They meet in the Sanctuary where music and words flow as poetic lovers. Meeting Nina here spontaneously inspires Darius to name one of his poems after her, “A Blues for Nina.” But this isn’t his first response to her presence. Initially he seems nervous, exhibiting clumsiness when he knocks over her glass, spilling her newly ordered glass of white wine. After Nina accepts his replacement glass of wine, she returns to the table with her BFF, Josie, and Darius takes the stage for his next response – “A Blues for Nina:”
“[C]an I be your slave? . . . I’m digging you like a grave. . . . Is your name Yemaya? Oh, hell no. It’s got to be Oshun. . . . Talk that talk, honey. Walk that walk, money. High on legs that’ll spite Jehovah. . . . Who am I? . . . I’m the blues in your left thigh, trying to become the funk in your right. . . . I’ll be whoever you say. But right now I’m the sight-raped hunter . . . blindly pursuing you as my prey. And I just want to give you injections . . . of sublime erections and get you to dance to my rhythms. . . . I’d rather dance and romance your sweet ass in a wet dream. . . . Is that all right?”
At least he asks permission in the end.
Who is Darius? Prior to meeting Nina, he shares with his friends a short speech about romance being the essence of possibility.
“Romance is about the possibility of the thing. You see, it’s about the time between when you first meet the woman, and when you first make love to her; when you first ask a woman to marry you, and when she says I do. When people who been together a long time say that the romance is gone, what they’re really saying is they’ve exhausted the possibility.” ~Darius
So from this appreciation of romance to the nervous klutz to the erotically charged poet we have a man smitten by a love jones for a woman he just met. UrbanDictionary.com defines love jones as “a strong overwhelming desire for someone.” Our blog post yesterday explores a reconfigured definition of love. With these two descriptions, we can label Darius’ feelings as love – though that is not my first reaction when re-viewing love jones after 15 years.
This time around, initially I think that he is being way too familiar with Nina. Later in the film, his friend Stephanie expresses this observation, warning him, “You move too fast.” And his pursuit of Nina isn’t ringing true with me as an overwhelming desire for her. It’s more like he’s walking some predetermined steps toward her, outlined by someone else.
Of course, this is not how I responded to love jones when it first premiered. At the time, I am totally connecting with all the characters and the story, loving for the first time in my memory the engagement of intelligent dialogue laced with appropriately placed slang and profanity – a perfect depiction of young urban professionals of color. Funny how some things can look differently after a decade or so.
Today, as I listen to Darius’ poem, dedicated to his beloved, I wonder about:
- the implications of S&M and rape imagery as a means of seducing her,
- his eagerness for her orgasm only serving to satisfy him and to indicate that he made it into her intimate place, and
- the female audience being completely enamored by his poetic style.
Is it a sub-culture to which I’m not connecting anymore? Or is it that “A Blues for Nina” really seems to be more about delivery and arousing words rather than overall substance? Is Darius truly a hopeless romantic who, in his sudden affected state after meeting Nina, chooses to be in a less vulnerable place with his poetic presentation?
Is this love? According to the definitions we’ve established, yes it is. Is my reaction today one that indicates that this kind of love repels me? Fifteen years later, I suppose so. I suppose I’m simply in a different place. Perhaps love jones is good for what it’s good for in a certain space and time.
What about Nina?
Of the two leading characters, we meet her first. She’s in transition represented by a physical move to a new home after a marriage engagement that doesn’t work out. Nina vows to Josie that she’ll never make the mistake of falling in love again: “That shit is played out like an 8-track.” Josie welcomes her to the world of feminine cynicism. And then Josie watches Nina’s response to “her” poem. Josie knows recognizes this response and calls Nina on the fact that she’s already reneging on her self-avowed loveless goals. Is it love, as well, for Nina? Upon leaving the Sanctuary, Nina assures Darius that if she recites a poem it will be about more than sex; it will be about love. Nina is referring to the high-standard kind of love to which we normally refer when we characterize emotions this way. Yet her actions tell a different story.
Nina is more like Darius than she admits, at least initially. Josie knows her friend. Nina follows stereotypical female behavior of cloaking sexual attraction in romantic notions of love. She is quite affected by Darius’ very familiar, sexually charged approach. She looks back at the record store upon leaving, though she turns down his invitation to go out on a date. She lets him into her new home despite his stalker-like behavior. Finally, she accepts his invitation to join him at a friend’s dinner party. Later, she asserts that they shouldn’t have sex on the first date, but that’s exactly what they do. Nina moves fast too.
“I see you in me.”
When this recognition happens, it prompts us to explore the possibilities of connecting with another person – romantic or sexual. It’s all love.
love jones – R, released in 1997. (March 2012 marked its 15th anniversary.) Stars Larenz Tate and Nia Long. Written & directed by Theodore Witcher. Distributed by New Line Cinema. Production budget – $10M. Lifetime box office – $12.5M. (source – boxofficemojo.com) Note of interest: Box office performance was sluggish until the soundtrack blew up with cuts from Lauryn Hill (“The Sweetest Thing”) and Maxwell (“Sumthin’ Sumthin’”).
love jones is a peer film for Desire’s Kiss because its authentic portrayal of the pursuit of the possibilities of ordinary love, if any love is ordinary.
About this blog series: The “love & erotica” blog series supports the development of the fundraising campaign for Desire’s Kiss – The Short Film. Desire’s Kiss celebrates feminine sexuality and spirituality, based on candi’s book, Who Told You That You Were Naked? Black Women Reclaiming Sexual and Spiritual Goodness and the Judeo-Christian sacred text, Song of Songs. Desire is a nontraditional Christian woman who asserts her independence from conservative views on sex and G~d. The 10 films we will explore over the next five weeks or so come to mind as we produce Desire’s Kiss. We will highlight the love themes (including erotica) in each film.
© 2012 candi dugas, llc