so at some point you're hoping for those opportunities and that lens and being a little bit more centered and the dimensionality to be consistent. And even the type of filmmakers that I would be put in front of, you know, I think I was hoping that it would that would change. And it would there would be these like what I would call no brainer opportunities. And so I guess I was just surprised that like it would be. You're still fighting for leading roles. And just even just just fighting, like wondering why, man, that phone is really not really

38:05bringing or like I'm, you're not getting those calls from like these seasoned, extraordinary award winning like filmmakers and getting asked to come and do their films or even consider parts, you know, kind of thing. And so, so I think that that it just, for a while, it just sort of surprised me. And then at a certain point, you just go back to accepting that, okay, well, I guess this is just what it is. And so then you move forward into just like looking for the best thing that comes your way. And every now and then something great comes along. Or in the meantime, sort of going like considering things and going, well, can I elevate this? You're still pretty hungry as an actor. I mean, you actually said that you're the hungriest you've been as an actor in a long time. Is the hunger different now from the hunger you had when nobody knew who you were?

39:06Yeah, I think my hunger has matured. I think I have less fear in a certain way. And so therefore, I have an energy that is like ready to attack the part. So in that way, I'm just, I'm just, I just feel hungry to get to it. I feel hungry to interpret, metabolize the material and like get to work on set. I just feel like, yo, let's go play. Let's get to it. Let's fail doing rehearsal. Let's fail on camera until we find it. I just feel like, let's just get to it. I don't feel like talking about it. Let's go. And so unfortunately, I have like a wonderful part that's like feeding me right now. And you know, I'm getting to do season two of task for Brad Engelsby, the showrunner, and getting to work opposite of Mark Ruffalo.

40:08So that's been, that's been absolutely wonderful. And we're a little over halfway through the season, but I'm just, I'm just hungry to eat through it. I just want to keep going so we can like, not even like get it done, but it has been aggrined. It has been a while and it is very tough work. But I, I'm just waiting for the, the next time I go to set because I'm just, I'm just ready to work. Mahershala Ali, it's been such a pleasure to talk with you. Thank you. Thank you. Award winning actor Mahershala Ali. His new film is called Your Mother, Your Mother, Your Mother. Coming up, John Powers reviews Chris Rock's new film, Misty Green. This is Fresh Air. Stay tuned for the following announcements and messages from our sponsors. This message comes from Amazon Business. Don't let complicated purchasing processes get in the way. Smart business buying tools from Amazon Business help you make better decisions faster.

41:09Their AI-driven features surface insights to simplify procurement, automate routine tasks, and help you find what you need when you need it. Now organizations of any size can access unmatched selection, business relevant features, and fast, reliable delivery. Learn more at Amazon Business.com. This message comes from Capital One. Capital One offers checking accounts with no fees or minimums. What's in your wallet? Terms apply. See Capital One.com slash bank guy for details. Capital One in a member FDIC. This message comes from Google Workspace with a Gemini. In subscription that does it all, personalized AI and premium business versions of Gmail, Google Docs, Drive, and more. Try it free for 14 days at go.gov.ge slash workspace with a Gemini. It's been 12 years since Chris Rock directed his last movie, The Romantic Comedy Top 5. Now he has a new one, Misty Green, which stars Rosalyn Elezar as a once successful Hollywood

42:12actress whose career has taken a downward turn. Our critic at large John Powers says that the film, which also stars Adam Driver and Rock himself, is bursting with energy but takes you to bleaker places than you might anticipate. There's one thing we know about folks who do stand up. They nearly always dream of sitting down in a director's chair. One who's had some success doing just that is Chris Rock, who's biting jokes and charmingly demonic grin, hide it taste for serious movies. He pushes in that direction with his new film, Misty Green, a story more filled with pain and nastiness than laughter. Set in Hollywood, modern shorthand for sunlit soullessness, this portrait of a brilliant, self-sabotaging actress is at once high-powered and problematic. Rosalyn Elezar, who you'll know from slow horses, gives a fireball turn as Misty. A gifted actress who won an MA a few years back on a show called The Red Eye.

