Introduction
The issues that occur on the ground of social interactions, especially between different races, disturb many scholars and the entire public since their consequences are tangible and dramatic. The obvious point is that they directly result from social attitudes and biases, diverse cultures and traditions, and the complicated nature of the relationships in families. This article will discuss these actual problems that were exhibited in three outstanding films, namely, “Daughters of the Dust” by Julie Dash, “Boyz n the Hood” by John Singleton, and “Boy” by Taika Waititi
The Importance of the Past (“Daughters of the Dust”)
The first topic the three films concern is the place of the past in the people’s lives, indicating that every individual with a specific background possesses a distinctive outlook and traditions. Specifically, in the film “Daughters of the Dust,” Nana Peazant, the village’s sublime matriarch, clearly realizes the importance of generational bonds. Understanding the youth’s aspiration to the future, she attempts to instruct Gullah islanders, especially her three granddaughters Viola, Haagar, and Yellow Mary, on honoring their ancestors and preserving customs because this gives them real power. Herewith, Nana personifies not only the past ties but serves as a conductor between the old and the new. This thought is explicitly disclosed in her words, “I’m the last of the old and the first of the new” (Patton 35).
The importance of the past (“Boyz n the Hood”)
To a considerable extent, “Boyz n the Hood” also concerns the idea that descent and environment affect an individual’s life. From the beginning, the film depicts one of the black neighborhoods of Los Angeles, which is highly criminalized and dangerous. Drugs, crime, terror, and violence are those features characterizing South Central, and three central heroes, Ricky and Darin and their friend Tre, have to revolve in this terrible district. The films show how the street continuously offers various temptations in the form of easy gaining through drug business or participation in gangs’ activities. Even when the three characters want to break free from the clutches of their surroundings, South Central does not release its victims very easily.
The importance of the past (“Boy”)
In the last film, Boy, an 11-year-old child is tightly connected with his father Alamein, despite that the latter appears unexpectedly and has never participated in the Boy’s life. In this context, the role of the past is taken by both Alamein and Boy’s contrived, naive, and exaggerated memories related to his father. These unrealistic imaginations indicate a strong need for a father, which determines Boy’s behavior and impacts his decisions more than the father himself. For Alamein, he goes to eccentric and even dangerous, risky actions, such as steals of marijuana from a field owned by his classmate Dynasty to please his father.
Future (“Daughters of the Dust”)
Furthermore, a person’s choice of the future path is also seriously raised in three films. Undoubtedly, in “Daughters of the Dust,” the main characters have to choose between remaining on the island or migrating to the Southern United States in the search for a better, more progressive prospect. Most of the inhabitants opt for the latter despite that it may be troubling, aggressive, and dangerous. On the contrary, having tasted life in civilization and realized their true home, Yellow Mary, Eli, and Eula, raped by a white man, choose to stay on the island. Iona selects the same way, jumping off a departing boat to be together with Lastchild, her love. Other Peazant family members, including Haagar, have decided to leave Dataw Island for a new beginning, thereby having severed a connection with their generation, unfortunately.
Future (“Boyz n the Hood”)
In “Boyz n the Hood,” Jason Tre, Darren’ Doughboy,’ Baker, and Ricky Baker occur in a highly complicated situation. They have a limited and challenging choice: either join the others, take the path of crime, or choose a completely different way, that is, a law-abiding, reasonable, and calm lifestyle. In this regard, gifted Ricky is into sports and hopes to become an athlete. Tre, a mature and responsible teen, works in a store at Fox Hills Mall and desires to enter college with Brandi, his girlfriend. Darren succumbs to the street’s seduction and associates it with drugs and crime but changes his mind when his brother Ricky is murdered. It is also worth noting that Darren should not have followed the street rules and revenge for his brother Ricky since this only complicates the situation. Nevertheless, only Tre manages to survive and start a new future, while two brothers die.
Future (“Boy”)
In the film “Boy,” the director also places two main heroes, Boy and Alamein, before the choice of the future. In particular, Boy has to go through a bitter experience to realize that he is leading a life rife with fantasy and divorced from reality. After having understood that his father is a worthless, silly egoist, Boy refuses his illusions to become more mature. Alamein carries the responsibility of being a genuine father, but he evades it during almost the whole course of the plot. In particular, in the intimate conversation with Boy, Alamein even asks, “Can you stop calling me dad? It sounds weird” (Daniell 30). Only at the end, after the quarrels with the son who said that he hates him and that they are different, Alamein has comprehended his mission. However, he could realize his obligation toward Boy much earlier as the son’s love was evident.
