Ralph Waldo Emerson “Petey” Greene is undoubtedly one of the most influential media personalities of modern times. With his trademark soulful rhymes, frank language, and brutal honesty that overflowed his WOL Washington radio show in the late 60s, it is not hard to see how Greene held major influence over such contemporary media personalities such as Howard Stern and Imus. Greene’s talents took him beyond radio to a stand-up career, a television show, multiple Emmys, and a meeting with President Jimmy Carter.
In adapting this life story into a feature film, one fears the production could come dangerously close to becoming a retread of Good Morning, Vietnam. Indeed, it is not hard to see how Greene’s story fits into the age-old formula of a shock-jock media personality whose exploits garner them instant fame, causing them to wrestle with a newfound celebrity. Yet director Kasi Lemmons (Eve’s Bayou) is too smart and talented to let that happen. What is most surprising and rewarding about the film is how layered it is. The film isn’t just a “rise-and-fall” biopic, its also a look at a jokester caught in the frontlines of a major national and historical change, a study of a raw and honest celebrity terrified of selling-out, an emotional conversation between two black men as to how a man and icon of their color should conduct himself, and a look at what is possibly the birth of modern radio.
As the film opens, we meet Dewey Hughes (Chiwetel Ejiofor), a suit at a Washington, D.C. radio station named WOL-AM. When Hughes goes to visit his brother, Milo (Mike Epps), in the local prison, he overhears the prison disc jockey doing his popular radio show for his fellow prisoners. His name is Petey Greene (Don Cheadle), and his show is such a raw and outlandish display of realness that it’s not hard to see why it’s popular among the prisoners. He uses profanity, he tells it like it is, his soulful style carries an appealing edge (his sign-on: “Wake up, God Damnit!”). Milo has told Petey all about how his brother works for a radio station, so when Dewey shows up for his visit, Petey is all over him for a job at the station. Off-put and somewhat disgusted by his outlandish and “convict” behavior, Dewey just shrugs him off and simply states “look me up” when he gets out.
After an outrageous set of circumstances involving a suicidal inmate, Greene brings about an early release and is soon at the front desk of the WOL office, asking for a job. At first, Dewey rejects Greene’s services, but after much protesting on Greene’s part, Dewey comes around and decides to give him his dream shot on the radio. Of course, Greene’s frank language and black anger is met with waves of outrage from management, but soon enough the show gains so may listeners that Greene becomes an overnight sensation. The black listeners of
Talk to Me is a film that touches on different emotional bases and does so seamlessly and effortlessly. It starts off funny, it veers into heartbreak, it explores showbiz drama, and it ends on a very heartwarming and touching note. Much credit is due to Lemmons, who uses her camera to create an intimate feeling in almost every shot in this film. Very rarely in this film is the camera at a distance from its characters, always keeping them and their emotions the main focus of the film.
Of course, this film couldn’t work if the performances were not strong enough to support the film under its own weight. Don Cheadle is sensational as Greene, nailing both his roguish humor and his soulful edge. Cheadle uses all of his talents to flesh out Greene’s hidden vulnerabilities. We’d expect this type of character to be confident and full of himself, but what is interesting is how Cheadle shows him at times being nervous and self-doubting. There’s a funny moment when Greene runs out of his very first radio show to throw up. Cheadle also shows great skill when showing Greene becoming a bigger and more mainstream celebrity. We can sense the fear and the inadequacy in his eyes and his behavior. Greene is shown as a man who may genuinely be terrified of being a celebrity superstar and extremely uncomfortable with selling out. This is strongly felt in a strong moment where Greene appears on the Tonight Show with Johnny Carson and decides to keep things real instead of being a comedic sell-out.
Chiwetel Ejiofor is equally impressive as a man who favors a successful yet conformist image of how a man should act, yet is drawn to a new and edgy idea of the modern black man. Dewey wants to be part of the white American system of the late 60s yet be true to the ideals of his heritage. The best moments in the film are when he and Greene hold pool-hall conversations about what it means to be a black man in late 60s America. The first conversation is cool and funny, providing Dewey with a wonderful monologue about how he is perceived and who he truly is. The second one shows Dewey and Greene reuniting several years after a falling out. Years after much heartbreak and betrayal, the two of them state their peace and show their true love for each other as friends. It’s a moment that is truly touching, and I can’t remember the last time a movie friendship got to me emotionally.
So even if Talk to Me treads familiar territory, it is still wonderful entertainment. The acting, music, and cinematography are all top notch. The filmmakers set out to portray a very important media icon and they do him full justice in a very entertaining package. The film is funny, cool, heartbreaking, feel-good, and sad all at once. When was the last time a film did all this all so well?
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