Who needs to be the King?
In New York City’s Flatiron District, Lucky (Prince Adu), newly arrived from Ghana, hocks fake designer products out of back rooms with his partner, Levon (Karren Karagulian) and seems to be making something of a living with it. Even though his living-quarters have him spaced to just one tiny room and the business itself can be very dangerous, what with the feds constantly sniffing around, Lucky seems to be doing fine enough as is and not really having to worry about much in his life. But then, it all changes when his toddler son comes to live with him – the same son he had no idea really existed, until a former-flame of his can’t handle the child anymore and basically just drops him off on Lucky’s doorstep. Lucky isn’t ready for this and he doesn’t quite know what to do, and after a few attempts to pawn the child off on somebody else to make their responsibility, Lucky realizes that it’s up to him to take care of the child. He does, however, it all comes at a cost.
Daddy knows best. Especially with the coats.
As usual, Sean Baker takes a look at the small working-class of America and doesn’t ever seem to lose sight of the realism. In Prince of Broadway, what’s so interesting about Baker’s approach to the material is that he could have easily made this into a sort of broad comedy, with wacky hijinx and silliness abound, like how, for instance, Lucky can’t really father this child and doesn’t know much of anything. Actually, you know what? That sort of does happen here.
But it’s done in such a smart way that you almost never know. Baker starts off with a conventional plot-line about a long, lost father trying to take care of his child the best way that he knows how, and while you can tell that it’s going to be all easy yucks and jokes, eventually, it turns into something far more serious and meaningful. Sure, it’s funny to laugh at Lucky for being ill-equipped at this whole father-thing, but it’s also nice to see him grow into something of a loving, caring, adoring, and passionate father who does what he can, for the kid he hardly knows.
And that’s just the tip of the iceberg with Prince of Broadway, which is also a bit of a problem.
Can’t even walk? Ugh! Long way to go!
See, so many of Baker’s films are best when he’s sort of just coasting his movies along, not really giving us a plot, nor demanding anything of us, either – he just wants our attention and to never have our eyes wander away from what’s going on. It’s how Baker does best and I think it goes without saying that, often times, it seems like plot may not be his best thing. In the case of Prince of Broadway, this seems especially clear; the whole subplot concerning Lucky and his boss, while well-done, also seem to pad the movie’s run-time a lot longer than it probably needed to. Baker is clearly making a statement about the United States cracking down on the everyday, normal American citizen just trying to make ends meet, by any means, but it seems a tad preachy and a little bit murky, considering we get so much other stuff with Lucky and his kid.
But at the center of all this, is Prince Adu as Lucky who not only gives us a very charismatic performance, but the kind that would make someone a star. Unfortunately, that hasn’t happened just yet for Prince Adu, but if that doesn’t ever happen, it’s okay, because his role as Lucky proves that the guy has the chops to be both funny and a little sad, sometimes, in the same scene. Baker doesn’t really demand much of Adu, but he’s willing to give both Baker and the movie, more than they probably bargained for.
Damn. I wish this guy did more.
Consensus: Prince of Broadway gets bogged-down a bit in plot, but still benefits from a heartfelt, lovely, and compelling story of a father coming to terms with his life and responsibilities, without ever seeming all that ham-fisted.
7.5 / 10
Man Push Baby Cart.
Photos Courtesy of: Elephant Eye Films