Family and Parenthood (“Daughters of the Dust”)
The topic of family and parenthood’s role is one of the most evident in all three films. “Daughters of the Dust” clearly illustrates the critical significance of familial ties in the person’s living. The film accentuates the audience’s attention on the dynamic relationships between three sisters Viola, Haagar, Yellow Mary, and the island’s inhabitants overall, who all are bloodily interrelated. Unfortunately, these bonds gradually weaken and eventually lose their sense, which is inconsolable grief for the spiritual leader Nana. Nana even cries and attempts to recall everybody that they all are family of the shared, single land. However, these pleas and reminders do not achieve the desired outcomes, and ultimately, most Peazants depart.
Family and Parenthood (“Boyz n the Hood”)
The family plays an essential role in the second film, “Boyz n the Hood.” The vivid panorama of friendly relations between Ricky and Darin and their friend Tre reveal before spectators. These comrades deeply worry, help, and even try to save each other from different troubles, especially those linked to the confrontation with gang Bloods. The importance of parenthood and care are proximately connected with Jason’s Furious’ Styles. In this regard, he assumes the role of mentor, a preacher of the right way, who tries to pass a valuable experience to the three main characters. Jason explains to the guys that they need to stay away from drugs and gangs, as this leads to the destruction of the African Americans themselves. Moreover, he persuades Tre to give up the idea of revenge because only this can “Increase the peace” (IMDb).
Family and Parenthood (“Boy”)
Considering what has been discussed above, the last film, “Boy,” primarily highlights the significance of parenthood, unfolding the complicated relationships between Alamein and Boy. The former is depicted as a selfish person who seems to be utterly devoid of a sense of duty and love towards others, even the closest. Seeing how his son loves him, Alamein is only interested in finding a small amount of money, namely, 800$, not restoring his connection with Boy. On the other hand, relationships between Boy, his brother, nephews, and nieces concern the theme of family. At the end of the film, Boy understands his obligation toward his younger relatives.
Interaction between individual and society
Finally, the three films touch on the theme of interactions between society and an individual from a particular race, which are depicted as tense and complicated. For example, in “Daughters of the Dust,” most of the Peazant family members have an optimistic view of civilization, considering it progressive, prosperous, and promising. However, members who interacted with this world earlier, including Eli and Eula, faced bitter failures, severe struggle, and utter rejection. In “Boyz n the Hood,” this confrontation is even more apparent since three friends are unintentionally involved in street fights and conflicts. The directors in these films explicitly show that minorities experience significant socioeconomic problems because the public is not interested in improving their conditions. Overall, all the characters often feel humiliated and unwanted, as if they are abandoned and forgotten by an indifferent society.
Conclusion
The presentation has discussed different problems exhibited in three outstanding films, namely, “Daughters of the Dust” by Julie Dash, “Boyz n the Hood” by John Singleton, and “Boy” by Taika Waititi. The first theme the three films raise is the place of the past, including the environment and the origin, in the people’s lives. For example, “Daughters of the Dust” emphasizes a person’s necessity for preserving customs and cultural ties, while “Boyz n the Hood” highlights the impact of severe descent on the three adolescents’ future. Moreover, the three films profoundly discuss the themes of an individual’s choice of future way and its effect on relatives and friends. For instance, the film “Boy” displays how the father’s wrongful decisions adversely affect his sons. Finally, the films depict complicated social circumstances in which heroes have to live, which is especially apparent in “Boyz n the Hood.” In this regard, it should be concluded that society should appreciate the culture, traditions, beliefs, features of minorities and try to ensure the conditions for their comprehensive development.
Work Cited
“Boyz n the Hood: Plot.” IMDb. Web.
Daniell, Bianca. “Creative narratives in Boy.” Media Studies Journal of Aotearoa New Zealand, vol. 13, no. 1, 2012, pp. 1-36.
Patton, Venetria K. The Grasp that Reaches Beyond the Grave: The Ancestral Call in Black Women’s Texts. Suny Press, 2013.