43:18Now she faces disaster. About to be evicted from her luxe seaside apartment, Misty is so desperate for a job that she's preparing to audition for the kind of demeaning role Percival Everett set up in Eurasia. Because she's biracial and no longer young, she's a hard sell in a Hollywood that likes its actresses young and white. Misty has also blown several good chances by being spiky, troublesome, druggy. The world around her doesn't help. She's got a bipolar brother, that's Daniel Caluia, who keeps fleeing his clinic. She's got an agent so slippery he's played by Tofer Grace. Her best friend, that's Anna Kendrick, is a chirpy cynic, who's marrying a clueless guy for his money. And then there's Adam Driver's character, a Hollywood's Scuzzball with whom Misty has joyless sex in exchange for joyless drugs, even on the night before the audition that might

44:19save her. The one Angel on her shoulder is a film director, Jordan, played by Rock himself. With he and worldwide, he has profound respect for Misty's massive talent, even though he once fired her from a big movie after she had a coaked up fight on set. As it happens, Jordan's about to direct a remake of Dreamgirls, and the what's already been cast, Misty dreams of landing the role of Dina, the one played by Beyoncé. Could this be her way back into the big time? Here, during her audition for a lesser role in Dreamgirls, the actress cast as Dina bursts into the room, then realizes who she's interrupting. Misty Green. Oh, wow. Ronda, why are you reading Misty Green? Just give her the part, my god, my dad loves the red eye. He wore the uniform last week on the show. Oh, I tell him things. Yeah. Were you guys still coming?

45:22Yeah, we were. No, no, no, no, we're about to film. No, we are. We're about to film. Actually, I like to do it again. We're good. We're pretty much done, so it's fine. Okay. Yes. No, actually, I like to do it again. I know. I like to. I like to do it again. I didn't get to finish it. So much, Misty, for coming. It was really great to see you. Hello. I would like to finish my audition if it isn't too much trouble. All right. Now, in purely cinematic terms, Misty Green marks a step forward for rock. His filmmaking bristles with vigor from the opening scene when Misty gets yelled at by the widow of her recently deceased sugar daddy to its final, ironic payoff. What crams his movie full of lively scenes, auditions, car crashes, musical numbers, police arrests, private jets, fist fights, and occasional funny bits, like a laugh out loud riff on why civil rights movies stink. Along the way rock nods to larger social themes, homelessness in LA, the racial profiling

46:23of black men, Hollywood's racism and sexism. But they remain mere nods. These shows about these ills is so familiar and undeniably true that it's less cutting a generalisus than old hat. Even more disappointing is the film's vision of women, except for a casting director fed up with Misty's misbehavior. She's truly played by Tracy Thomas. The women characters are all dopey or bitter, venal or naive. They're a mother load of terrible choices. Even Misty's doctor seems like a fool. Misty herself is not easy to like, but at least this feels groundbreaking. For a while we've had movies about difficult actors, be it Betty Davis in all about Eve, or Jenna Rowlands in opening night. We've not seen a woman of color claim center stage, playing such a thorny artistic role. And it's kind of thrilling. Whether she's being funny or resentful, wounded or imperious, nailing an audition or

47:25singing in a nightclub, very well by the way. Misty is a blazing ball of contradictions that only a galvanizing performance can make us believe in or sympathize with. Elazar provides just that, filling in the underdeveloped aspects of Rock's conception of Misty with living, breathing, passionate life. She holds the movie aloft, even as we gradually realize that this is just another Hollywood morality tale. And that while Misty may be the protagonist, there's someone the movie loves more. Indeed, the film's key line, true love starts at forgiveness, is delivered, you guessed it, by Rock's character. There's a reason why comedians dream of sitting in the director's chair. John Powers reviewed Misty Green. Next time on Fresh Air, E. Un Lee won a Pulitzer Prize for her memoir about the suicides of her two teenage sons.

48:27In her new novel, she escapes the present and writes about two piano prodigies in the late 18th and early 19th centuries. She says she put everything she knows about life into it. She'll talk about the novel and surviving her son's deaths. I hope you can join us. To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Sam Brigger. Our technical director and engineer is Audrey Bentham. Our interviews and reviews are produced and edited by Phyllis Myers, Anne Marie Baldenado, Lauren Crenzel, Theresa Madden, Monique Nazareth, Thaia Chaliner, Susan Yacundi, Anna Bauman, and Nico Gonzalez Whistler. Our digital media producer is Molly Sevy-Nesper, Roberta Shorak directs the show. With Terry Gross, I'm Tanya Mosley. Stay tuned for the following announcements and messages from our sponsors. This message comes from Capella University. That spark you feel? That's your drive for more.

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